At Palazzo Gopcevich “Vola Colomba, 70th anniversary of the return of Trieste to Italy, Trieste 1954, the Restart”
Cultural activities organized by the Municipality of Trieste with the contribution of the Autonomous Region of Friuli Venezia Giulia on the occasion of the 70th anniversary of the return of Trieste to Italy.
At Palazzo Gopcevich “Vola Colomba, 70th anniversary of the return of Trieste to Italy, Trieste 1954, the Restart”
Il Trio of Trieste and the chamber music of Julius Viozzi are at the centre of the conference-concert proposed by the Civic Theatre Museum “Carlo Schmidl” in the Bazlen Hall of Palazzo Gopcevich (Via Rossini, 4), scheduled Wednesday 6 November 2024 at 17.30 am, as the second of the trio of appointments, curated by Stefano Bianchi, dedicated to the chamber music of Giulio Viozzi (1912-1984), within the cultural activities organised by the Municipality of Trieste with the contribution of the Autonomous Region of Friuli Venezia Giulia on the occasion of the 70th anniversary of the return of Trieste to Italy.
In the catalogue of Viozzi's compositions written for trio, to the ever-present cello and piano they alternate il clarinet, violin and fluteThe occasion for writing was the presence in the city of some chamber music groups particularly dear to the author, all formed by colleagues, friends and companions in art: the Ars Nova Trio of Bruno Bidussi (piano) Giorgio Brezigar (clarinet) and Guerrino Bisiani (cello); the Trieste Trio of Dario De Rosa (piano), Renato Zanettovich (violin) and Libero Lana (cello); the Trio Pro Musica of Roberto Repini (piano), Bruno Dapretto (flute) and Adriano Vendramelli (cello).
The protagonists of the appointment on Wednesday 6 November, at the centre of which is the Trio composed by Viozzi for the Trio di Trieste, are Marco Favento (violin), Massimo Favento (cello) and Corrado Gulin (piano) of the Lumen Harmonicum Instrumental Group, supported by musicological and anecdotal contributions from Corrado Maurel, publicist and music critic.
"The will can do everything" Giulio Viozzi used to say to Dario DeRosa, pianist of the Trio di Trieste, an emerging group on the Trieste musical scene in the early 50s, destined to establish itself unchallenged at a national and international level for about half a century.
Dario De Rosa, who did not skimp on irony in describing Viozzi's incurable musical and cultural activism, compared him to Emil Zatopek, “the horse man”, legendary athlete at the London Olympics in the 50s. Yet in describing such methodical efficiency, De Rosa perhaps did not realize that he was also talking about himself and his two fellow artists: Renato Zanettovich and Libero Lana. On the occasion of their seven hundredth concert (Monday, May 16, 1955), Viozzi wrote that “their Art, which knows no rivals, does not allow for any pauses in its uninterrupted path. The limits of transcendence are not enough: the Trio di Trieste seeks and discovers new areas of sound expression, new truths in the highest sky of musical truth".
Perhaps it is in the wake of this exaltation that in 1956 Giulio Viozzi composed, and dedicated to them, his Trio for violin, cello and piano, a complex work in three movements (“Meeting”, “Song”, “Rhapsody”). In composing it, Viozzi, a man with an inexhaustible daily sense of humor, perhaps enjoyed making fun of the proverbial technical fusion of his friends from the Trio di Trieste: in the “Incontro” the instruments seem to “never meet”, given the continuous contrapuntal pursuit that seems more like an obstacle course than a joint path; similarly the “Canzone”, apart from the initial cue (then taken up again at the end), is a systematic search for a theme that makes both the player and the listener suffer; finally the “Rapsodia” brings together jazz rhythms Dave Brubek (Take Five + two!) with a singular march, between Casella and Stravinsky, aimed at “derailing” the instruments sooner or later.
Viozzi's attachment to string instruments, especially violin and cello, goes beyond the relationship with the Trieste Trio: the singular Serenade for cello and piano, written in 1933, is one of his first pieces. The style is still strongly influenced by the “school” of the early 900s; the search for singability is imposed as a necessary 'duty' for the valorization of the instrument, a characteristic also present in “Thought” (written in May of 1938, in memoriam of the friend Corrado Valdiserri) and in the First Sonata for Violin and Piano, a work of still short proportions, composed in February of 1946, but already with traces of the stylistic features that in the 50s would definitively shape the composer's aesthetic line.
The third and final appointment with Giulio Viozzi's music for Trio will take place Wednesday November 13, with the compositions dedicated to the Trio Pro Musica (and the flute).
Admission is free until all available seats are taken..
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