Fernando Sor (Barcelone 1778 - Paris 1839)
Fantaisie élégiaque
à la mort de Madame Beslay, née Levavasseur
Œuvre 59
00:00 INTRODUCTION
Andante Largo
08:50 MARCHE FUNEBRE
Andante Moderato
Guitare romantique de Guillaume Louis Martin, Paris, 1830.
Pablo Lentini Riva, guitare.
pablolentiniriva.bandcamp.com/
Instagram: @pablo_lentini_riva
Vidéo tournée le 11 mai 2023 à l'INSTITUT CULTUREL ITALIEN de Paris, Hôtel de Galliffet, 50 rue de Varenne, 75007.
Production executive Showson
Réalisation Ghislain de Vaulx
Assisté par Veronica Mecchia
Fernando Sor (Barcellona 1778 - Parigi 1839)
Fantasia elegiaca Opera 59
00:00 INTRODUZIONE
Andante Largo
08:50 MARCIA FUNEBRE
Andante Moderato
Chitarra romantica di Guillaume Louis Martin, Parigi, 1830.
Pablo Lentini Riva, chitarra.
pablolentiniriva.bandcamp.com/
Instagram: @pablo_lentini_riva
Video girato in presa diretta l'11 maggio 2023 all'ISTITUTO ITALIANO DI CULTURA di Parigi, Hôtel de Galliffet, 50 rue de Varenne, 75007.
Produzione esecutiva Showson
Regia Ghislain de Vaulx
Assisitito da Veronica Mecchia
"Unlike many Romantic fantasias, this large-scale Fantaisie élégiaque was not designed to show off the transcendental virtuosity of its performer. Nor does it borrow its thematic material from a famous opera. Sor dedicated it to the memory of Mme Beslay, née Levasseur, who died in childbirth on 20 April 1835 (from which we can deduce that the work dates from that year, or possibly 1836). The young woman, the daughter of an officer under Napoleon I, had taken guitar lessons with the composer. She was known above all, however, for her talents as a pianist, which had attracted the attention of Rossini. This may perhaps explain the importance of the operatic register in the elegy she inspired. The Introduction, improvisatory in character, begins with a striking gesture: an arpeggio of the diminished seventh, which at once establishes its tragic mood, subsequently reinforced by the descending chromatic bass and the painful appoggiaturas. This opening exploiting the rhetorical devices of the lament is followed by a long instrumental aria (into which a section in duo texture is inserted). Then the Marche funèbre unfolds its solemn rhythm, though brightened at one point by a new aria, in the major mode, like a poignant recollection of the departed. Towards the end of the piece, two words are written on the score - ‘Charlotte!’, ‘Adieu!’ - likening the guitar to a person with the power of speech. These interjections are answered by ethereal harmonics, as if a voice were replying from the hereafter." Palazzetto Bru Zane, Venice.
www.bruzanemediabase.com/fre/O...