The season of the Società dei Concerti di Trieste ended with an evening that I have no hesitation in describing as exciting, but the future is already upon us. In fact, the following day the Second edition of the “Trieste Festival – The Lighthouse of Music” which sees the glorious Trieste association as the main organizer of a cultural event, born last year, which involves the city at various levels.
Protagonist of the evening Augustin Hadelichan internationally renowned violinist who literally captivated the large audience present at the Teatro Verdi in Trieste, guiding the spectators on a musical and spiritual journey that embraced and declined two centuries of violin compositions, from Bach to the contemporary David Lang.
In the program – very interesting – we talk about “level jumps” and that is those compositional devices that seem to transform the violin, a monophonic instrument, into a polyphonic instrument.
This is not the place to go into more detail but one thing is certain, listening was more revealing than any explanation right from the first musical page proposed: the Partita n.3 in E major by Bach.
Structured in a Prelude and six dances, the piece alternates – in a paradigmatic baroque essence – after an almost severe incipit, atmospheres of lively lightness and vaporous and enveloping melodies.
The edgy anxieties of the twentieth century, although softened by the unmistakable soul of the blues and above all by the masterful interpretation of the soloist, exploded in the four explosive compositions by Coleridge-Taylor Perkinson which took me back – it’s a perversion of mine – to certain surrealist photographs by Man Ray and they introduced the disturbing Before sorrow by David Lang.
Also of great impact Sonata n.3 by Eugène Ysaÿerich in dissonances and chromaticisms.
After the interval it was Bach’s turn again with the Partita n.2 in D minorcomposed of the “usual” dances transfigured by the brilliant inventiveness of Bach who, in this case, reaches one of the highest peaks of his art.
Augustin Hadelich was an amazing interpreter with a sober style despite the incredible virtuosity required by the musical pages addressed. The bond, the spectacular control of the dynamics, the empathy that his person emanates at the center of the stage with only the lectern as company is something difficult to explain: it is probably called Art.
The review refers to the evening of May 20, 2024
Paolo Bullo
