Name: Tullia Melandri
Start: 2018-06-02T00:00:00.000Z
End: 2018-06-02T00:00:00.000Z
Location: Refettorio Museo Nazionale

Admin

Ravenna Festival

Pianoforte

Tullia Melandri

Piano

Ravenna

Italia

Refettorio Museo Nazionale

Tullia Melandri: Sonate mélancolique, Op.49 Moscheles (+1 More)

Public

Sonate mélancolique, Op.49

Intermezzi, Op.4

Larissa Andrea Pereira

Approvato

Basso

Instrumentalist

Violinista

Cellist

Violista

Suonatore di flauto

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da Gambist

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composizione

Direzione d'orchestra

Regia

Libretto

Scenografia

Costumi

Coreografia

Luci

Ballerino/a

Recitazione

Direzione del coro

Video

Drammaturgia

Traduzione

Sound designer

Maestro accompagnatore

Trucco

Produzione esecutiva

Parrucco

Altro

Stage Manager

Coro

Orchestra

Poeta

Docente di canto

Insegnante

Fotografia

Emittente radiotelevisiva

Scrittura

Scrittura ed esecuzione

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Mezzosoprano

Singer

Basso-baritono

Controtenore

Contralto

Tenore

Baritono

Soprano

Verbale

Voce bianca

Silenzioso

Alto

Continuo

Oggi siamo abituati a esecuzioni di Schumann sul pianoforte moderno, ma sarebbe davvero necessario riscoprire il suo suono partendo dagli strumenti che egli conosceva e usava, soprattutto negli anni giovanili, in cui compone la maggior parte delle opere pianistiche.

italiano

Today we are used to listening to Schumann performed on a modern piano, but we had better rediscover what his sound was really like. This can only be done on the instruments he knew and used, especially in his early years, when most of his piano works were composed.
As was the custom of the time, between 1831 and 1832, the period of Intermezzi op. 4, Schumann lived at the home of Friedrich Wieck, his piano teacher and future father-in-law. There, he could use several table- and grand fortepianos: a most precious one was the André Stein Viennese fortepiano donated to the young virtuoso Clara Wieck in 1828 and now kept at the Schumann-Haus in Zwickau: its sound was very similar to that of a Graf instrument from the same period, which will be used for this concert. A slightly later Graf instrument, with a darker sound, given to Clara as a wedding present by its very manufacturer, Conrad Graf, was among Schumann’s favourite fortepianos. Clara later got hold of other fortepianos with French mechanics, heavier and with a rounder sound, but Schumann always preferred to compose on the Graf.

English

Tullia Melandri by Moscheles, Schumann, Da (2018/2018), Refettorio Museo Nazionale, Ravenna, Italia

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