Worldwide Music Conference (WWMC) has announced a Call for Papers for the WWMC 2021 – Scientific World Explores Music, which will be held on April 22–23, 2021 in Prague, Czech Republic.
WWMC brings together experts from various fields (music theory, biology, psychology, ethnography, mathematics, acoustics, and others) to make their achievements in music studies available to the entire music research community.
The conference seeks to break down the language barrier between different disciplines, to provide an opportunity for scientists to go beyond their professional circle and spread ideas and discoveries to a multidisciplinary community of music researchers. Hence speakers address representatives of all disciplines using a common language, providing clarifications. The WWMC organizers encourage the researchers to attract interest in their subject of study, to popularize their ideas and discoveries.
Roman Ruditsa, WWMC Scientific Chair, says:
“Music is one of the most mysterious objects of cognition. The closer we get to understanding this object, the more obvious it becomes that the way forward can only be made by the joint efforts of many sciences. And the more clearly we see that the knowledge contained in music can shed light on fundamental scientific problems.”
The WWMC 2021 Call for Papers includes miscellaneous topics, among them:
♫ Theoretical concepts of music in general and its individual aspects
♫ Music from the perspective of psychology and physiology
♫ Mathematical methods in music-theoretical research
♫ The diversity of forms of musical thinking in different cultures and different epochs
♫ Music technology from a scientific perspective
To find out more, to submit your abstract or full paper and register, visit the WWMC 2021 website: wwmc.io
In Milan, between June 15th and August 22nd, the thirteenth edition of Milano Arte Musica is held. International performers, and places of art for a series of concerts that celebrate the genius of Leonardo da Vinci on the 500th anniversary of his death.
The edition of this 2019 consists of 23 appointments, distributed in 8 different locations, organized, with the usual professionalism and passion, by the Associazione Culturale La Cappella Musicale, with the sponsorship of the Lombardy Region, and with the contribution of Municipality of Milan, Ministry of Cultural Heritage and Activities, Tourism, Cariplo Foundation, FNM, Fiera Milano Foundation, A2A SpA, Intesa Sanpaolo and Studio Cernigliaro. Numerous media present and partners in this edition: Rai Radio 3, Classical Radio, Radio Marconi, Classic Voice, ViviMilano and Classica HD Sky.
Milano Arte Musica is part of the program of Leonardo Milano 500, of the Municipality of Milan and the National Committee for the celebration of the 500th anniversary of the death of Leonardo da Vinci, to give voice, from the musical point of view, not only to Leonardo, himself a musician and composer, but also to the rich musical world of the Sforza Milan.
This is the presentation of the Festival in the words of its artistic director, Maurizio Salerno:
“Never in the past, as in this edition, Milano Arte Musica becomes a meeting point between ancient and contemporary: first performances and modern works alternate with timeless myths like Bach or Vivaldi. In this sense, the celebration of Leonardo da Vinci becomes a symbol of a timeless myth, as is also ancient music which, even in 2019, never ceases to fascinate and intrigue new spectators “.
CALENDAR OF CONCERTS
Saturday 15 June (6 pm), MUSICA PER IL BESTIARIO DI LEONARDO DA VINCI, at the Sala della Balla of the Castello Sforzesco, the students of the Istituto di Musica Antica of the Claudio Abbado Civic School of Music interpret pieces inspired by Leonardo da Vinci’s Bestiary.
Sunday 16 June (6 pm), MUSICA NELLA MILANO LEONARDESCA, at the Sala della Balla of the Castello Sforzesco, the students of the Istituto di Musica Antica of the Claudio Abbado Civic School of Music interpret pieces of the profane repertoire transmitted by the Basevi Code 2441.
Monday 17 June (8.30 pm), GAFFURIO E I MAESTRI DI CAPPELLA NEL DUOMO DI MILANO AL TEMPO DI LEONARDO, in the Church of San Pietro in Gessate, the Civici Cori of the Civic School of Music Claudio Abbado pay homage to the major authors of Renaissance Milanese music, including Franchino Gaffurio, Chapel Master of the Milan Cathedral, and likely subject of the Portrait of Music, attributed to same as Leonardo da Vinci.
Tuesday 25 June (8.30 pm), CONCERTO INAUGURALE: VIVALDI E HÄNDEL, in the Basilica of Santa Maria della Passione, the Accademia Bizantina, directed by Ottavio Dantone celebrates the great instrumental Baroque through two of its most prolific authors, Vivaldi and Händel, with the performance of Concerts for strings and Concerts for viola d’amore and strings of one and then a selection of the other large Concerti Op.3.
Wednesday 26 June (6.30 and 8.30 pm), 1685: BACH, HÄNDEL, SCARLATTI, in the Church of San Sepolcro, Ottavio Dantone, no longer as a conductor, but as a harpsichordist, in a double date, he proposes a comparison between the three “sacred monsters” of the keyboard: Bach, Händel and Domenico Scarlatti.
Monday 1st July (8.30 pm), ARVO PÄRT: KANON POKAJANEN, in the Basilica of Santa Maria della Passione, the Estonian Philharmonic Chamber Choir, directed by Kaspars Putniņš, performs the Kanon Pokajanen by Arvo Pärt, based on an ancient canon of penance of the Russian Orthodox Church and intended for the celebration of the 750th anniversary of the Cathedral of Cologne.
Monday 8 July (8.30 pm), IL VIAGGIO DEI BASSANO, in the Basilica of San Vincenzo in Prato, Il Giardino Armonico, directed by Giovanni Antonini, presents a musical journey that follows the tracks of the Bassano family, performers and manufacturers of wind instruments, emigrated from Venice to England and exporters of the Italian executive style.
Thursday 11 July (6.00 and 8.30 pm), J.S. BACH A WEIMAR, in the Sala Capitolare del Bergognone, on the occasion of the reopening of the Hall, closed for over a year for restoration work, the harpsichordist Robert Hill is presented for the first time to the public of Milano Arte Musica
Tuesday, July 16 (8.30 pm), J.S. BACH: I MOTTETTI, in the Basilica of Santa Maria della Passione, the Internationale Bachakademie Stuttgart, directed by Hans-Christoph Rademann, performs one of the milestones of baroque music.
Sunday 21 July (6.00 and 8.30 pm), DA VINCI PROJECT, in the Sala Capitolare by Bergognone, some of the musical instruments designed by Leonardo da Vinci are the protagonists: from the most famous tamburo meccanico to the viola organista, and the organetto (f. 75r of Madrid Code II), rebuilt in 2012 by the organ maker Walter Chinaglia and by the musician Guillermo Pérez. Just Guillermo Pérez (Leonardo’s organ), Viva Biancaluna Biffi (bow and voice viola) and Angélique Mauillon (harp and voice) propose a French and Italian vocal composition program.
Thursday 25 July (8.30 pm), QUARTETTI MILANESI CARLO MONZA: QUARTETTI (1A ESECUZIONE MODERNA) – W.A. MOZART: QUARTETTI COMPOSTI A MILANO, in the church of Santa Maria della Sanità, Fabio Biondi and Europa Galante give rise to an original comparison between the production of string quartets by WA Mozart (including the famous Quartetto di Lodi) and that of the Milanese Carlo Monza, maestro of Cappella del Duomo in Milan, of which the world premiere is presented running in modern times
Monday 29 July (8.30 pm), EUROPEAN BAROQUE SONATAS MUSICHE DI HÄNDEL, VIVALDI, ZELENKA, in the Church of San Pietro in Gessate, the Ensemble Zefiro proposes a program dedicated to a selection of sonatas by Händel, Pla, Fasch, Vivaldi, Philidor, Fux and Zelenka.
Thursday 1 August (6.00 and 8.30 pm), LA FIGURAZIONE DELLE COSE INVISIBILI – MUSICHE DEL TEMPO DI LEONARDO DA VINCI (1452-1519), in the Sala Capitolare by Bergognone, Renata Fusco (canto) and Massimo Lonardi (lute) present the Rebus musicali by Leonardo, preserved in the Windsor Collection, along with other pieces from the Milanese Renaissance.
Monday 5 August (8.30 pm), IL VIOLONCELLO NAPOLETANO MUSICHE DI ALBOREA, SCARLATTI, PERGOLESI, in the Church of St. Bernardino alle Monache, Christophe Coin (cello) and Enrico Baiano (harpsichord) revive the most important school for European music in the Baroque period, the Neapolitan school of Francesco Alborea, Francesco Scipriani, Mattia Vento, Salvatore Lanzetti and Alessandro Scarlatti.
Monday 12 August (6.00 and 8.30 pm), J.S. BACH E I SUOI PRECURSORI OLANDESI E TEDESCHI, in the Sala Capitolare by Bergognone, Bob van Asperen celebrates with a double concert the composers Jan Pieterszoon Sweelinck, Heinrich Scheidemann, Johann Jacob Froberger, and Jan Adamszoon Reincken.
Tuesday 15 August (6.30 pm), CONCERTO DI FERRAGOSTO MUSICHE DI KRAUS, HAYDN, in the Basilica of Santa Maria della Passione, for the Ferragosto Concert, the Orchestra Theresia, an international orchestra composed of young talents under 30, coming from the most important European schools of music, and directed by Claudio Astronio, proposes music by Kraus and Haydn.
Monday 19 August (8.30 pm), G.F. HÄNDEL: SONATE OP. 2 PER DUE VIOLINI E B.C., at the Church of Santa Maria della Sanità, Al Ayre Español, directed by Eduardo López Banzo, for the first time as a guest of the festival, accompanies the audience to listen to the Sonatas op. 2 for two violins and b.c. by G. F. Händel.
Thursday 22 August (8.30 pm), DOMENICO SCARLATTI: STABAT MATER A 10 VOCI, in the Basilica of Santa Maria della Passione, Gianluca Capuano concludes the 2019 season by directing Il canto di Orfeo, for an exemplary polychoral execution of the 10-voice Stabat Mater by Domenico Scarlatti.
Basilica of Santa Maria della Passione – Via Conservatorio 16
Basilica of San Vincenzo in Prato – Piazzetta Beria di Argentine angolo via S. Calocero
Church of San Bernardino alle Monache – via Lanzone 13
Church of San Pietro in Gessate – Piazza San Pietro in Gessate
Church of Santa Maria della Sanità – Via Durini 20
Church of San Sepolcro – Piazza San Sepolcro
Sala Capitolare by Bergognone – Via Conservatorio 16
Sala della Balla of the Castello Sforzesco – Piazza Castello
Informations and tickets on: www.vivaticket.it
Press Office – Associazione Culturale La Cappella Musicale
tel 02.76317176 – email@example.com
Taking advantage of the positive opportunities offered today by the web, I contact Master Karim Wasfi, Founder and President of Peace Through Arts and ask him if he is available for an interview. His “sure” comes direct and immediate. Few days and the answers to my questions come…
When, and how was your love for music born? Why did you choose to play the cello?
Baghdad Iraq, back in 1978, by 1985 I had realized the impact and the beauty of connectivity to higher powers through sound and meditation. The sound and frequency were always apparent as an expression and a connection.
Where did you study? Who were your most important teachers?
Baghdad music and ballet school – Svetlana Ivanonva and Bloomington Indiana with Janos Starker, Tsiushi Tsutsumi, attended the class of Rostropovich
What were the most important goals of your musical career?
To connect humanity into a higher level of awareness and consciousness through vibration, towards an understanding of creation.
Then, one day, you started playing in your town, wherever the war had brought destruction and death. When did you decide to do it and why?
1991 but could not share it back then as there were no social media, later after many years, returning and after being the conductor of the national symphony in Iraq (2007-2016), during 2014 I started taking my battle globally against terror and radicalization.
What do you play in these places hit by bomb violence?
I had the path of instant compositions in support of life and in condolences of those whom we have lost. I composed Metamorphosis, Baghdad Mourning, Transcendence, a path of spirits and equilibrium.. for solo cello
and electronics and solo cello
How do people react, when you play in these situations?
Very supportive and it elevated all of us to higher levels of compassion and awareness.
And how do you feel when you give voice to suffering? Immersing yourself in suffering, accepting it in yourself, and giving it a voice can help you to create hope that a better world is possible?
Supporto della vita e profondità dell’universo.
What were, in your opinion, the most symbolic stages of your musical journey inside the places of suffering?
Playing in Mosul and Baghdad to battle terrorists.
Before you, other cellists have felt within themselves the need to choose the stage of life, leaving that of the theater: Rostropovich accompanied with the sound of his cello the fall of the Berlin Wall, Vedran Smailovic mourned the destruction of Sarajevo. Why, in your opinion, the cellists fell so strongly the desire to give voice to the most dramatic moments in the history of mankind?
Because we have a deeper connection to creation and the universe.
Music has always created bridges of peace, and musicians have often given voice to the unnecessary suffering produced by the war. Music forces us to reflect, but … to play is really enough to change the world?
No. We have to educate, aspire, change through proactive preventive powers to eradicate reasons for terror.
Thank you very much, Maestro, for your kind availability! We all hope that the world can really find peace through the arts…
Good morning, Roberto Soldatini, and thank you for your kind answers to my questions. Before talking about your lonely experience of the sea, can you tell me something about your previous life as a musician?
After receiving a first musical training from my father (first trumpet of the Orchestra of the National Academy of Santa Cecilia), I studied at the Conservatory of Santa Cecilia in Rome. From the age of 15 he gave concerts as a cellist. I was also a member of the Orchestra of the Teatro dell’Opera di Roma, where I met Giuseppe Patanè, who offered me to become his assistant. Later I was chosen by Myung-Whung Chung as his assistant at the Opéra Bastille. Since my debut in Italy, in Spoleto, as a conductor, I have worked as a conductor, equally divided between the symphonic and the operatic genres. In 1992 I opened the season of the National Theater of Athens and I participated in the inaugural concert after the restoration of the “Maria Callas” theater, directing L’Assedio di Corinto of Rossini. On that occasion I met a collector who gave me his eighteenth century cello. Together with Leo de Berardinis I created Studio sul Don Giovanni di Mozart (represented in Bologna, at the Sacra Malatestiana, in Spoleto, etc.), which gave me the opportunity to start a long collaboration and friendship with the famous actor-director (told in a chapter of the book La terza, published by Titivillus). After the first chamber opera lyric Come le maree sotto la luna (on libretto by Leo de Berardinis, taken from Shakespeare’s Re Lear, Teatro Verdi 1997) I dedicated myself to the activity of composer: in collaboration with Ruggero Cappuccio and Claudio di Palma I wrote some works aimed at merging the drama theater with the lyrical theater: Pulcinell’Ade, Manfred (from Byron), La favola dell’amore (by Hesse), represented at the Benevento Città Spettacolo festival. Since 1984 I work as a cello teacher at the Conservatory of Music. Currently to that of Avellino. In Naples I enjoyed debuting as a leading actor in Meglio la morte che una tal sorte, taken from José Saramago, directed by Luca di Tommaso, at the Teatro Bellini. As a writer I published three books. In 2014 La musica del mare (Marinkovich prize for literature) and in 2016 Sinfonie Mediterranee (both editions Nutrimenti). The French translation (edition Zeraq), La musique de la mer won the Prix Albatros 2017 (first non-French award-winning author). The novel Denecia, autobiografia di una barca, was published by Mursia in May this year.
How was your choice to sail in the company of a cello? Which cello and what scores do you take with you in the waves?
Actually, when I decided to live on a boat, I was fondling the idea of leaving the cello, because I was going to turn the page and launch myself close to a new adventure. Then it was the sea itself that suggested a new way of considering music and interpretation. At first my sea suggested a different way of playing, returning to the rhythms of nature, then a concert inspired me, the one I’m carrying around in Italy, entitled “The music of the sea”, where I play and act simultaneously. But I do not simply read texts with a musical accompaniment: the rhythms and melodies of the voice are written in the score together with the part of the cello. An imaginary route through mythical scenes of sea literature. The scores music I carry with me are white sheets, on which I write notes with sea water. Moreover, it is difficult to load many things on the boat – and the return to the essential is one of the things that fascinated me the most about the idea of living in a boat – so the scores I brought are those in my memory. And then the sea is already a score: the sound of the wind, the one that generates inflating the sails or making shrouds and halyards vibrate, the sound of the waves breaking and that of the hull that furrows them. All this is already a music, with its rhythms, its melodies, its polyphony, its harmonies. The cello that sails with me is the only one I have, the one that was given to me by a Greek shipowner collector. It is said to be a Stradivarius, but the appraisals that have been made to verify this attribution are discordant between them. However, Stradivarius or not, it is the only eighteenth-century cello to have salt on the skin. [to be continued ⇒]