Requiem – score

Finally released the Requiem score. Thanks to Casa Ricordi for the precious and constant support and to the artist Vincenzo Scolamiero for the wonderful title page.   Frontespizio Scolamiero         Partitura requiem

Silvia Colasanti – Requiem at Festival di Spoleto 60'

Yesteday at Mibact have been announced the program of the Festival di Spoleto 60′. On July 2 will be executed in Piazza del Duomo:




For Soloists, Choir and Orchestra

Silvia Colasanti music

on texts by Mariangela Gualtieri

and Latin texts from the liturgy

Director Maxime Pascal

Italian Youth Orchestra

International Opera Choir

Gea Garatti choir master

Reciting voice Mariangela Gualtieri

Singer Monica Bacelli

Bandoneon Richard Galliano

Spoleto Festival Committee 60

The Spoleto 2017 Festival wants to start with a moment of reflection and recollection by dedicating an evening to the earthquake that hit the center of Italy. Perhaps only music and poetry can approach without rhetoric to this huge mass of pain, and attempt a vivifying act. The Festival has thus commissioned Silvia Colasanti to write a Requiem, Soloists, Choir and Orchestra in which Latin texts of the Mass of Requiem dialogue with new texts written for the occasion by the poet Mariangela Gualtieri. It will be a song of release to the deaths of the earthquake, the small and great shadows, the rejection of a mournful idea of ​​death and of a godly, judge, authoritarian and punitive God. But also a song of hope and thanksgiving. The work will have an oratorial structure with several characters: a singer / heart reduced to ashes, a voice reciting / doubting, the chorus of who does not doubt, the Bandoneon / Breath of the earth. The singer and the actress – here the poet himself – talk with Choir and Orchestra, or draw intimate and lyrical moments that alternate with choral and magical situations. Finally, it will be the solo bandoneon to personify a desire for rebirth, which is demanded of forgiveness for human smallness and thanksgiving song to earth and heaven: with pity, ardor and sweetness of which the lay rite of music and poetry are capable.

Variazioni su Orfeo – Teatro Ponchielli di Cremona, 12 Maggio 2017

On May 12, the melogue Variazioni su Orfeo will be performed in Teatro Ponchielli di Cremona.

To celebrate 450 years since the birth of Claudio Monteverdi, the Monteverdi Festival in Cremona devotes an evening to the readings that through the centuries have accompanied the myth of Orfeo, on an original drama by Valter Malosti, who on stage talks with dancer Michela Lucenti.

The nightmare of the evening is melologue ‘ Orpheus. Flebile queritur lyra. ‘ by Silvia Colasanti.

The work presents itself as a ‘concert’ for voice and ensemble, with a calibrated alternation between music and word. Music has a very dramatic dramatic function: in certain moments the sounds amplify the meaning of the text or emphasize some traits, others express something that is not even said in words. That is why if in some moments the music coexists with the word, in others it is alone.

In the rise of Orpheus from the Inferi there is an exclusively instrumental zone to express the suspense between the passive need to know and the rational brake of the taboo, followed by another music section – entirely built on the revision of the air that Monteverdi uses in the same moment of the work, here entrusted to a horn placed behind the public – to tell the joy and pain of Euridice in seeing Orfeo’s face. The music alone replaces the stories sung by Orpheus after his return from the Inferi, or even in the final summon the violent death of the poet by Baccanti, his suffering and together his desire to meet his beloved, his definitive descent into hades and the wonderful image that Ovid offers us of Orpheus’s boss and lion, who – dragged by the river – they still sing and nature seems to respond to these sounds through a different song of water and shores.

The music of Claudio Monteverdi and Silvia Colasanti are performed by the Sentieri Selvaggi ensanble, conduceted by Carlo Boccadoro.

Bashmet between Russian composers and Silvia Colasanti

Silvia Colasanti

Yuri Bashmet, the greatest violist of our days,

celebrates the 100th anniversary of the October Revolution

with the music of four composers

which were in open contrast to the Soviet regime,

often risking personally,

and with a piece dedicated to him by Silvia Colasanti.

On March 14 at 17.30 Yuri Bashmet, the most illustrious virtuous of viola of our day, and the Soloists of Moscow, the extraordinary chamber orchestra he founded and direct, recall in the Aula Magna of the Sapienza University for the IUC concert season, the cent Anniversary of the October Revolution, not with a rhetorical celebration but with a panorama of four of the most important composers of the Soviet period, who often found themselves in open contrast to the regime and therefore faced discrimination, running several risks. In the program, Prokof’ev and Šostakovič, Sviridov and Schnittke, and a song written for Bashmet and the Moscow Soloists by Silvia Colasanti.

The music chosen by Bashmet does not accept the dictates of socialist realism. Le Visions fugitives op. 22 by Sergej Prokof’ev (performed in the Rudolf Barshai archery version) were written between 1915 and 1917, so before the October Revolution. It is certainly not a celebratory work of the Revolution also the Symphony of Chamber op. 110 of Dmitry Šostakovič, which is the small orchestra transcription of Quartet no. 8, devoted to “the victims of fascism and war,” not to the victims of one party, but to all the victims, as they clarify these composer’s words: “I try eternal pain for those who were killed by Hitler but are no less Distressed to those who died at Stalin’s command. ”

It is up to the tragic years in which the Symphony of Op. 14, written in 1940 by Georgij Sviridov, then just twenty-five. It is certainly not a work of “regime” not even the “For Three” Concert by Alfred Schnittke, written in 1994 for Bashmet and two other great instrumentalists, Gidon Kremer and Mstislav Rostropovich, who lived in exile as the composer himself. On this occasion the soloists will be Andrei Poskrobko on the violin, Yury Bashmet on the viola and Alexei Naidenov on the cello. Complete the program with the first performance in Rome of Preludio, Presto e Lamento by Silvia Colasanti, the most well-known international composer, who has dedicated it to Bashmet and the Moscow Soloists. “The great” songwriting “, in addition to virtuosity, and musical ductility are the traits of Bashmet’s personality, which make him a world-class interpreter, especially for contemporary repertoire. This new work for viola – recounts the Roman composer – which fascinates me for its dark and warm color, rests on a tripartite structure: a Prelude, full of contrasts, which presents the materials that will be developed during the song, a Presto Characterized by a stubborn and fast rhythm of the soloist on dry and hard-pursuits of the orchestra and a final lament, where the viola draws a long arabesque on a rug of Bachian harmonies and concludes the work after an articulate cadence.

“Source: L’ape musicale – Music, art and culture magazine

Capriccio a due with Salvatore Accardo, Laura Gorna and OCI

Within the cycle of concerts organized by the Unione Musicale in Turin, on March 23 2016, 21.00 will be performed my work Capriccio a due, originally written for Salvatore Accardo, Laura Gorna and the Orchestra da Camera Italiana.

This work has been committed by the Istituzione Universitaria dei Concerti, to inaugurate the 2013/2014 season.
capriccio a due partitura

Above, the first page of the score, and below a rewiew written by Francesco Arturo Saponaro for Classic Voice (available only in Italian).

capriccio a due recensione