Small concert of classical accordion

Since the second half of the twentieth century, the accordion has undergone a process of gradual development that has elevated it to the status of a concert art instrument, freeing it from its popular context of origin. Thanks to the first and serious contribution of an inspired and enlightened generation of accordion-concert players, this “tool” of humble origins has renewed itself to become, over the years, a musical instrument of post-modern culture, a contemporary medium of classical music and a new medium for new repertoires.

A process continued by subsequent generations who have strengthened and expanded the extraordinary experience of their predecessors and which led to the consecration of the classical concert accordion. One of the greatest Italian accordionists was Salvatore di Gesualdo who has been working on the development of this instrument, its technical-expressive characteristics and its cultured repertoire since the 1960s. Originally from Abruzzo, he was a complete and extraordinary artist: composer, figurative artist, painter and graphic designer. He lived many years in Florence, where he taught, by choice, only one generation of accordionists, and where he worked until 2012, the year of his death.

FRIDAY 8 SEPTEMBER H9.00pm
The new generations, a future full of memories

Program
The Prussian Sonatas by Carl Philipp Emanuel Bach

The Hamburger Bach Keyboard Sonatas did not have a precise instrumental destination. The piano had recently been invented and until the mid-1700s the Sonatas could be played with a harpsichord, as with a fortepiano. I wondered, with all the doubts that art imposes, if the only historical factor could represent the walls that justified the exclusion of the accordion from the performance of Bach’s repertoire. I don’t think so: it is right that art nourishes a sense of a need for continuity that is always innovative so that it does not stagnate and remain a victim of itself; furthermore, the Sonatas of Carl Philipp Emanuel Bach, by the nature of their writing, contribute to making their instrumental destination universal and mutable at the same time. The music of C. Ph. E. Bach – as well as that of his father Johann Sebastian – could be defined as “liquid music”, that is, capable of adapting to the most varied sound sources without losing the essence of what it represents. The great dynamic / timbral extension of the accordion, the theatricality of this instrument contribute to increasing the compositional skill of the Sonatas, to unearth the intimacy, now tragic, now feminine, now popular, now serious, of the immense writing of the German composer. (L.D.P.)

Luca De Prisco, accordion
Carl Philipp Emanuel Bach
Sonata “Prussiana” n. 1 W. 48/1
Sonata “Prussiana” n. 2 W. 48/2
Transcripts curated by Luca De Prisco

pause
the new sound of the accordion

The concert accordion, with the alchemical metamorphosis of the bellows, offers precious resources both to the experimental heritage of contemporaneity and to the reinterpretation of historically consolidated repertoires. Thus in this program E-Motion Trio presents The New Sound of the Accordion with the Differentiated Polyphony offered by Bach, the Research in the Processing of Cage and the Original Writing by Tiensuu with two key works from the repertoire for accordion trio.

E-Motion Trio
Fabrizio Causio, accordion
Stefano Di Loreto, accordion
Umberto Turchi, accordion
J. Cage
Five
-2 +3 = version for three accordist (2016)
a cura di Patrizia Angeloni
J. Tiensuu
Fratango
J.S. Bach
Ricercare a 6
da Musikalisches Opfer BWV1079
version for three accordist curated by Umberto Turchi
J. Tiensuu (1948)
Mutta

In the program of the Estate Fiorentina 2017