Casella, Mulè, Respighi Pizzetti: Musica per violoncello e pianoforte Roberto Trainini & Stella Ala Luce Pontoriero

• Alfredo Casella (1883 - 1947): Sonata per violoncello e pianoforte op. 8:
• 1 Casella: Sonata per violoncello e pianoforte op. 8: I. Allegro assai 07:50
• 2 Casella: Sonata per violoncello e pianoforte op. 8: II. Adagio 10:28
• Allegro ma non troppo:
• 3 Casella: Allegro ma non troppo 08:00
• Giuseppe Mule (1885 - 1951): Largo per violoncello e pianoforte:
• 4 Mule: Largo per violoncello e pianoforte 04:46
• Notturno e Tarantella per violoncello e pianoforte op. 54:
• 5 Casella: Notturno e Tarantella per violoncello e pianoforte op. 54: I. Notturno 04:37
• 6 Casella: Notturno e Tarantella per violoncello e pianoforte op. 54: II. Tarantella 01:49
• Ottorino Respighi (1879 - 1936): Adagio con variazioni per violoncello e pianoforte p. 133:
• 7 Respighi: Adagio con variazioni per violoncello e pianoforte p. 133 12:39
• Ildebrando Pizzetti (1880 - 1968): Tre canti per violoncello e pianoforte:
• 8 Pizzetti: Tre canti per violoncello e pianoforte: I. Affettuoso 05:10
• 9 Pizzetti: Tre canti per violoncello e pianoforte: II. Quasi grave e commosso 04:07
• 10 Pizzetti: Tre canti per violoncello e pianoforte: III. Appassionato 05:04
• Total Runtime 01:04:30

Info zu Casella, Mulè, Respighi Pizzetti: Musica per violoncello e pianoforte

Ein Querschnitt durch das italienische Schaffen für Cello und Klavier zu Beginn des 20. Jahrhunderts zeigt uns, wie die unterschiedlichsten Einflüsse - Gregorianik, Monteverdianik, Opernmusik, deutsche und französische Spätromantik, Avantgarde, französisch-russischer Impressionismus, französischer Symbolismus und Verismus - von verschiedenen Komponistenpersönlichkeiten aufgenommen und umgestaltet, begrüßt und abgelehnt wurden. Im Mittelpunkt dieses kulturellen Klimas stand die so genannte "Generation der Achtziger Jahre", deren Mitglieder, Casella, Malipiero, Pizzetti, Respighi, Freunde und Mitarbeiter, sich durch die Suche nach Innovation und die Schaffung eines eigenen Charakters in der italienischen Musik auszeichneten und dabei eine gewisse politische Loslösung vollzogen, zumindest was die künstlerischen Entscheidungen betraf. Der Cellist Roberto Trainini und die Pianistin Stella Ala Luce Pontoriero sind die Interpreten dieser Aufnahmeproduktion, die eine Anthologie wertvoller musikalischer Perlen bieten will, als notwendiges Zeugnis für den Wert einer Musik - der italienischen Musik des frühen 20. Jahrhunderts -, die lange Zeit eher aus politischen und sozialen Gründen als aus wirklichen künstlerischen Gründen verdunkelt und vergessen wurde.

Roberto Trainini, Cello
Stella Ala Luce Pontoriero, Klavier

Roberto Trainini
was born into a non-musical family, in a deep south Italian town, Bari ,where culture and music were regarded mostly as a “waste of time” and football as “culture”.

He began his cello studies by chance at the age of 10 when his father’s uncle Saverio Lojacono (that was for 30 years principal and co-prinicpal cellist in Buenos Aires at Teatro Colon, Montevideo and Lima) returned from South America and asked if Roberto would like to try to play: since then, cello never left his side anymore.

Young Roberto was trained by Vincenzo Caminiti and Pietro Bruno in Bari and won all first prizes in the two major national cello competitions for students in Italy, but it was only at the age of 19 that the great Radu Aldulescu heard his playing and took him into his class to Switzerland to the International Menuhin Music Academy on a full scholarship. There he had the possibility of studying chamber music as well , with Lord Yehudi Menuhin and Walter Levin.

Roberto went on to study cello and chamber music with Michel Strauss, Steven Isserlis and Niklas Schmidt, but the biggest influence was his teacher and mentor in Hamburg, Wolfgang Mehlhorn (assistent of Antonio Janigro).

Despite all this good advices and several prizes in important international Cello Competitions ( Markneukirchen, Belgrad, Rome, Hamburg) Roberto remained an unknown principal cellist at a german opera house and later at the SSO Singapore for a short period of time until 2008, when his solo career took off with his debut in Iasi , Romania with the Dvorak Concerto under the baton of Maestro Santorsola.

He’s nowadays a regularly invited soloist in Poland, Germany, Austria, Turkey, South Africa, Romania, Cyprus,Italy, Mexico, Portugal, Spain.

At the present moment Roberto is cello professor at the Conservatorio "C. Monteverdi" in Bolzano/Italy and plays an Alessandro Ciciliati , Ferrara 2010 cello.

A passion of him is the re-discovery ( together with M. Santorsola) of the Italian Solo Repertoire of the XX Century, and the Castelnuovo-Tedesco Cello Concerto is part of this project. But this includes Respighi, Casella, Ghedini, Malipiero too.

Roberto furthermore studied and performed the Sofia Gubaidulina’s “Canticle of the Sun” - a cello concerto for solo, chamber choir , and percussion - with the composer herself in Germany.

Despite all his achievements he keeps the opinion (quote) that : “ ...competitions had nothing to do with music and expression, on the contrary they nowadays tend to kill every form of diversity in a frantic search of success, success that actually is not long lasting and leaves little traces in the heart of any audience”.

“......every piece has an intimate story to say, whatever should be; our goal is to tell, like modern bards, this stories: stories made up not of words, spaces and timing, but sounds and therefore emotions and subtle memories, the so called UNTOLD stories, in a language that really has no borders. If we keep to think that we must show to the audience how good or fast or BRAVO we are, then well we are out of track”.

Steven Isserlis once told him : “.....you never do what I say, you use only your head!”.

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