On the occasion of the bicentenary of the death of Jean-Louis Duport, Claudio Ronco and Emanuela Vozza enter the garden of his compositions, guiding the listener and inviting him to discover a thousand faces of his Sonatas and Duos from every possible point of view.
Period instruments, notes written on yellowed paper over time, gut strings manufactured with rigorous historical criteria by Mimmo Peruffo, careful historical research on the genesis of the compositions, meticulous care in research on execution practice. For Claudio and Emanuela, the making of a CD is always the point of arrival of a long journey of study. But, in the fruit of their work, there is also a deep emotional involvement. The soul of a musician can never feed only on study and technique. It needs colors, flavors, smells. The clear sky at dawn, the enchantment of a sunset, the gentle murmur of the water of a stream, the intense green of the meadows and woods, the scent of flowers, and the intense taste of the fruits of the earth.
And then there are the silences, ready to welcome the notes that, under the agile fingers of the interpreters, wake up from a long sleep. The medieval church of Monferrer and the large hall of Mas Vilalte, an imposing eighteenth-century manor house, near Corsavy. Stone buildings, inside which suggestive acoustic effects are created, cleverly exploited by the interpreters to give the sound the desired color. For the first and last of the Sonatas and for the duets, the intimate and intimate atmosphere of the church. For the second and fifth Sonatas the hall. And finally the different position of the microphones, which allows the listener to put himself in the shoes of who is playing. A sound that expands freely in ancient environments. A sound that meets the ancient stones on its way and reaches us loaded with the life that has taken place among those stones for centuries.
Thus, track after track, an elegant and refined dialogue between the two instruments resumes life. Sometimes a close and lively dialogue, sometimes a peaceful sharing of dreams. And those who listen are amazed that such a fascinating musical heritage has stayed for a long time sleeping among the pages of the scores, on the shelves of libraries.
A wonderful CD, to listen and listen to again, imagining that you are next to Claudio and Emanuela, in the enchanted landscape of the French Pyrenees.
Jean-Louis Duport (Paris, 4 October 1749 – 7 September 1819)
“Six SONATES / pour Violoncelle et Baße / Dediés / A Sa Majesté / Frederic Guillaume II / Roy de Prusse / Œuvre IV” publ. Sieber, Paris 1789.
Sonata n.1 in D major Allegro – Adagio – Rondeau Gratioso
Sonata n.2 in G major Allegro Moderato – Adagio – Allegro Assai
Sonata n.5 in F major Allegro Moderato – Adagio Cantabile (in E flat major) – Tempo di Minuetto con variazioni
Sonata n.6 in D major Allegro – Adagio – Allegro Assai
“Trois DUOS / pour Deux Violoncelles /Composés par / L. Duport / Œuvre…” publ. Sieber, Paris ca. 1781/82
Duo n.2 in D minor Allegro molto – Rondeau
Duo n.3 in G major Adagio – Presto – Rondeau Gracioso
Claudio Ronco – Emanuela Vozza
on period instruments
Publication date: April 17, 2020
Catalog No.: LDV14057
The CD is for sale on Urania Records – Clic Musique – Presto Cassical – AllMusic – CeDe – HbDirect
Giovanni Sollima was born in Palermo in 1962. After studying conservatory (cello and composition) and after interpretations with the great musicians of the period (Abbado, Argerich, Sinopoli …) he undertakes, especially in the composition, a difficult but courageous road of exploration, contamination of different genres, evolution and modernization of the cello. And he wins.
Did we use to be trees to become human beings? Sollima frees the consciences, imprisoned in the roots, in the branches of the trees. The soul that laments its quest for freedom.
This is strange: a few years ago Enzo Gragnaniello, in his equally painful song, “Alberi”, stated exactly the opposite: “Arid and without land, we are poor /without roots we are not free / free to make dreams / fly away “. So who is right? Who is wrong? Is this post-Darwinian evolution looking for a verse or its opposite? Answering is not easy. One more comment on the CD.
Sollima is called the Jimi Hendrix of the cello… Generic statement: who synthesizes new languages is at least unique. Parallelisms or convergences are then impossible geometries. Extraordinary CD. It explores new possibilities and opens up new paths even if not easy to understand and practice. The songs are uneven: which is normal in the music of contaminations. The pace is remarkable, above the standards of certain contemporary music, even new age or cross-over. All the expressive power of the cello is released as if it were an anticipation of Fender and Gibson. Here you find “Violoncelles Vibrez”, the piece by an author still living which is perhaps the most interpreted one: written in 93, it is dedicated to the Master Antonio Janigro. Also, four variations inspired by Luigi Boccherini. “Three Raga Song” and “When we were trees” are the central body of the CD and of the idea that anticipates it: the plant world, the trees, the wood, the acoustic dimension of the cello.
So a hypothesis of evolution that flips through the score: were we trees? In a song improvisations on the voice of Patti Smith accompany pagan litanies of the last universal religion: rock music. Then all the others, no less than the first ones.
We are tree CD