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CHARLES E. IVES 1874 – 1954

Songs

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Lorna Windsor - soprano Antonio Ballista - piano Presentation The program is a kind of collage where all the images that belong to the varied world of New England get together: a cocktail of road songs, sentimental ballades, national anthem, songs of cowboys, Victorian romances and music for bands, in a picturesque succession of nostalgic tradition and irresistible pulse to provocation.

Program First part

Second part

At the River The new river Walking Maple leaves Side show Serenity The things our fathers loved Evening The Swimmer A Children’s carol

West London Circus Band Mirage There is a lane Children’s hour Afterglow Duty Charlie Rutledge

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GO TO HOLLYWOOD

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Lorna Windsor – soprano Antonio Ballista – piano Program KANDER

Cabaret And all that jazz

ARLEN

Somewhere over the rainbow

BERLIN

Puttin’ on the Ritz

JOPLIN

The entertainer – solace – maple Leaf Rag

KERN

Can’t help lovin dat men Smoke gets in your eyes

KANDER

When you’re good to Mama ***

PIAZZOLLA

Adios Nonino

PORTER

So in love My heart belongs to Daddy Find me a primitive man Why can’t you behave Too darn hot!

GERSHWIN

The man I love Someone to watch over me ‘S wonderful Summertime I got rhyhtm

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HAPPY CHRISTMAS – WAR IS OVER

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Framed by two of the most famous Bach chorals, this program about Christmas develops in a multiplicity of ways: from presbyterian naïveté of Warlock and Ives songs, to Crumb’s brilliant music transpositions of Giotto fresco paintings at the Cappella degli Scrovegni in Padua; from Rilke symbolism set to music by Hindemith, to the color evocations from catholic liturgy by Messiaen, to three undeniable jewels concerning Nativity by Ravel, Fauré and Debussy. The program includes also some pop masterpieces by Styne and Berlin, as well as the wonderful and touching “Happy Christmas” by Lennon.

Program J.S.BACH NADAU BAPTISTA PETER WARLOCK CHARLES IVES G.CRUMB

JULES STYNE IRVING BERLIN J.LENNON & Y.ONO

(MYRA HESS) BWV 147 “Jesus bleibet unser Freude” * (Occitan song) Balulalow The first mercy A Christmas carol from “Little Suite for Christmas A.D.1979”: Adoration of the Magi Nativity Dance Carol of the bells * Let it snow White Christmas Happy Christmas (War is over) ***

BACH – BUSONI PAUL HINDEMITH OLIVIER MESSIAEN

RAVEL FAURE DEBUSSY

Preludio-chorale “Nun komm der Heiden Heiland” * from “Das Marienleben”: Geburt Mariä, Von der Hochzeit zu Kana “Je dors, mais mon cœur veille” (Ce n’est pas d’ un ange l’ archet qui sourit, - c’est Jesus dormant qui nous aime dans son Dimanche et nous donne l’ oubli..) * Noël des jouets Noël Noël des enfants qui n’ont plus de maison

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HARAWI « Chant d’amour et de mort » (1945) 4

“HARAWI” (1945) for soprano and piano is the masterpiece by Olivier Messiaen (1908-1992), certainly the most spiritual composer in the XXth Century. HARAWI is an Indian-American word that means song of love and death. The composer finds in Peru the poetic images, the phonemes, the onomatopoeias that allow him to create an imaginary language. He pulls out from folklore not only melodic profiles, but first of all a charming tone that hypnotizes every kind of public. Among the twelve poems whose Harawi is composed, the most impressive are the third (Repetition planetaire), an astonishing and powerful cosmic picture, and the ninth (L’Escalier redit, gestes du soleil), the portrait of an infinite happiness in the beyond, a kind of musical hallucination of striking vehemence.

Program La ville qui dormait Bonjour toi, colombe verte Montagnes/Doundou tchil L’amour de Piroutcha Répétition planetaire Adieu/Syllabes L’escalier redit, gestes du soleil Amour oiseau d’étoile Katchikatchi les étoiles/ Dans le noir

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PAUL HINDEMITH (1895-1963) 5

Lorna Windsor - soprano Antonio Ballista - piano Presentation Das Marienleben, that is the life of Christ through the eyes of Mary, the mother, the women. The history of Christianity undergoes a revolution of perspective that the persuasive elegance of the Rilke’s verses try in vain to reduce. The figure of the Saviour is rejected on the background, refined and remote icon. No more the Goddess who embodies himself for the universal redemption but, on the contrary, the human all too human, a fragile body of a woman made inactive instrument of a suffering destiny that transcends and ignore it. There is no redemption for Mary’s pain who attends the sacrifice of the Son: aimless and no-fault sorrow that the expiation of Christ doesn’t sublime, but it goes under a blind abyss of loneliness. And even if at the end there is a catharsis (Death of Mary I, II, III), this will not happen for divine grace but it will be the arrival point of a long walk of resignation that transforms in a mystic way the love for a man in universal compassion. The cycle of Rilke is on 1912, at the beginning of the stay in Duino. The composition of Hindemith is on 1992/23. The Omnipresent theme is the woman – almost an obsession in the Central European culture of the first decade of XX Century. And, on closer view, we can see a subtle connection between the mystic Marienleben and the profane Sancta Susanna where Christ is represented as a gelid and impassive effigy: facing the sorrow of Mary as the erotic delirium of the nun. On October 1923, the first execution of the new cycle of lyric poems astonished the public of Frankfurt. At the end of the thirty, in the United States, Hindemith has a hand in the review of some Lieder and, in 1948 he realize a new version of the whole cycle, in place of the first one. Despite Hindemith’s intentions, the new version never replace the first and both live together as possible alternatives. Andrea Lanza

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Program Paul Hindemith (1895-1963) Das Marienleben op. 27 from texts by Rainer Maria Rilke second version (1948) Geburt Mariä Die Darstellung Mariä im Tempel Mariä Verkündigung Mariä Heimsuchung *** Argwohn Josephs Verkündigung über den Hirten Geburt Christi Rast auf der Flucht in Ägypten *** Von der Hochzeit zu Kana Vor der Passion Pietà Stillung Mariä mit dem Auferstandenen *** Vom Tode Mariä I Vom Tode Mariä II Vom Tode Mariä III

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SOMERSAULTS A first class cruise on the Acheron 7

Lorna Windsor - soprano Antonio Ballista - piano texts by: Davide Tortorella Shirley Jackson Woody Allen Presentation Angelo Branduardi, Gustav Mahler, Georg Friedrich Handel, Elio & Le Storie Tese, Charles Gounod… which musical secret have they in common? This recital reveals it: all of them have immortalized the death. In a way that is overwhelming, passionate, irresistible…in a single word: vital. Like acrobatic Dante and Beatrice of the Third Millennium, Antonio Ballista and Lorna Windsor dare, in a “soirée”, to turn the most dangerous musical somersaults, striking the most delicate note: the one who starts off the beyond. Embarked on an unforgettable first class cruise for voice and piano on the Acheron – the river of the netherworld – we will listen to the last famous sighs of the melodrama heroines (Carmen, Isotta, Lulù, Aida…), we will read again the ironic Rossini’s last will, we will be moved by the crepuscular sadness of Richard Strauss, we will tremble at the tolling of the swamped bells of Debussy, and we will sneer with the black humor of Elio & Le Storie Tese. With a fearless electrocardiogram between classical and pop music, between jazz and musical, these “somersaults” try to prove, according to the medical report, that death doesn’t finish anything, or rather, the fun begins after…Particularly if, at the encore moment, resurrection comes.

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Program BRANDUARDI

Ballo in Fa diesis minore

HANDEL VERDI

Morte, vieni (Riccardo Re d’ Inghilterra) Tu che la vanità (Don Carlos)

LUCIO BATTISTI

Il tempo di morire

MAHLER

Das irdische Leben

SHOSTAKOVITCH

Ninna-Nanna

GOUNOD

Marche funèbre pour une marionette

ALLAIS

Marcia funebre per un grand’ uomo sordo

ROSSINI

Un petit train du plaisir

WEILL

Moritat

Concertato “Le ultime famose parole”: music by GEORGES BIZET, GIACOMO PUCCINI, GIUSEPPE VERDI et ALBAN BERG *** STRAUSS

Morgen

BELISARI-CONFORTI

Urna

COWELL

The Banshee

WEILL

Le train du ciel

DEBUSSY

La Cathédrale engloutie

JACKSON

Thriller

OFFENBACH

Je suis veuve d’ un Colonel (La vie parisienne)

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DISGUISED NOTES

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Lorna Windsor - soprano Antonio Ballista – piano Texts by Davide Tortorella Presentation What do music and disguise have in common? Antonio Ballista and Lorna Windsor will explain it, in a musical travel that starts with a selection of pieces that talk about disguise, through musicals, operas, operettas and popular songs. The second part of the program examines the polymorphic nature of piano, the most changeable among the instruments; it will approach some ambiguous melodies such as the Pachelbel's Canon and the Air on the G String of Bach, that crossed the centuries reappearing time to time in new guises, who cannot totally hide their original identikit. Because, after all, the notes are seven: the rest is just disguise.

I PART R. O'BRIEN O. STRAUSS L. BETTI/ A. ARBASINO J. LENNON/P. McCARTNEY G. VERDI J. OFFENBACH I. ALBENIZ N. SLOMINSKI A. LIADOV M. MUSORGSKI M. DE FALLA N. CASTIGLIONI N. SLOMINSKI D. MILHAUD AUTORI VARI

Sweet Transvestite Je ne suis pas ce que l'on pense (from “Les Trois Valses”) Seguendo la flotta Polythene Pam Saper vorreste di che si veste (from “Un Ballo in Maschera”) Fly duet (from “Orphée aux Enfers”) Asturias Drehorgel (una grottesca scordatura) Une tabatière à musique (Valse badinage) The Great gate of Kiev Ritual Fire Dance La Fontanella di Ganna Ghiaccio sul Rosengarten Radice quadrata della Sinfonia n.5 di BEETHOVEN Tango des fratellini Variations from “Il Bel Castello''

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II PART MOZART S. VARTAN

Simphony n. 40 in G minor Dear Mozart

J. PACHELBEL APHRODITE'S CHILD MICHEL SARDOU VILLAGE PEOPLE OASIS JOVANOTTI V. BELLINI SMETANA C. CASELLI L. VAN BEETHOVEN

Canon Rain and tears La Maladie d' amour Go West So Sally can wait A Te Fenesta che lucive from “Ma Vlast” : La Moldava Nessuno mi può giudicare Extract from First Concert in Primo Concerto in C major, Op.15 for piano and orchestra 'Tico Tico Rêverie My reverie Air on the G String Everything's gonna be alright – A Chloris Once upon a dream from “The Sleeping Beauty” Extract from the third movement of the third Symphony in F+, Op.90 Love of my life Moritat

ZEQUINA DA ABREU C. DEBUSSY L. CLINTON J.S. BACH SWEETBOX R. HAHN I.P. TCHAIKOVSKI /W. DISNEY J. BRAHMS SANTANA WEILL

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YOU’RE THE TOP Homage to Cole Porter (selection, new versions and instrumentation by Alessandro Lucchetti)

Antonio Ballista - conductor Lorna Windsor - soprano Marco Beasley - tenor Alessandro Lucchetti - piano Presentation Not only blues, jazz, musical; country, cajun and café chantant; but also Chopin, Brahms, Bizet and even Ives. We can find all these influences inside the very huge work of Cole Porter (we are talking about 900 pieces more or less). My dream was to highlight this unbelievable abundance of inspirations that feature his production. This conditioned both the selection of songs and the orchestration, that recalls, from time to time, the jazz quartet or the chamber ensemble, the music hall little orchestra or the big band, or the folk group. The program includes music for orchestra too, like the new version of Another opening, another show, who portrays the slow marching of a citizens band accompanied by majorettes. The selection of songs required some painful exclusions in order not to exceed in the duration of the concert. Twenty-five songs are gathered in six fantasies who reminds the paraphrases of operas made by Liszt and also a medley of songs, both of these genres equally represented. Three of the fantasies are dedicated to three famous musicals: Can Can, Anything Goes and Kiss Me Kate. The others include songs whose lyrics depict love in all its aspects: the idealized love (dreamed, yearned or triumphant); the tormented love (obsessive, conflicting, or recalled); and the transgressive love (carnal, made of an eccentric and uninhibited sexuality).

Alessandro Lucchetti

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Program DREAMS OF LOVE 12

In the still of the night You do something to me Easy to love CANCAN Just one of those things I love Paris It’s alright with me Let’s do it WHAT IS LOVE? Love for sale Night and day What is this thing called love? Everytime we say goodbye Begin the beguine ***** “ROBA DA MATTI” My heart belongs to Daddy Give him the Oo la la Kate the great Find me a primitive man ANYTHING GOES It’s delovely I get a kick out of you You’re the top Anything goes KISS ME KATE Another opening, another show Why can’t you behave From this moment on So in love Too darn hot