“The choice of works was made on the basis of two criteria: one that takes note of the exceptional intrinsic value of some of them, the other that looks at the accentuated evolutionary process promoted by some others, although not very high genius. I could have included a hundred other names with a thousand other works. But I wanted to set a limit”.
Faithful to this declaration of intent, clearly set out in the preface of his book, Rino Maione selects 26 authors. The concerts are presented in chronological order, from Vivaldi to Britten. So we find in the book the concerts of Antonio Vivaldi, Leonardo Leo, Franz Joseph Haydn, Luigi Boccherini, Ludwig van Beethoven, Robert Schumann, Henry Vieuxtemps, Edouard Lalo, Johannes Brahms, Camille Saint-Saens, Pëtr Il’ič Čajkovskij, Antonín Dvořák, Edward Elgar, Hans Pfitzner, Ernest Bloch, George Enescu, Bohuslav Martinů, Sergej Prokof’ev, Arthur Honegger, Darius Milhaud, Paul Hindemith, Aram Khačaturjan, Dmitrij Kabalevskij, Dmitrij Šostakovič, Samuel Berber, Benjamin Britten.
Each concert is proposed as a stage of an evolutionary journey, but in the awareness that each composition is also the product of a specific personality and a precise historical and social context, as well as artistic and musical.
From the pages of the book, some biographical details emerge with freshness: Vivaldi “expansive, spontaneous, jovial and enthusiastic”, Boccherini and Haydn who write to each other “compliments and mutual appreciation for their respective works”, the publisher Pleyel who procures musical works from sell with “cynical bottlenecks”, Britten who “unable to dispose of large orchestras” refines his ability to create the maximum effect with the few musical instruments he has available.
Once the frame of reference has been created, the author then goes on to examine in detail and wisely the characteristics of every single concert, identifying in each the most interesting elements from the melodic, rhythmic, harmonic, structural and timbric point of view. Particular attention is paid, of course, to the part of the cello and to the relationship between the soloist and the orchestra.
Rino Maione, graduated in composition and piano, graduated in Literature, conductor and musicographer. In his life he also devoted himself to the composition and work of transcription, revision and publication of ancient works. His most important publications include his Storia del Concerto per pianoforte e orchestra da Beethoven a Gershwin e Shostakovic con 35 capolavori commentati and Il poema sinfonico. La musica come categoria poetica (da Berlioz a Respighi)
Il concerto per violoncello e orchestra
Rugginenti (1 gennaio 2015)
ISBN 10: 8876655913
ISBN 13: 978-8876655913