Mr & Mrs Cello, Massimiliano Martinelli and Fulvia Mancini, companions in life and on stage. Two cellists with great experience in the solo and chamber concert world, between classical and pop. They answer our questions together.
First of all the origins: did you inherit a family tradition for music? Were there cellists among your relatives?
Fulvia My grandfather Lino was a skilled clarinet player and my father continued this tradition by joining the carabinieri as the first clarinet of the Bologna Fanfare in the 1960s. Then he continued his career differently, but he introduced me to the study of the piano and then, later, to that of the cello. Furthermore, already at an early age, I came into contact with the music of the great composers, since it was traditional to listen to it at home.
Massimiliano My father taught flute and, during his studies at the Conservatory of S. Cecilia, in the 60s, he met Selmi, then the first cello of the Rai of Rome, which inspired him to such an extent that he then made me study cello.
Briefly, can you tell us about your training as a musician? Starting from the first courses up to the Conservatory Diploma?
Fulvia I started my studies with Maestro Egidio Eronico in Ribera, Sicily. Unlike other people, I have had a path dotted with different teachers, but I can say that Egidio has been a great guide for me, especially from a human point of view. Afterward, I studied with Prof. Chen in Modena, where I graduated, and she encouraged me to study in Switzerland, first with Patrick Demenga and then with Antonio Meneses. In the meantime, Maria Kliegel has been my musical model of reference, and I have followed masterclasses with her.
Massimiliano I started studying the cello at the age of 7 and I graduated from the Conservatory twelve years later. I was lucky enough to have a single basic teacher, Vito Paternoster, and, in the 5-6 years of specialization that followed, I was inspired by several international teachers including Francesco Strano at the academy of Santa Cecilia, Rocco Filippini, Enrico Bronzi and Ivan Monighetti. Each of them contributed to my technical, human and artistic training.
Who has contributed significantly to your artistic and professional growth and maturation?
Fulvia All the teachers and musicians I came in contact with. From cello teachers to Maestro Muti, each of them left me something that then mixed with my way of being, even if, in any case, this remains original in each of us.
Massimiliano Each of the teachers with whom I was lucky enough to study, but also the Masters Riccardo Muti and Daniele Gatti, and listening to the splendid and refined recordings of Enrico Dindo.