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HAPPENED TODAY - On April 21, 1951, the cellist and composer Aleksandr Krein died in Moscow

Silvia Chiesa


Good morning Silvia Chiesa, thank you for your interest in the mycello.it website and thanks for the interview you are giving us.

How did you choose for an instrument like the cello? Did someone play it in the family? Were your parents musicians?
My parents loved classical music a lot. My father was self-taught and learned to play different instruments. My two brothers and I “breathed” music from the start and, thanks to the patience of our father, we learned at home to read the music and sing together. On Sundays we would gather and there were real choruses with four voices. I was the youngest, I had the difficult fate of the soprano line!
After these first experiences, we were all enrolled in the conservatory, but without any of us having expressed a preference for a particular instrument: I happened to be given the cello. I was 6 years old.

What is your curriculum: where did you graduate and with whom? Did you then study with other cellists?
I studied at the Conservatory of Milan for nine years with the first cello of La Scala of the time, M. Antonio Pocaterra. But before graduation I moved to the class of M. Rocco Filippini who took me to the diploma in 1985. After doing several courses, I would like to mention in particular the meeting with M. Antonio Janigro. For me it was a real turning point: I changed my way of thinking instrumentally speaking and I opened my musical perspectives a lot. I began to understand what it really meant to be a professional musician and from that moment on I started to set some fixed points in my musical journey.

Can you briefly recall your career as a musician: the initial stages and then the fundamental ones?
The initial stages were the first competitions as the first cello in the orchestra: in those times, seeing young female a first cello was not usual.
Then there were the first chamber ensembles and, for me fundamental, the call from the “Italian Trio” (with Sonig Tkacherian and Giovan Battista Rigon) who needed a new cellist. They were very beautiful years, even if at the beginning I had to work hard: they had an immense repertoire and I had to learn it all in the first year of collaboration, a real massacre!
From then on, I mad many chamber music experiences with internationally renowned musicians and the first solo performances at a national level.
Then the meeting with the pianist Maurizio Baglini marked another important moment in my career: we have been a stable duo for ten years and still are, we have mad almost 250 concerts on five continents!
With him we have built many important things and the “Amiata Piano Festival”, in Tuscany, which is our musical “son”.

Which CD have you recorded so far? And with which record companies?
I started with ARTS and “the Italian Trio” with the complete Schubert, then for Amadeus Schumann and Bach Brandenburg. Then the first duo CD with the Concerto: Chopin and Debussy Sonate but also a beautiful novelty by Azio Corghi dedicated to us. And again Amadeus that as a duo reserves us a whole Saint Saens.
Then begins my record challenge on the repertoire for solo cello with orchestra supported by the record company Sony. The first CD contains the two concerts of Rota, the second Casella Pizzetti (world premiere) and Respighi, the third G.F. Malipiero Riccardo Malipiero (world premiere) and Castelnuovo Tedesco (first Italian).
But I did not put aside chamber music and special projects for the record company Decca: All Rachmaninov in duo; all Corghi in the solo / chamber environment; the Haydn Concert in C major; the Schubert’s Quintet. [to be continued ⇒]