#LMF23 / 1. IL TRIANGOLO NO

🍽️ 19:30 aperitif of. welcome to Piazza San Francesco

🎶 8.30 pm concert in Piazza San Francesco (in the Church in case of rain)

PROGRAM

JS Bach 15 Inventions for two voices BWV 772 - 786 for violin and viola (15')

Daniel Schnyder Lettres Persanes for violin and cello (10')

1. Zachi and Zelis
2. Roxanne and Rhedi
3. Mirza and Fatme

Lv Beethoven Trio in E flat major op.3 (40')

1. Allegro con brio
2. Andante (B flat major)
3. Minuet. Allegretto (E flat major)
4. Adagio (A flat major)
5. Minuet. Moderate
6. Cheerful

Concert without intermission.

End around 10pm.

ARTISTS

Irene Abrigo, violin

Jürg Dähler, viola

Enrico Bronzi, cello

The opening concert sees the "veteran" artists of the festival in pole position: the string trio violin, viola and cello composed by Irene Abrigo Jürg Dähler and Enrico Bronzi. The title of the evening is meant to be a playful allusion to the famous song by Renato Zero"IL TRIANGOLO NO” from 1978 which tells of a man who accepts an invitation at home from a woman, accidentally ending up in a menage a trois. The relationship between our three musicians is also special, albeit limited to a purely artistic level!

The concert opens with a viola violin duo of J.S. Bach: inventions for two voices. The term "invention" had been used by some Italian authors precisely to indicate works of free creation, similar to the caprice. These are 15 short compositions composed in the years around 1720, arranged by key (C, major and minor, D, major and minor, E flat major, E, major and minor, F, major and minor, G, major and minor, A, major and minor, B flat major, B minor) and dedicated to his son Wilhelm Friedemann for didactic purposes to acquire compositional awareness. All in family!

The second piece, Lettres Persianes by the living Swiss Daniel Schnyder, is inspired by Montesquieu's famous epistolary of the same name in which the author describes the differences and similarities between Western and Eastern cultures, which Schnyder transposes into musical dialogue between exotic and European themes in his unique jazz groove.

The evening ends with the Trio in E flat major op.3 by L.v. Beethoven. The Trio Op. 3 approaches the tradition of the Divertimento (six movements that follow each other freely), a choice in which we can glimpse a reference to the Mozartian model; but also the musical language remains close to that of the casual eighteenth-century entertainment: the Musette of the Minuet in a C minor free from anguish, the dance cut of the Andante, the poetic and cantabile spirit of the Adagio, similar to that of Haydn's Serenades , the graceful character of the second Minuet with the typical gypsy forays into the Trio. In the Finale, according to the critics, we finally perceive the signs of a more mature Beethoven. In addition to its musical value, the work is historically important as it represents the author's first page intended for a string trio, followed later by the op. 8 and 9.