Verona, Undiscovered Music Festival: events from Saturday 26 October to Thursday 28 November.

A new art music festival is scheduled from Saturday 26 October to Thursday 28 November at Palazzo dei Mutilati which proposes, proposed by the Harmony Hub association with five events structured in concerts with repertoires taken from 19th century vocal and instrumental chamber music. A piano recital and a concert lesson will also be organized, with the aim of highlighting the innovative nature of the festival.

The multidisciplinarity of the eventto is composed of two other artistic inserts, one by the artist illustrator Filippo Frizza who, inspired by the musical programs, has drawn illustrations for each of them that will be placed as the cover of each program. Then the Veronese stylist Enrico Tommasi will create clothes for some of the artists of the festival.

The Festival was presented this morning by City Councilor Pietro Giovanni Tricanato together with the president and artistic director of the Harmony Hub association Mattia Marsala, the director of Opera Life Alessandra Gambino and the artist Filippo Frizza.

"A new Festival born from the creativity and commitment of young people in our territory – highlighted the councilor Pietro Trincanato –, demonstrating that in Verona musical and artistic culture in general is not only a question linked to historicized events but to a cultural ferment that can and must be a generator of new ideas and projects. The Administration has therefore committed to supporting this Festival, which we hope can be appreciated and proposed again for many years".

"We are a cultural association composed of professionals under 30 present in the Verona area - has explained Mattia Marsala - committed to promoting the professional and artistic development of young Italian and international talents, emerging in the music scene. Through cultural initiatives that embrace various artistic forms, with particular attention to art music, we support the growth of these artists and the diffusion of music in the new generations".

Program of the Festival

THE WANDERER
Saturday 26 October – 20.45pm

A journey into the musical universe of the 19th century, comparing two emblematic figures: Franz Schubert and Richard Wagner. Although active in different periods, both had a crucial role in the transformation of music, marking a paradigm shift that allowed the advancement of musical forms and styles.

Franz Schubert, often considered the “father” of the Lied, composed over five hundred works in this genre, elevating the German folk song to a level of chamber refinement. The concert opens with Gretchen am Spinnrade, composed in 1814 and inspired by Goethe’s Faust. Here, Marguerite, intent on spinning wool with a spinning wheel, reflects on Faust’s promises. Schubert demonstrates an extraordinary ability to reproduce the spinning wheel’s motion through piano accompaniment, with sixteenth-note sextuplets that evoke the mechanical sound and rhythm of the instrument.

We will continue with Winterreise (Winter Journey), of which we will present the first seven lieder. This cycle of twenty-four lieder, written on texts by Wilhelm Müller, is considered the pinnacle of Schubert's musical production and a masterpiece of Romantic music. Through the journey of the Wanderer, the wandering traveler, Schubert explores themes of unrequited love and the search for existential meaning, immersed in a nature that can appear both sublime and stepmotherly.

After Schubert, we will dive into the world of Richard Wagner, famous for his innovative operatic production, but with a noteworthy, although quantitatively smaller, production of lieder. Among these works we find the Wesendonck-Lieder, a cycle of five lieder composed between 1857 and 1858 and dedicated to the poet Mathilde Wesendonck. These compositions should not be considered minor works, but rather as an extension of his poetic and musical vision.

The five lieder—Der Engel, Stehe still!, Im Treibhaus, Schmerzen, and Träume—present themes that anticipate the musical ideas of Tristan und Isolde, especially in the third and fifth lieder, which Wagner himself called “studies” for his future masterpiece. Wagner’s musical writing, imbued with emotional depth and harmonic complexity, shows how his intuitions in chamber music are linked to those of opera, creating an indissoluble bond between the two forms.

In conclusion, this evening invites us to discover and appreciate how Schubert and Wagner, through their music, transformed the musical landscape of the 19th century, creating works that continue to resonate and inspire generations of listeners and musicians.
ARTISTS: Benedetta Marchesi, mezzosoprano; Niccolò Morello, piano.

ART AND LITERATURE IN MUSIC
Thursday 7 November – 20.45pm

The title of the lesson-concert “Art and Literature in Music”, perfectly summarizes the proposed program, highlighting the interaction between these artistic forms: art, literature and music. This evening is dedicated to Franz Liszt, the famous Hungarian composer, known for having innovated the genre of the “Symphonic Poem”, a musical form that describes places, events and emotions.

Program music, of which Liszt is a pioneer, differs from absolute music in its narrative intent. The Années de pèlerinage collection fits into this context, comprising three suites for piano, composed between the 40s and 80s. The works on the program this evening belong to the Deuxième année: Italie.
The first piece, Sposalizio, draws inspiration from the painting The Marriage of the Virgin by Raphael, preserved at the Pinacoteca di Brera. Liszt, during his trip to Italy in 1837, had a transformative experience, which led him to explore the artistic and cultural heritage of the country. The composition opens in C sharp minor, characterized by a harmonious and sacred timbre, which reflects the sensations aroused by the admiration of the painting.

The second composition is Petrarch's Sonnet 104. Liszt translates the emotions of the poetic text through the piano, creating a work of great emotional intensity. The music alternates dramatic moments with delicate passages, expressing the central conflict of the sonnet. The virtuosic writing makes the piece a real challenge for pianists.

Finally, Après une lecture de Dante: Fantasia Quasi Sonata explores the universe of Dante. Inspired by the poetry of Victor Hugo, Liszt divides the composition into two parts: the first represents Hell, with an intense and whirling musical language, while the second evokes the bliss of Paradise, through a hieratic and sacred writing.

This evening not only celebrates Liszt as a composer, but also invites us to reflect on the profound connection between the arts, a symphony of emotions and cultures that transcends time.
ARTISTS: Eugenio Poli speaker; Giulia IIjima, piano.

SPRING AND REMINISCENCES
Thursday 14 November – 20.45pm

Johannes Brahms's two String Sextets, Op. 18 No. 1 in B-flat major and Op. 36 No. 2 in G major, represent an important contribution to the chamber music repertoire. In particular, the Sextet Op. 18 No. 1 marks a significant step in Brahms's artistic journey, demonstrating a growing compositional maturity. Composed in 1860, the work reveals a structure that anticipates the symphonic dimensions, where harmony and form reach a rare balance for the time.

The Sextet's first performance, organized by violinist Joseph Joachim, took place in Hannover and was received with enthusiasm, emphasizing the sound and technical quality of the six string instruments. The first movement, Allegro ma non troppo, presents a writing rich in melodies and counterpoint, while the Andante ma moderato offers six variations on a baroque theme. The Scherzo, allegro e danzante, shows a lively spirit, and the Finale, a Rondo grazia, closes with a youthful and festive frenzy.

On the other hand, P. Tchaikovsky's Sextet op. 70 in D minor, known as Souvenir de Florence, is a work of great melodic beauty. Composed between 1887 and 1890, this sextet is a tribute to the city of Florence, where the composer spent significant moments. The first movement, Allegro con spirito, begins with an energetic theme, followed by a more relaxed melodic harmony. The Adagio cantabile presents a melancholic motif, while the Allegretto moderato introduces a pleasant dance. Finally, the Fourth Movement, Allegro con brio, culminates in a lively fugue, reflecting the folkloristic flair that permeates the entire composition.

Both sextets reveal the composers' incredible ability to blend tradition with innovation, creating works that resonate with freshness and depth.
ARTISTS: Miranda Mannucci violin 1, Amos Bono violin 2, Ilaria Artmanti viola 1 Tessa Rippo viola 2, Andrea Rigano cello, Edoardo Dolci double bass.

THE GOLDEN AGE

The fact that Ludwig van Beethoven (1770 – 1827) wrote music for mandolin may be surprising, especially given his iconic image. However, many musicians of his time composed works on commission for nobles and patrons, as in the case of the mandolin pieces written for Countess Josephine Clary, for whom Beethoven also composed the aria «Ah perfido!» (op. 65). The three pieces we will hear, written in 1796, are a tribute to his stay in Prague and reflect Beethoven's ability to mix different musical influences. The Sonatina in C major is an energetic rondo, the Adagio ma non troppo in E flat major is dreamy and lyrical, while the Andante con Variazioni in D major presents considerable technical challenges for the musicians.

Moving on to Niccolò Paganini (1782 – 1840), the Genoese virtuosity has created a myth around the figure of the violinist. However, Paganini was also a skilled guitarist and composed for this instrument with the same brilliance. His pieces for guitar, such as the short Sonata on the program, are inspired by the cantability of the opera of the time, reflecting the melody and expressiveness of Italian melodrama.

When speaking of melodrama, one cannot fail to mention Giuseppe Verdi (1813 – 1901), the most famous Italian composer. With La traviata (1853), Verdi created an opera that achieved enormous popularity. Enrico Marucelli (1877 – 1907) transcribed the themes of Violetta and Alfredo for mandolin and guitar, adapting the waltz rhythm of the opera to the expressive possibilities of the two instruments. The guitar often accompanies the mandolin, creating an intimate and engaging atmosphere.

During the 19th century, the repertoire for guitar and mandolin evolved, often “borrowing” pieces from guitar and voice ensembles. This interchangeability between instruments favored the spread of a large publishing market, keeping the mandolin tradition alive.

A key figure in the 1863th century is Raffaele Calace (1934 – XNUMX), who promoted the tradition of the mandolin and wrote original pieces, moving away from transcriptions alone. Calace created a repertoire that exalts the technical and melodic qualities of the instrument. His work on the program is a sweet elegy, full of dreamy melody.
Finally, Carlo Munier (1859-1911) was another protagonist of the mandolin revival, writing over 350 works. His Capriccio Spagnuolo shows the influence of Spanish rhythms such as the bolero and the habanera, also incorporating Ramenco techniques.
ARTISTS: Eugenio Palumbo mandolin, Roberto Guarnieri guitar

THE WIECKMANN

The Kinderszenen, op. 15, by Robert Schumann (1810-1856), are not intended as a didactic piece for young and small hands, but rather represent a fascinating suite of thirteen pieces that explore the world of childhood. Composed in 1838, shortly before his marriage to Clara Wieck, these scenes are written “for little children by a big child” and offer a contrast to the complexity of works such as Kreisleriana, op. 16. Their technical simplicity is not synonymous with superficiality; on the contrary, it reflects a profound unity of inspiration, in which all the themes derive from just three melodic cells.

The Kinderszenen offer an emotional journey through moments of wonder, play and dream, culminating in the famous Träumerei, a piece that embodies the inescapable beauty of childhood. At the end, the “big child” seems to recognize that knowing ultimately means remembering.

Clara Wieck (1819-1896), Schumann's wife, is a central figure in the 4th-century musical landscape. Her career, punctuated by personal and family challenges, sees her shine as both a pianist and a composer. Franz Liszt, praising her early works, recognized their value, emphasizing her harmonic audacity and melodic freshness. The Valses Romantiques, op. 1835, composed in XNUMX, captures the essence of youthful love and optimism, reflecting the climate of intimacy and play that characterized their relationship.

The musical interaction between Clara and Robert is evident: Schumann incorporated themes from her operas into his own works, as in Carnaval, op. 9, where Clara appears not only as an inspiration, but as an active musical figure. Clara, with her eclectic style, shows a mastery in the organization of musical materials and motivic connections, creating a rich and nuanced musical language. Her art continues to inspire, as Fuller Maitland states: "Where her art did not reach, her example still operates today."

The Sonata op. 14 n° 3, dedicated to Ignaz Moscheles, represents another important stage in Schumann's career. This work, which Schumann considered more similar to a “Grosse Sonata” than to a concerto, highlights his search for harmonic complexity and melody. The sonata is characterized by an innovative use of dissonances and rich melodic material, while the Third Movement is based on a dark and painful theme, which evolves into a series of variations.

The second movement, a Scherzo of great breadth, presents a writing of symphonic density and an accentuated rhythmic dynamism. The 1nal movement, Prestissimo, is feverish and restless, representing the inevitable tension of a soul in search of catharsis. Schumann manages to capture, in these works, not only his inner turmoil, but also the complexity of human emotions, creating a profound dialogue between the personal and the universal.
ARTISTS: Costanza Principe piano.

Tickets, info and times: https://www.boxol.it/BoxoficeLive/it/advertise/undiscovered-music-festival/544779

At the end of each appointment, a glass of wine from the historic Fabiano winery will be offered and artistic installations from the Brescia Eventi Foundation will be exhibited in the room. A moment of conviviality designed to create an event around the musical performance, approaching the specific needs of a young audience, fascinated by the rituality of art music but looking for greater accessibility.