Name: Beethoven Symphony No.9
Start: 2022-12-17T00:00:00.000Z
End: 2022-12-17T00:00:00.000Z
Location: Conservatorio di Milano

Artist

Admin

Conductor

Sergio Delmastro

Chorus master

Roberto Ardigò

Mirko Guadagnini

Singer

Soprano

Patricia Daniela Fodor

Contralto

Marina Serpagli

Alto

Tenor

Valter Borin

Bass

Jong Eon Sung

Others

Corale Lirica Ambrosiana

Intende Voci Chorus

Conservatorio di Milano G. Verdi

Beethoven Symphony No.9

Producer

Milan

Italy

Conservatorio di Milano

Sala Verdi

Beethoven Symphony No.9: Symphony No.9 in D Minor, op. 125

Private

Public

9th Symphony

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Mezzo-soprano

Baritone

Bass-baritone

Child vocalist

Continuo

Silent

Spoken

La Nona Sinfonia di Beethoven e le parole di Friedrich Schiller dell’“Inno alla Gioia” – oltre ad essere una tra le più belle pagine della musica classica di ogni epoca – sono il simbolo di una società di persone accomunate da gioia e armonia universale. Ideale AIMA crede, aspirando a una società in cui tutti possano esprimere la loro creatività e vitalità facendo musica insieme.

Inoltre, i musicisti amatori – troppo spesso identificati come musicisti di “scarso livello” – sono da sempre il cuore pulsante della musica classica. L’8 aprile 1824 lo stesso Beethoven si rivolgeva infatti ai viennesi così: 

La prima della Nona si sarebbe infatti tenuta il 7 maggio, dopo due sole prove, sotto la sua problematica direzione (la sordità era ormai totale) e quella effettiva di Michael Umlauf. E Beethoven, su consiglio di amici, estimatori e mecenati aristocratici, si era convinto a tenerla nel grande del Teatro di Porta Carinzia, in grado di ospitare più pubblico e, soprattutto, un organico vocale e strumentale di ampie proporzioni.

I sottoscrittori che risposero all’annuncio e parteciparono come musicisti al concerto erano in maggioranza musicisti del Conservatorio ma anche non professionisti, musicisti amatori, tra cui un cassiere e un paio di commercianti.

In un paese in cui le orchestre amatoriali e i gruppi di musica da camera sono pochissimi, questo concerto – un “Inno alla gioia” del fare musica insieme – rappresenta un traguardo fondamentale nello sviluppo della partecipazione musicale in linea con quanto già accade nella maggior parte dei paesi europei, in cui la musica amatoriale è uno dei capisaldi di tutte le politiche di diffusione e promozione della cultura.

Il concerto non potrebbe avvenire senza la collaborazione del Municipio 3 di Milano e naturalmente di tutte le socie e i soci di AIMA e di tutti i loro parenti, amici e sostenitori.

italiano

Beethoven 's Ninth Symphony and Friedrich Schiller's words from the “Ode to Joy” – as well as being one of the most beautiful pages of classical music of every era – are the symbol of a society of people united by joy and universal harmony . Ideal AIMA believes, aspiring to a society where everyone can express their creativity and vitality by making music together .

Furthermore, amateur musicians - too often identified as "low level" musicians - have always been the beating heart of classical music. On April 8, 1824, Beethoven himself addressed the Viennese as follows: 

The premiere of the Ninth would in fact be held on May 7, after only two rehearsals, under his problematic direction (he was by now total deafness) and the effective direction of Michael Umlauf. And Beethoven, on the advice of friends, admirers and aristocratic patrons, had convinced himself to keep it in the large Teatro di Porta Carinzia, capable of accommodating a larger audience and, above all, a large vocal and instrumental ensemble.

The subscribers who responded to the announcement and participated as musicians in the concert were mostly musicians from the Conservatory but also non-professional, amateur musicians, including a cashier and a couple of merchants.

In a country where there are very few amateur orchestras and chamber music groups, this concert – an “ Ode to Joy ” of making music together – represents a fundamental milestone in the development of musical participation in line with what already happens in most European countries, where amateur music is one of the cornerstones of all policies for the dissemination and promotion of culture.

The concert could not take place without the collaboration of the Municipality 3 of Milan and of course all the members of AIMA and all their relatives, friends and supporters.

English

Beethoven Symphony No.9 by Beethoven, Ó (2022/2022), Seoltóir Sergio Delmastro, Conservatorio di Milano, Milan, Italy

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Ensemble

Comhléiritheoir

Clár, Eolas & Achoimre

Grianghraif

Tuilleadh léitheoireachta

Dátaí & Ionaid Feidhmíochta

Ionaid