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Rating: Liszt and Mozart, Schumann, Paganini, different conceptions of music and playing, different imaginations for the Lisztian weeks between Albano and Tivoli recently concluded.
After the event and the emotions, it is time for reflection on a Liszt that has become a pretext to make and listen to good music, a tribute to a composer and to music itself, to the multifaceted and versatile way of conceiving it, expressing it, interpreting it. A journey suspended in the rarefied atmosphere of the two medieval centers where, from time to time, the music was 'made', that is, forged and recreated under the fingers of the performers, mediated by contact with an always numerous audience, and capable of appreciating the diversity of the performances.
From the kaleidoscope of the experiences of the individual artists, emerged the multifaceted different ways of reinterpreting an author, at times questionable, and discussed in the minutes after the concert.
Interesting the sonata k 330 by Mozart by Cappello, linear and simple even in the sounds, to almost emphasize a childlike wonder, the same experienced by all during the performance of Capricci by Paganini by the twelve-year-old violinist Mascia Diatcenko, capable of infusing it with the innocence of childhood and the chiaroscuro of an early adolescence that still cannot give way to a completely personal adherence to music. A journey into a changing sound universe, from the warm and rich sound of Costagliola, to the crystalline one of Buccarella who conveyed with La campanella his idea of 'virtuosity', as something made for play before for astonishment; and the idea holds, like that of someone like Cappello who wanted to emphasize the most markedly bravura aspects of Liszt, sometimes too much, or of Costagliola, the more hidden intimate ones. And then the reunion of the duo Ballista-Canino for making music almost of other times, ready to renew an artistic collaboration made of complementary diversity.
Questionable, with a very personal and equally questionable opinion, instead, the Schumann of the Carnaval by Cappello, made of impetus that leaves little room for play and lyricism, but also that of the symphonic studies by Costagliola, perhaps a bit too dry and essential, compared to the complexity of a Robert Schumann. But now, the lights of the places that hosted the concerts have been turned off, and I realize that even the emotions that seemed so strong are now behind us, ready now to listen to something else.
Vera Mazzotta
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