Alfredo Bernardini: “The Seven Last Words of Christ are challenging to perform, as they were to compose”

By Emilia Campagna - March 1, 2024

Next Theresia's orchestral project will be entirely focused on a very special and peculiar composition, "The Seven Last Words of Christ" by Franz Joseph Haydn. Leading the orchestra will be Alfredo Bernardini, whom we asked to introduce us to this 18th-century masterpiece
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Next Theresia’s orchestral project will be entirely focused on a very special and peculiar composition, “The Seven Last Words of Christ” by Franz Joseph Haydn. Leading the orchestra will be Alfredo Bernardini, whom we asked in this interview to introduce us to this 18th-century masterpiece

Alfredo Bernardini, please, tell us about The Seven Last Words of Christ?

It is a composition for orchestra with a very special history. It is the result of a commission that was made to Haydn in 1786 by the church of the Santa Cueva in Cadiz, Andalusia, a commission with very specific requests, namely that the seven last words of Christ be set to music. The occasion was the Good Friday celebration during Easter week in 1787, and Haydn was asked to write slow movements plus an introduction and a fast finale to illustrate the earthquake that follows Christ’s death. The order letter specified that the music, while maintaining a slow tempo, should always be interesting to keep the attention of the faithful. This was an enormous challenge for Haydn, to which he devoted himself with great commitment.

How did this commission come about? Did Haydn have connections with Andalusia at the time?

In truth, no, and this fact is one of many demonstrations of the international fame of Haydn, probably the most celebrated composer of his time. Although he had worked up to that time in the small court of Estrehaza his fame was spread throughout Europe. Recall that Haydn laid the foundations for new instrumental forms, such as the Sinfonia, and in Italy, for example, his music was copied and thus spread widely. His fame reached even such remote and mundane places as the Church of the Santa Cueva in Cadiz: we can imagine how much difference there was at the time between Andalusia and the Vienna region.

Did Haydn succeed in keeping variety within a series of slow movements?

Absolutely. The score has a lively alternation of melodies, orchestration, instrumental colour, a great variety of dynamics and phrasing. Haydn was so pleased with the work that he later made three transcriptions of it for as many ensembles: for string quartet, for piano and also an oratorio for choir and orchestra.

You said this was a challenge for the composer: is it also a challenge for the performers?

It is certainly very delicate music, full of details, with great richness in articulation and dynamics. The greatest difficulty in the case of a series of slow movements concerns intonation: the instruments are very exposed and anything out of place is more easily noticed. Fast movements require a certain degree of virtuosity, but things go by quickly…. Then it must be said that the very delicate technical aspect is only one side of the effort, in the performance the expressive side must come out, which is very developed and important.

The performance is accompanied by the reading of excerpts from the Scripture and reflections: what is the relationship between the music and the text?

The relationship is very intense, starting with the phrases that are taken from the four Gospels and that Haydn had published at the beginning of each piece. The music is intimately connected to the meaning of the text and invites meditation. For example in the case of the second piece, which is introduced by the phrase “Truly I tell you, today you will be with me in paradise,” the music is charged with a special light, while in the fourth number, introduced by “My God, my God, why have you forsaken me,” Haydn uses a minor key and a particularly dark color.

As a performer, when and on what occasion did you first play The Last Seven Words of Christ on the Cross?

It was several years ago, at the beginning of the 1990s! The occasion was a series of concerts, later followed by the release of a CD, with Jordi Savall’s orchestra “Les Concert de les Nations”. I must confess that I did not know the piece at the time, and it was a thunderbolt for me. Jordi Savall, on the other hand, had loved this composition since childhood and had always had a great desire to perform it. It was one of the first musical programs with which Savall began to explore the classical repertoire for orchestra. For all of us it was a great musical experience with a strong spiritual impact.

Theresia will perform “The Seven Last Words of Christ” by Franz Joseph Haydn under the baton of Alfredo Bernardini on three different occasions: Tuesday 12 March in Lodi (Chiesa di San Francesco), Wednesday 13 March in Rovereto (Sala Filarmonica), and Thursday 14 March in Ravenna (Basilica di San Giovanni Evangelista).

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Meet Theresia: Laura Hoeven

By Emilia Campagna - May 5, 2023

Austrian oboist Laura Hoeven joined Theresia in 2021 and in these very days she is playing with Theresia Wind Ensemble: let's find more about her upbringing, her love for music and the three most important things she learnt playing with our orchestra!
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Austrian oboist Laura Hoeven joined Theresia in 2021 and she is currently playing with Theresia Wind Ensemble: let’s find out more about her upbringing, her love of music, and the three most important things she learnt while playing in our orchestra!

Laura, tell us about your musical upbringing: how did you start playing the oboe? And when did you turn to the period instrument?

As a child, I started playing the recorder. When my parents listened to classical music at home, I really loved the sound of oboes, so I was interested in taking up oboe lessons. Unfortunately, there was no oboe teacher at my music school. One day when I was in high school, my recorder teacher told me that I could have a recorder lesson at the Music and Arts University of Vienna to see if I would be interested in studying music. Surprisingly, it turned out that the university teacher taught historical oboe instruments too. I got the chance to try out the baroque oboe and I managed to produce some sound – of course not super beautiful, but at least some notes came out of the instrument. I definitely knew that I want to learn the baroque oboe. I took historical oboe lessons and started a pre-study at the university. Later, I also started playing the Viennese oboe because I was very interested in the development of the oboe in the course of history. So, I actually started playing the period instrument first. Now, I’m about to finish my Master in ‘historical oboe instruments’.

What were the most important experiences that made you realise that music was where you wanted to go?

My parents always enjoyed listening to music and they both played musical instruments (piano and saxophone). I guess this is also why I discovered my love for music. When I was five years old, a friend of mine took music lessons, which inspired me to learn an instrument too. I think it actually happened step by step that I realised that music is where I wanted to go. I can recall the moment I got the chance to play the baroque oboe in an orchestra for the first time. After that, I could picture myself doing this professionally and studying music because I really enjoyed it.

Your first project with Theresia was with Alfredo Bernardini in Lodi in the autumn of 2021: what do you recollect of that experience?

I remember it as a very fun project. It was my first one and I didn’t really know what to expect, but I learned a lot during that residency. First of all, it’s fantastic to work with Alfredo Bernardini because he knows how to get the best out of everyone through his energy, his ideas and imaginative pictures of passages in the music. I also enjoyed that we experimented with the distribution of the instruments in the orchestra. In the rehearsal, we ended up playing the pieces next to instruments from other sections as an exercise. Suddenly, we could hear voices that we haven’t noticed before and it was easier to become aware of similar passages that we share with other instruments. The sound of the orchestra changed completely after that experiment because everyone was very attentive and reacting to everything that was happening. As a group, you really grow together after such an orchestral project.

You are involved in a chamber music project with Theresia Winds instruments, but you have joined orchestral residencies as well: in terms of rehearsal and performance experience, how much does playing in an ensemble differ from playing in an orchestra?

Yes, there is a difference between playing wind ensemble or orchestral music. The music that is composed for wind instruments demands something different from every musician than orchestral music. During the rehearsals with the Theresia Winds, we grow together as a group because there is no conductor. Sometimes, you need to lead the group with your instrument, or you have to react. This changes constantly, and you are required to be very flexible, which is fun and challenging at the same time. In orchestral music the function of the wind instruments is different. They have to blend with the strings, be a harmonic framework or play melodic passages. So, it’s good to be aware of that. Both ways of playing are enjoyable and demanding and there is a lot to learn for the professional life as a musician.

After two years, which in your opinion are the three most important things that Theresia has taught you?

1. No matter where you come from – music is a universal language. Even though we all come from various countries, it is really easy to connect through music.
2. Try to take a risk and use this opportunity to learn and to try out.
3. Most importantly, enjoy the time that you get to make music together!

They say that playing in a youth orchestra lets you meet people who will be your friends for life: do you think this happened to you in Theresia?

Yes, I definitely think so!

Which are your plans for your musical future?

I would like to continue playing in orchestras and ensembles. Also, it would be great to start my own chamber music ensemble. Basically, I would love to get the chance to do various projects.

What do you do when you do not play? Do you have any other passions that do not involve music?

When I’m not playing an instrument, I like to go for hikes, play badminton or cook. Sometimes, I also sing in a Big Band in my hometown for fun. My other passion is science. I also study ‘food science and biotechnology’. It is a completely different field compared to music, but I really like that they are so contrasting, which makes them fit together really well.

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Theresia Wind Ensemble’s whistle-stop spring tour

By Emilia Campagna - April 28, 2023

Ready for a nice spring trip? The season is blooming, the weather is mild, and we are sure our musicians will be overjoyed for the three-stage tour that will take Theresia Wind Ensemble from Lodi to Rome to end in Koper (Slovienia).
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Ready for a nice spring city trip? The season is in bloom, the weather is mild, and we are pretty sure our wind musicians are excited to embark on are excited to embark on a three-stop tour which takes the Theresia Wind Ensemble to Lodi, Rome and finishes in Koper (Slovenia).

Theresia Wind Ensemble’s tour venues

Starting from 1st May, the wind players of Theresia Orchestra will meet in Lodi, home of the iCons Foundation and regular starting point of many of orchestra’s residencies. Five full rehearsal days studying music by Krommer, Mozart and Rossini under the guidance of Alfredo Bernardini, will culminate in a concert on Friday 5 May at 9:00pm at the Aula Magna of the Liceo Verri as part of the concert season of Lodi’s Teatro alle Vigne.

The next day, we’ll travel to Rome! Part of the afternoon and evening may be used to enjoy the beauty of the Eternal City, as the capital of Italy is often called. No doubt there are plenty of opportunities to savour blissful moments in Rome, strolling along the Tiber, enjoying legendary ice creams, being enchanted by majestic monuments, Baroque fountains and lush gardens.

Without pushing it too far, the wind players will perform the next day at the Quirinale Palace, the residence of the President of Italy. The concert of Sunday 7 May, 11.50 am will be broadcast live (!) on Rai Radio 3 as part of the weekly concert series from the Quirinale organised by Italy’s national broadcaster.

The concert series “I concerti della Rai al Quirinale” started in 2001 and for over twenty years, every Sunday (with rare exceptions) has made it possible to listen to great chamber music thanks to live radio broadcasting on Rai Radio 3 and all other stations in the Euroradio network of the European Broadcasting Union. Performing at the Quirinale is a great honour and a great opportunities for Theresia to connect live with our remote audience. However, this is not the first time for us at the Quirinale: the orchestra also performed at the Quirinale in 2015. If you want, you can take a little trip back in time and listen to our previous concert following this link!

The entrance to Quirinale Palace: the free concert ticket also includes a visit to the prestigious location

The spring tour of Theresia Wind Ensemble will end in Koper, a lovely, friendly city we’ve visited before. The wind players will perform on Monday 8 May, at 7.30 pm in a beautiful and historically rich venue, the Regional Museum. This concert will be broadcast and streamed live too (this time by RTV Slovenia) about which we are absolutely thrilled!

Another stunning location…. The Regional Museum of Koper (Capodistria, Slovenia)

What’s on the music stand?

This wind academy will focus on Harmoniemusik: this term originally identified an ensemble derived from the military band and composed of five to fifteen musicians. The name is due to the fact that in the early days of classicism, in the orchestral context, the wind instruments had the task of supporting the harmony of the pieces, instead of the now increasingly obsolete basso continuo. With the technical improvement of wind instruments and the increasing technical skill of the players, this formation gained partial independence, thanks in part to a vast repertoire of compositions dedicated to it.

Wind ensembles became particularly sought after in certain contexts, such as outdoor concerts (Serenades or Nocturnes) or during short marches and parades. They became increasingly popular and widespread, as evidenced by the presence of an large, specially composed repertoire and transcriptions from operas, ballets and symphonies.

Franz Krommer’s Partita op. 71, Wolfgang Amadeus Mozart’s Divertimento K388, and Wenzel Sedlak’s transcription of the most famous parts of Gioacchino Rossini’s Barbiere di Siviglia will be the musical program. Enjoy!

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Lots to celebrate: Theresia’s first ten years

By Emilia Campagna - February 16, 2023

Theresia is proud and happy to celebrate its first 10 years of activity with a concert in the very town where everything started!
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Do you know that special feeling when you are both fulfilled and satisfied with what you have achieved, and eager to move forward and break new grounds? That is exactly where Theresia is today; celebrating an important milestone and paving the way for new projects.

What’s to celebrate? No less than our first ten years of activity!

Back in the autumn of 2012 the orchestra gave its debut performance. The occasion was Premio Ferrari, an international competition set in Rovereto and dedicated to fortepiano performance: this was the prestigious frame to launch the cultural patronage and youth promotion project intensely wished for by our founder and artistic director Mario Martinoli.

Mario Martinoli, founder and artistic director of Theresia

The challenge at stake in this venture was twofold: to support the orchestra almost exclusively with private capital from a group of cultural patrons, and to focus on the classical repertoire.
Both ideas were innovative, especially in Italy. Cultural patronage wasn’t something that was talked about widely in Italy at the time; and as the classical repertoire was concerned, HIP orchestras up to that point had almost almost exclusively focused on performing Baroque music, neglecting the repertoire from 1750 to 1815.

The challenge was taken. In the beginning, the enthusiastic endorsement of renowned directors such as Claudio Astronio, Chiara Banchini, and Alfredo Bernardini was crucial. They, together with a dedicated staff, ensured that the orchestra consolidated and developed a solid international reputation.

Claudio Astronio conducting Theresia in 2014

Lady of the baroque bow: Chiara Banchini performing with Theresia in 2014

2016: Alfredo Bernardini conducts Theresia in Rimini

Today, after 37 residencies, and 77 concerts in 6 different European countries, Theresia is stronger than ever: we offered tuition in Classical music to more than 200 young musicians from over 40 world countries, for a grand total of 1300 hours of orchestral training. From an organisational point of view, Theresia makes for a solid partner as part of ICONS Foundation, capable of planning for the future. Additionally, Theresia is now funded by the European Union thanks to the Empower project!

As you can see, we have a lot to celebrate. And we are happy to do that in the very place where everything once started: Rovereto! Theresia will perform at the stunning Teatro Zandonai on February 26, which will be very special. The concert has a particular focus on the music by Ludwig van Beethoven with the Egmont Overture, as well as Symphony No.8 in F major, Op. 93. The orchestra will be conducted by Giovanni Antonini and is joined by violinist Dmitry Smirnov for Beethoven’s famous violin concerto. Theresia will perform the same programme in Florence the next day: stay tuned for more details on the blog.

These February concerts will be the first of the full concert season in 2023, which we are incredibly looking forward to .

Let’s take a moment to remember those first days back in 2012, when we were full of enthusiasm and willingness, feelings that haven’t abandoned us. So, let’s browse together through the photo album of our debut at Premio Ferrari: enjoy the gallery!

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Theresia Wind Academy

By Emilia Campagna - May 3, 2022

Next concerts of Theresia wind ensemble remind us the importance of playing chamber music
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What is that makes special an orchestra like Theresia and defines it as a true classical orchestra? Two things, in fact: playing according to the historical informed performance principles, and playing the classical repertoire, i.e. music composed between 1750 and 1815. These two boxes we can definitely tick, and speaking of repertoire, we are never tired of exploring it, always deepening our knowledge and awareness of the incredible richness of classical music.

And actually, there is a third one: performing chamber music. Aside from being a powerful opportunity to improve technical aspects and widen the repertoire, chamber training facilitates mutual musical knowledge among ensemble members, with benefits for the quality of the work of the entire orchestra.

Our wind ensemble for example is at the centre of a chamber music residency twice a year. This is the case of the next project, which will take place from 2nd to 9th May in Lodi, with concerts in Lodi, Trieste, Capodistria, Turin.

The musical program is usually devoted to wind chamber music of the Viennese style, and so it is this time. Under the guidance of oboist Alfredo Bernardini, eight selected members of the orchestra will rehearse and perform music by Mozart, Beethoven and Krommer.

Franz Krommer was one of the most long-lived composers of the classical era: his 72-year lifespan began in 1759, half a year after the death of George Frideric Handel, and ended in 1831, nearly four years after that of Ludwig van Beethoven. His output was prolific, with at least three hundred published compositions, including much sonorous, idiomatic and at times powerful music for wind ensemble, for which he is best known today. Theresia wind ensemble will perform his Partita in B-flat major.

As for Mozart, we looked for something not obvious: our wind ensemble will perform an arrangement by Johann Nepomuk Wendt of Die Entführung aus dem Serail. The selection includes seven highlights of the opera, starting with the Ouverture.

The musical program will end with Beethoven’s E-flat major Octet, op. 103: it was composed in 1792 in Bonn, intended for Prince-Elector Maximilian Franz’s excellent Tafelmusik ensemble. Beethoven was so satisfied with his own musical invention that three years later he transcribed it for string quintet. The Octet itself remained unpublished until the death of the composer.

Musicians involved in this new project are Laura Hoeven (Austria) and Paulina Gómez Ortega (Colombia) – oboe; Claudia Pallaver (Italy) and Jonathan Van der Beek (Belgium) – horn; Luís Tasso Athayde Santos (Australia) and Angel Alvarez (Cuba) – bassoon; Franziska Hoffmann (Germany) and Simon Pibal (Austria) – clarinet.

Fondazione Cariplo contributed to this residency as part of the project “Alla scoperta degli strumenti a fiato dell’Orchestra Theresia” (“Discovering the wind instruments of Theresia Orchestra”).

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New year, new plans: what 2022 brings to us

By Emilia Campagna - January 18, 2022

Chamber music, orchestral residencies and the new European project EMPOWER: let's go through Theresia's activities for 2022
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The new year has started, full of promises and good resolutions. And here an overview of our upcoming activity!

As you know, last year ended with a bang, and that’s the best good wish we could expect: a 3-years grant was awarded to Theresia Orchestra by the Creative Europe Programme to develop excellence in orchestral learning and soft skills acquisition by our young artistic talents. The project is going to start in a few weeks, so we will keep you updated on any further development.

So, let’s go through our plans for 2022!

We are going to start with two chamber music projects: developing ensemble performances and deepening chamber music repertoire are two things at the very core of our mission. Also, we’ll get back to places we’ve been before, renewing some meaningful partnerships.

From 14 to 20 March, we’ll be in Ossiach (Austria), with such tutors as Chiara Banchini (violin) and Emilio Moreno (violin and viola). The program will be devoted to string quartets by Mozart, Haydn, Pleyel and Boccherini, which will give our musicians the chance to widen their knowledge of classical repertoire.

A shot from chamber music residency in Ossiach in 2018

Wind players will have their moment in the spring: from 2 to 9 May, they will be in Lodi, following the lead of oboist Alfredo Bernardini and deepening some important pieces of music, like Krommer’s B flat major Partita P4:30 and Beethoven’s E flat major Partita op.113. Concerts in Lodi, Trieste and Turin will top off the residency, and we are looking forward to them.

Then, a new chamber music project will bring us back to Geneva, Switzerland, guests of Les Concerts d’été à St-Germain: Chiara Banchini and Alfredo Bernardini will be the tutors in this project, scheduled from 17 to 22 August, with concerts on 21 and 22 August.

A moment of 2021 performance at Les Concerts d’été à St-Germain, in Geneve

The whole orchestra will rejoin at the end of June in Mondovì: this residency (from 27 June to 3 July, with concerts in Susa and Cuneo) will mark the beginning of the collaboration with a new conductor, Vanni Moretto, which we are excited to start.

Last but not least, we are working hard on a new project that at the end of the year will celebrate our first 10 years of activity: stay tuned for that!

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Alfredo Bernardini and Theresia’s hidden gems

By Emilia Campagna - August 19, 2021

During the concerts in Geneva (on Sunday 22nd and Monday 23rd August), as part of the Festival ‘Concerts d’été à St-Germain’, Theresia Orchestra will perform five pieces - one for strings, one for woodwinds and three for mixed woodwinds and strings - composed at the end of the XVIII century. True jewels by Boccherini, Cambini, Haydn, Bach and Cannabich, that fell into oblivion but deserve to be rediscovered. The program in details told by one of the tutors, Alfredo Bernardini.
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Theresia is ready for a new chamber music program: on Sunday 22^nd and Monday 23^rd August, two concerts will take place in Geneva as part of the Festival ‘Concerts d’été à St-Germain’.

Musicians involved are Saaya Ikenoya and Léna Ruisz (violin), Irina Fartat and Elena Gelmi (viola), Sophia Witmer and Anne-Linde Visser (cello), Samuel Casale (flute), Antonello Cola (oboe) and Vicente Beltrán (bassoon): they are going to prepare the musical project under the supervision of two amazing tutors, Chiara Banchini and Alfredo Bernardini.

We talked to Alfredo Bernardini and asked him to tell us something about the musical program:

“In line with the artistic mission of Theresia, this project focuses on missed gems, music composed at the end of the XVIII century and then forgotten. I am talking about true jewels that fell into oblivion but deserve to be rediscovered. These pieces of music will be performed by a group of chamber musicians, strings and woodwinds, like a miniature orchestra.”

Let’s talk about the program in detail:

“The program includes five pieces: one for strings, one for woodwinds and three for mixed woodwinds and strings. Boccherini’s sextet in F major for strings is a very profound piece: Boccherini was an excellent cello player, who moved from Lucca, in Italy, to Madrid, where he was a very appreciated composer. Giuseppe Cambini was an illustrious migrant too, who worked successfully in Paris: Theresia will perform his woodwind Trio in D major.

Michael Haydn’s Divertimento for oboe, bassoon, and string trio is like a little symphony, in four movements and rich in humorous ideas. Michael Haydn is the youngest brother of the more famous Franz Joseph: he was very appreciated by Mozart, that got inspiration from some of his works, especially by a Symphony in C that Theresia performed some years ago.

Another piece in the program is the flute quartet by Johann Christian Bach, another musician that influenced the young Mozart and that, oddly enough, was born the very same year as Michael Haydn. Theresia will perform the C major Quartet for flute and string trio: this was a very popular ensemble, that took over the baroque trio sonata.

Last but not least, the C major sextet by Christian Cannabich involves flute, oboe, bassoon, and the string trio: Cannabich was one of the conductors of the celebrated Mannheim orchestra, that Charles Burney called ‘an army of generals’. It was made of the finest musicians of their time. In Cannabich scores, one can’t but be amazed by the richness and the accurateness of all the dynamic markings, meaning that he used to work with extremely thorough performers.”

You will be tutor together with Chiara Banchini: how are you going to work?

“First, I want to say that I am very happy to work with Chiara Banchini: I’m sure I will learn a lot of things in the first place! And as for the working method, at the beginning of the residency, we are going to give some space to the young musicians of Theresia, so that they can rehearse by themselves and take responsibility for their choice: on our part, we will have the chance to observe their working method and give them some pieces of advice on how to play together, on technical problems and the interpretation. Obviously, I will focus more on the woodwinds and Chiara on the strings. Two of the ensembles can work at the same time, so we will occasionally split up to work with one or the other group.”

This will be the first project of Theresia you are involved in after the health emergency: how did you deal with the lockdown?

“I can say I did quite fine during the first lockdown: it was a totally unprecedented situation for everybody, and I found myself with so much time for studying new pieces. The second lock-down, though, was really hard, because it seemed like we didn’t know when it would end. And, especially for ancient music performers, who are mainly freelancer professionals, the lack of concerts began to be a huge problem and a source of unbearable uncertainty.”

During the lockdown, many musicians tried to keep in touch with their audience through streaming performances: what do you think about it?

“Streaming was a valid surrogate both of live performance and teaching: there was a high risk of losing motivation, and, as it often happens in moments of deep crisis, many persons found alternative ways of doing things. It cannot replace live performance though we need an audience to perform because audience itself is an essential part of the creative and emotional process.”

Which were your feelings when you started to live-perform again?

“It was intense, both performing and being part of an audience: some days ago I saw a performance of Haendel’s Il Trionfo del Tempo e del Disinganno, and I was moved to tears. Also, I am particularly happy for the young participants of Theresia’s residency in Geneve: they will have once again the chance to make music together and in front of an audience, giving rise to a moment of beauty together.”

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Salieri, Haydn and Mozart: January program for Theresia Orchestra

By Emilia Campagna - January 22, 2020

Paris, December 1786. Vienna, June 1788. London, March 1794. What do these places and dates have in common? Next Theresia’s program is the answer.
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Paris, December 1786. Vienna, June 1788. London, March 1794. What do these places and dates have in common? Next Theresia’s program is the answer.

(more…)

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Non solo orchestra: i seminari di Theresia

By Emilia Campagna - April 7, 2019

Le attività formative di Theresia per il 2019 prevedono, all'interno delle residenze musicali, una serie di seminari dedicati ai musicisti che compongono l'orchestra, giovani professionisti che si affacciano al mercato del lavoro.
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Seminari sull’interpretazione e sulla prassi esecutiva, ma anche testimonianze di storie professionali di successo e corsi intensivi sui più utili strumenti per affermarsi nella carriera musicale. Le attività formative di Theresia per il 2019 prevedono, all’interno delle residenze musicali, una serie di seminari dedicati ai musicisti che compongono l’orchestra, giovani professionisti che si affacciano al mercato del lavoro.

Si parte con Alfredo Bernardini, che il 30 aprile, nel cuore della residenza che si concluderà con i concerti del 3 e 4 maggio rispettivamente a Lodi e Mantova, scenderà dal podio del direttore per raccontare la storia professionale dell’Ensemble Zefiro, gruppo da lui fondato assieme a Paolo e Alberto Grazzi e oggi affermato a livello internazionale: Bernardini racconterà come nel 1989 lui e i fratelli Grazzi ebbero l’idea dell’ensemble, come mossero i primi passi e in che modo Zefiro ha raggiunto negli anni una fama consolidata.

Il giorno dopo (1 maggio) è previsto l’incontro con il musicologo David Wyn Jones, Professore alla Scuola di Musica dell’Università di Cardiff, riporterà il discorso entro la sfera dell’interpretazione musicale. Come lo stesso Jones ci ha spiegato in un’intervista, la conferenza illustrerà i rapporti – personali e musicali – tra Wolfgang Amadeus Mozart e Michael Haydn, fratello minore di Franz Joseph Haydn.

Alfred Brendel

Durante la residenza in programma a Mantova dal 28 maggio al 2 giugno nell’ambito del Festival “Trame Sonore” i momenti di approfondimento saranno due: il primo con il fondatore e direttore artistico di Theresia Orchestra, Mario Martinoli, che partendo dall’esperienza di gestione dell’orchestra, sostenuta da un progetto di finanziamento culturale privato, parlerà di temi etici correlati al lavoro del musicista; il secondo incontro sarà con il grande pianista austriaco Alfred Brendel, guest of honor del Festival, che assieme al Quartetto Zaide terrà una master class sul Quartetto “La morte e la fanciulla” di Schubert.

Durante il mese di luglio gli archi dell’orchestra saranno in residenza a Ginevra impegnati in un progetto diretto da Chiara Banchini che si concluderà con due concerti il 7 e 8 luglio per i Concerts d’ètè a Saint Germaine. L’Accademia d’archi sarà l’occasione per ospitare un appuntamento particolarmente interessante, ovvero quello con Klaus Scherer, docente alla Facoltà di Scienze Affettive, che spiegherà qual è l’impatto emotivo del suono nell’attività del musicista, con una visita al laboratorio di neuroscienze dove si misurano le reazioni del cervello all’ascolto o alla produzione della musica.

Bertil Van Boer

In agosto è in programma una lunga residenza (8-22 agosto) in cui l’orchestra, diretta da Claudio Astronio, affronterà l’intero corpus delle Ouvertures di Joseph Martin Kraus, con concerti a Milano, Bolzano e Rovereto e la registrazione di un cd. Per approfondire la figura e l’opera di Kraus avremo ospite Bertil Van Boer, curatore del catalogo completo dell’opera del compositore. Bertil Van Boer terrà tre lezioni, durante le quali parlerà di Kraus da un punto di vista biografico, del mondo musicale alla corte del re di Svezia e dell’opera teatrale di Kraus con un focus sulle overtures. Nel corso della residenza di agosto è in programma anche una lezione in cui Simone Laghi, musicologo e segretario Artistico di Theresia, spiegherà come muoversi tra archivi, librerie e strumenti di ricerca online.

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Theresia a Lodi e Mantova diretta da Alfredo Bernardini

By theresia - April 3, 2019

Theresia Orchestra sarà in residenza a Lodi per un nuovo progetto orchestrale: diretta da Alfredo Bernardini, l’orchestra si esibirà il 3 maggio a Lodi (Teatro alle Vigne) e il giorno dopo a Mantova (Palazzo Ducale) in un programma che comprende musiche di Franz Joseph Haydn, Michael Haydn e Wolfgang Amadeus Mozart.
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Theresia sarà in residenza a Lodi per un nuovo progetto orchestrale: diretta da Alfredo Bernardini, l’orchestra si esibirà il 3 maggio a Lodi (Teatro alle Vigne) e il giorno dopo a Mantova (Palazzo Ducale) in un programma che comprende musiche di Franz Joseph Haydn, Michael Haydn e Wolfgang Amadeus Mozart.

La residenza, che si svolgerà a partire dal 28 aprile, è frutto di una collaborazione tra Fondazione iCons, che sostiene il progetto Theresia, gli Amici della Musica di Lodi, il Teatro alle Vigne e il Comune di Lodi; la collaborazione ha già dato i propri frutti nello scorso gennaio con un applaudito concerto degli archi dell’orchestra diretti da Chiara Banchini in occasione della Festa di San Bassiano. Del resto la scelta di Lodi come luogo di residenza dell’orchestra risponde al desiderio della Fondazione iCons di radicarsi maggiormente in una città che per dimensioni, posizione e atmosfera rappresenta un ideale luogo di studio per i giovani musicisti coinvolti e che più volte in passato è stata teatro delle attività di un ensemble dinamico e internazionale come Theresia Orchestra.

Il concerto si aprirà con l’Ouverture dal “Ritorno di Tobia” di Franz Joseph Haydn, un oratorio composto nel 1775, eseguito per la prima volta a Vienna il 2 Aprile 1775 e ripreso quasi dieci anni dopo, nel 1784, dopo una sostanziale revisione. Fu proprio in occasione di questa seconda versione che Haydn incontrò per la prima volta Mozart, con il quale nacque un sincero rapporto di amicizia e ammirazione.

Da un Haydn all’altro: il secondo brano in programma sarà la Sinfonia in do minore n. 28 di Michael Haydn, fratello minore di Franz Joseph. E’ la prima volta che Theresia Orchestra affronta musiche di Michael Haydn, una preziosa aggiunta a un repertorio già ricco, considerando anche che il compositore ebbe una particolare influenza su Wolfgang Amadeus Mozart: in particolare, quella che verrà eseguita da Theresia è la prima delle sinfonie di Michael Haydn a concludersi con quel tipo di fugato che chiaramente anticipa la scrittura contrappuntistica usata da Mozart nella Jupiter.

A Mozart è dedicata l’ultima parte del concerto, con la Sinfonia “Linz”, così chiamata perché fu composta nella cittadina austriaca mentre Mozart e la moglie erano in viaggio da Salisburgo a Vienna verso la fine dell’Ottobre 1783. Il 31 Ottobre scrisse al padre: “Martedì 4 novembre darò un concerto in teatro, ma, non avendo portato con me nessuna Sinfonia, ne sto componendo una a gran velocità, perché devo terminarla per questa data” Nonostante Mozart avesse dovuto scrivere la sinfonia in pochissimi giorni, l’intera partitura è un capolavoro di equilibrio, ricchissimo di idee musicali, e rappresenta il vero distacco dalle esperienze salisburghesi verso uno stile più maturo.

Il giorno dopo (sabato 4 maggio) l’orchestra replicherà la Sinfonia Linz di Mozart nella Sala di Manto del Palazzo Ducale di Mantova in un concerto che apre gli “Assaggi di Festival”, percorso di avvicinamento al Festival cameristico “Trame Sonore”, che si svolgerà dal 29 maggio al 2 giugno e che vedrà gli archi dell’orchestra protagonisti di ben sei momenti musicali.

Durante la residenza si svolgeranno anche due seminari, momenti di approfondimento per i musicisti dell’orchestra, i primi di una serie che per tutto il 2019 offriranno ai nostri musicisti da un lato l’approfondimento di temi musicologici legati ai programmi affrontati nel lavoro orchestrale e cameristico, dall’altro la crescita personale attraverso l’acquisizione di soft skills e conoscenze che potranno aiutare il professionista a costruire la propria carriera in modo consapevole. Il 30 aprile Alfredo Bernardini scenderà dal podio del direttore per raccontare la storia professionale dell’Ensemble Zefiro, gruppo da lui fondato assieme a Paolo e Alberto Grazzi e oggi affermato a livello internazionale: Bernardini racconterà come nel 1989 lui e i fratelli Grazzi ebbero l’idea dell’ensemble, come mossero i primi passi e in che modo Zefiro ha raggiunto negli anni una fama consolidata. Il giorno dopo (1 maggio) è previsto l’incontro con il musicologo David Wyn Jones, Professore alla Scuola di Musica dell’Università di Cambridge, che riporterà il discorso entro la sfera dell’interpretazione musicale, illustrando i rapporti – personali e musicali – tra Wolfgang Amadeus Mozart e Michael Haydn.

La Locandina
Venerdì 3 maggio, ore 21 – Teatro alle Vigne, Lodi
Sabato 4 maggio, ore 19 – Palazzo Ducale, Mantova

Franz Joseph Haydn
Ouverture da “Il Ritorno di Tobia” *
Michael Haydn
Sinfonia n. 28 in Do maggiore *
Allegro spiritoso
Un poco Adagio
Fugato. Vivace assai
Wolfgang Amadeus Mozart
Sinfonia n. 36 in Do maggiore “Linz” KV 425
Adagio — Allegro spiritoso
Andante in F major
Menuetto
Finale (Presto)
Theresia Youth Orchestra
Alfredo Bernardini, direttore

* (Solo nel concerto del 3 maggio)

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