The Venice Concert (Live) Sergej Krylov, Orchestra Filarmonica della Fenice & Ezio Bosso

• Johann Sebatian Bach 1685-1750): Brandenburg Concerto No. 3 in G Major, BWV 1048:
• 1I. Allegro 05:49
• 2II. Adagio03:05
• 3III. Allegro 05:27
• Ezio Bosso (1971- ): Concerto No. 1 for Violin, Strings and Timpani "Esoconcerto":
• 4I. Allegro Molto (2016 revised version)08:05
• 5II. Adagio (2016 revised version)14:09
• 6III. Presto con Fuoco (2016 revised version)08:11
• Felix Mendelssohn Bartholdy (1809-1847): Symphony No. 4 in A Major, Op. 90, MWV N 16 "Italian":
• 7I. Allegro vivace 11:14
• 8II. Andante con moto 06:57
• 9III. Con moto moderato07:26
• 10IV. Saltarello (Presto) 06:15
• Total Runtime01:16:38

Info for The Venice Concert (Live)

This is not (just) an album for me; it represents the essence of everything that takes place when I create music. There is the fortune of my being able to live music. There is the quintessence of my good luck, as if it were contained inside a precious casket. There is every shade of the magic that is in what I do.

Music gives us even the possibility to travel through time, to find ourselves hundreds of years away, in places seen through the eyes of a woman or a man of that era, who gives this to another human being, living in the present. And somehow CDs, much more than concerts, enable us to take part in that journey, in that very moment in which it begins. In fact, it contains absolutely everything. Precisely because it is not (just) a CD: this is a concert, and therefore, it means attending that concert, somehow. It is a place, it is a story composed of many stories.

I live music as a responsibility and, for me, the choice of a concert programme is also part of that responsibility. Therefore, how did this experience that you are now holding in your hands all start? With my friends of La Fenice Philharmonic Orchestra in Venice who, approximately a year before the concert that you are about to listen to – or that you have already listened to – came to see me saying “We want to work with you and we’ll do our utmost to do so“. They succeeded, even if during that first meeting, I still didn’t know whether I would have been able to conduct an entire programme. About six months later, we met again in a hotel in Mestre and they told me they were ready; I replied that I didn’t know if I was ready yet, but I would have worked with them in any case.

As always, I believe it is essential to ask others what they would like to do together with me. And their request was based on this principle: Symphony No.4 Op.90 by Mendelssohn, called the “Italian”, as well as something that I had composed. So, I thought about it and I proposed Bach, Bosso and Mendelssohn. A strange combination, don’t you think? Whereas, without Mendelssohn, Bach would have been forgotten: after his death, for many reasons, his scores were either lost or forgotten. However, Felix adored Bach, he was an example for him and a forefather exactly as Beethoven was: in addition to playing, conducting and composing extraordinary music, our Felix was also part of the only choir that, at that time still sang Bach. This very activity gave him access to the St. Matthew Passion score, that he then reconstructed and which upon its first performance achieved so much acclaim that it led to Bach’s scores being put into circulation once again. In addition to this, Mendelssohn is like a brother for Bosso. His use and research into new timbres are a point of reference for me: he is a man who has been influenced by great changes, basically it is he who contributed in a decisive way to the development of Romanticism by still managing to forge classical compositions out of the rules…..

Sergej Krylov, violin
Orchestra Filarmonica della Fenice
Ezio Bosso, piano, conductor

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