Elia Cecino at the Quirinale in Rome – Realms of Gold in the President’s Palace
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Elia Cecino at the Quirinale in Rome – Realms of Gold in the President’s Palace


Elia Cecino at the Quirinale -The President’s Palace in Rome– a live radio broadcast with some remarkable efficiencies of Chopin and Schumann had fun with stylish musicianship and vibrant enthusiasm.
However it was when the microphones were shut off, as broadcast had actually gone out, that for us fortunate ones in the audience Elia treated us to a ravishing efficiency of Tchaikowsky’s Nocturne.We listened with baited breath as Elia enabled the music to drift around this golden hall with noises that were genuinely engraved in gold and silver.

The ceiling of the Cappella Paolina


Chopin’s Polonaise in F sharp small that opened today show was had fun with stylish nobility however likewise a driving balanced energy and an impressive architectural shape.There was vibrant energy and impressive technical command however likewise a poetic sense of phrasing developed by a masterly sense of balance.The mazurka main episode sprang to life as he formed it with inflections that offered such significance to an apparently repeated balanced cell.Bursting into a profusion of wonderful tune that was formed with such level of sensitivity and caring care prior to the return of the Polonaise now imbued with a hypnotic drive and delicious abundant sound.A climax of such nobility as the driving waterfalls of octaves were had fun with enthusiastic conviction.Dying away to a simple whisper with just an enormous shadow left as an undercurrent of the polonaise rhythm.An extremely poetic ending to this tone poem that Chopin has actually astonishingly engraved and is a premonition of the later Polonaise Fantasie op 61.


The 4 mazurkas op 24 were had fun with seductive flexibility and subtle rhythm.A sense of balance that enabled the melodic line to sing with no requiring of tone or being subdued by the driving dance rhythms.A Lento of charm and yearning contrasting with Allegro non troppo of transmittable dance rhythms and foot marking however with the magic shepherds bagpipe that opens and closes the scene.A Moderato con anima filled with wistful fond memories and improved beauty routing into the range at the end with ravishing fluidity.A last Moderato of seductive insistent dance with it’s driving forward motion had fun with transmittable great humour and it’s main episode of concern and response however constantly ending on a note of sweet nostalgia.They were all bathed in a remarkable golden radiance due to a trascendental control of pedal and ultra delicate touch.
Chopin was just a couple of years older that Elia when he penned these gem like tone poems.Elia comprehended completely going into with such understanding this world of poetic yearning.


The Schumann Fantasiestucke op 111 is a late work which I initially spoke with the hands of Cherkassky in the very first show he gave up Rome in 1985. It was the opening operate in a recital and was followed by a huge efficiency of the Liszt Sonata.The popular critic Peter Stadlen had actually compared the efficiency of Liszt to that of pre war Horowitz.It was excessive for Guido Agosti a direct descendent of Liszt through Busoni who did not concur with such flexibility of analysis however he did value the late Schumann piece. Among Agosti’s many cherished operate in his later years was the Gesange des Fruhe (Tunes of Dawn) op 133 which was composed just 3 years prior to Schumann’s death.Elia plunged into the very first of op 111 with enthusiastic desert with its ruthless whirlwind of sounds.Followed by a most Schubertian of melodic profusions which Elia had fun with a luminescent cantabile which contrasted with the more sinuous dotty Schumannisms of the main episode.There was wondrous relief with Elia’s delicious complete noise and bounding energy of the Brahmsian march last movement.It quickly liquified into among Schumann’s quixotic modifications of state of mind had fun with a subtle beauty and beauty prior to the return of the March and an unanticipated coda where Florestan and Eusebius were at last united!

Providing the efficiencies for the listeners on Radio 3

The Symphonic Research studies op 13 comprised the entire of the 2nd half of the program and Elia selected to play simply the initial twelve variations as released in 1837. He did not consist of the 5 additional ones that Schumann had actually eliminated however had actually been brought back by Brahms in his edition of 1890. They are typically included into the material of the initial twelve however Elia selected to play the initial ones just and likewise to disregard versions that Schumann too had actually removed in his last edition.It offered terrific strength to the total shape of the deal with a sense of architectural line that took us so undoubtedly to the finale.Elia had actually understood that the seventh variation is the conclusion point of the studies.Agosti compared it to a Gothic cathedral and Elia played it with grand nobility with the bass keeps in mind offering a strong structure to such a huge edifice.There was impressive technical accuracy to the Mendelssohnian ‘presto possibile’ with its short lived light-weight chords dipped into lightening speed.There was terrific weight and charm that he gave the nocturne like penultimate research study offering psychological significance to the melodic line with the accompaniment simply a simple vibration of harmonies.The ending was had fun with impressive power and driving balanced energy.The significant modification of consistency towards completion was put with stylish accuracy and control that made the modification a lot more astonishing.The turbulent ending was had fun with an enjoyment and driving force that was genuinely breathtaking.The research studies had actually begun with his future daddy in law’s style had fun with a deactivating simpleness as the variations were enabled to unfold with a consistent driving undercurrent.From the simpleness of the balanced bass of the very first to the enthusiastic profusion of the second.There followed the easy short lived notes of butterfly lightness while the tenor tune is enabled to intone the style with the lovely accessory simply contributing to it’s poignant beauty.There was a short lived lightness to the scherzando after the rather ponderous specifically put chords of the previous one.An exceptional efficiency of terrific power and charm however above all a sense of shape and instructions of a fully grown artist who had actually seen the work as a combined whole.

A complete hall on a really cold Sunday early morning in Rome
Elia with his coach Maddalena de Facci
Francesco Moretti of MA MUSIC Firm–
Enforcing sculpture by Manzu


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