Name: Sulle sponde del Mediterraneo
Start: 2023-10-27T00:00:00.000Z
End: 2023-10-27T00:00:00.000Z
Location: Palazzetto Bru Zane

Organization

Palazzetto Bru Zane

Певец

Lidija Bizjak

Фортепиа́но

Sanja Bizjak

Пианист

Piano 2

Инструменталист

Piano I

Piano II

Sulle sponde del Mediterraneo

Венеция

Италия

On the shores of the Mediterranean: Recital Various

Public

Suite algérienne in C Major, op. 60

6 Pièces romantiques, Op.55

Cleopatra's Dream , Op. 180

Images pour orchestre, L. 122

Испанская рапсодия (Ispanskaya rapsodiya)

Одобрено

What were Parisian musicians seeking, at the turn of the twentieth century, when they headed for the shores of the Mediterranean Sea? Perhaps they wanted to set foot in a colonised land and pay tribute – as Camille Saint-Saëns did at the end of his Suite algérienne – to the French military presence there. But there was also a desire to explore a part of the world that, for many, represented the cradle of modern civilisation, untouched by the industrialisation that was ravaging Europe. A quest for origins that was part of a reformulation of a national identity, and appeared to be a response to Germany: set against the Nordic myths taken up by Wagner was a heritage that combined the greatness of Rome, the dreams of Cleopatra and the conquests of Spain and Portugal.

English

Che cosa cercavano i musicisti parigini del primo Novecento sulle sponde del Mediterraneo? Forse intendevano approdare alle terre colonizzate e salutare la presenza militare francese, come fece Camille Saint-Saëns alla fine della sua Suite algérienne. Ma si trattava anche di attraversare un territorio che per molti, all’epoca, rappresentava la culla della civiltà moderna, preservata dall’industrializzazione che stava devastando l’Europa. Questa ricerca delle origini faceva parte di una riformulazione dell’identità nazionale e reagiva per così dire alla Germania, contrapponendo ai miti nordici messi in gioco da Wagner un retaggio che univa la grandezza di Roma, i sogni di Cleopatra e le conquiste iberiche.

italiano

Que cherchent les musiciens parisiens, au tournant du XXe siècle, lorsqu’ils abordent les rives de la Méditerranée ? À investir, peut-être, une terre colonisée, et y saluer – comme le fait Camille Saint-Saëns à la fin de sa Suite algérienne – la présence militaire française. Mais il s’agit aussi de sillonner un territoire qui incarne alors, pour beaucoup, le berceau de la civilisation moderne, préservé de l’industrialisation qui ravage l’Europe. Cette quête des origines s’inscrit dans une reformulation de l’identité nationale et paraît être une réponse à l’Allemagne : aux mythes nordiques mobilisés par Wagner, on oppose un héritage mêlant la grandeur de Rome, les songes de Cléopâtre et les conquêtes ibériques.

français

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