Vittorio Sgarbi: il critico delle Meraviglie d’Italia

Vittorio Sgarbi

 

Cari amici, oggi è con me un ospite davvero speciale, il critico d’arte Vittorio Sgarbi, che mi ha concesso l’onore di questa intervista dove ci racconterà del secondo volume degli “Gli anni delle Meraviglie II” e gli imminenti progetti per Expo 2015.

La sua storia inizia a Ferrara, dove nasce l’8 maggio del 1952. Si laurea in filosofia con specializzazione in storia dell’arte presso l’Università di Bologna. Diventa ispettore della Soprintendenza ai beni storici e artistici in Veneto e insegna per tre anni Storia delle tecniche artistiche all’Università di Udine.

Oggi è ambasciatore dell’Expo Milano 2015 per le Belle Arti. Per maggiori  informazioni www.vittoriosgarbi.it

 

 

Vittorio Sgarbi

Grazie mille gentile Professore di essere qui con me oggi. Il libro  “Gli anni delle meraviglie II” è un libro sulla storia dell’arte che nessuno a scuola ci ha raccontato. Com’è stato scriverlo? A proposito del libro durante la presentazione al Castello Sforzesco in un passaggio ha fatto una metafora musicale con Mozart. Il suo musicista classico preferito, che collega ad un dipinto. O se ha mai trovato delle situazioni che può suggerire?

Mozart sicuramente è collegato al suo grande librettista italiano, Lorenzo Da Ponte, che coorobora molto . Per restare in tema musicale e per fare un riferimento, Gli Anni delle Meraviglie è una tetralogia. All’interno vi sono opere scelte della storia dell’arte conosciute, da Cimabue fino a Pontormo, con bellissime fotografie. L’opera proseguirà fino ai capolavori dell’arte moderna, che caratterizzeranno il quinto volume. Bisogna farsi una cultura musicale così come una della storia dell’arte, conoscere autori come Verdi, Wagner così come Michelangelo e Raffaello. In Italia si presenta una profonda carenza della conoscenza dell’arte italiana, che viene maltrattata. Il libro “Gli anni delle Meraviglie” è un libro che va al di là della mera pedagogia, ma si presenta in una veste piu appassionata e accattivante.

Sgarbi

Secondo lei attraverso il web, pittori come Zanetto Bugatto, possono essere maggiormente divulgati?

Tutto può essere. Dipende. Sicuramente se cerchi sul web un autore come Bugatto devi averne una conoscenza pregressa, devi sapere che esiste. Quindi la formazione risulta essenziale. Per questo il libro ” Gli Anni delle Meraviglie” può diventare uno strumento prezioso per documentarsi.

Prof, ho visto che viaggia molto forte su Facebook ,ma gli altri social li usa un pò meno, per questioni di tempo o proprio non le piacciono? Oltre al tasto “mi piace”, un pulsante che cambierebbe?

Si ho una pagina Facebook curata dai miei collaboratori, che mi seguono nei miei spostamenti e documentano live sui Social. Trovo che questi nuovi strumenti siano un motivo in piu per condividere ma resto dell’opinione che sia di vitale importanza il contatto con il pubblico. E poi sono per la scrittura. Un pulsante che cambierei? Decisamente nessuno, vanno bene quelli che ci sono già.

Vittorio Sgarbi

Come si trova a scrivere e fare video su “I Fiori del Male” ( www.fioridelmale.it) ?

Ho rapporti con Sommi, il fondatore che mi ha chiesto di realizzare alcuni video di opere d’arte. Il progetto è molto interessante ed è un modo in piu per parlare della storia dell’arte.

Cosa ne pensa di questo periodo storico che stiamo attraversando?

Il migliore possibile. Ogni epoca è piena di difetti, ma il nuovo si avvantaggia sempre da quello precedente. Questa è l’epoca migliore in cui si potrebbe vivere. Certamente le altre epoche, anche le piu lontane sono suggestive, ma basta pensare che oggi possediamo lo smartphone, abbiamo le comodità di viaggiare in aereo e molto altro.

Vittorio Sgarbi

 

Vittorio Sgarbi con Sabrina Colle

Per l’Expo sorprese? Qualcosa di particolare da visitare che consiglia?

Mi occuperò di tutta la parte artistica dell’Expo 2015. A Milano di grande rilevanza saranno i Palazzi, tutti da scoprire. Palazzo Clerici, Palazzo Valsecchi, Palazzo Isinbardi e Dugnani. Poi la bellissima mostra su Antonello di cui sarò curatore e la “Bella Principessa” di Leonardo che da Urbino porterò a Milano, sempre per Expo 2015.

 

 

Seguite il Prof. Sgarbi sul Sito Ufficiale: http://www.vittoriosgarbi.it

Sulla sua pagina Facebook: https://www.facebook.com/SgarbiVittorio?ref=ts&fref=ts

E sui “Fiori del Male”: http://www.ifioridelmale.it/autori/vittorio-sgarbi

 

Per l’intervista si ringrazia di cuore Camilla Maria Marino.

 

 

 

 

 

 

 

 

Elisabeth Sombart: with “Résonnance” I bring piano in the places of solidarity

2012_Elizabeth_©Sheila McKinnon

Dear friends, it’s my pleasure today to announce this special woman and great pianist: Elizabeth Sombart. We had a very lovely conversation by phone and let me say how she is wonderful, humble and pretty. Here you can find a short biography about her carrier:

She began studying the piano at age seven. She entered the Conservatory in his hometown and performed for the first time in public at age eleven. After getting the first prize in piano and chamber music at sixteen, she decided to leave France to perfect his art in Buenos Aires with Bruno Leonardo Gelber before completing his training with masters such as Peter Feuchtwanger in London and Hilde Langer-Rühl in Vienna where she deepens work on the use of breathing in piano playing. In the ten years that followed, she began with the great Sergiu Celibidache at the University of Mainz, musical phenomenology studies that allow him to develop a phenomenological pedagogy built on the basic principle of reducing the multiplicity of sound phenomena to unity.

Alongside her solo activity, Elizabeth Sombart is the founder and president of the Resonance Foundation, created in 1998 and present in seven countries (France, Italy, Belgium, Romania, Spain and Lebanon). The mission of the foundation are one hand “to provide classical music in places where it is not played” (hospitals, nursing homes, institutions for the disabled, prisons, businesses etc.) and Second, “to create and manage Resonance schools” Free piano schools without examination and without age limit.

http://website.resonnance.org/resonnance/presentation-resonnance

 

How did you come in you a passion for the piano?
In childhood, my mom and I spent the days playing the piano.I remember that I liked when she was playing, I hide under the piano, like a secret hideaway. Mine was a ‘tough childhood and the this instrument  I found a place of solace. My reality.

Who are your favorite composers?
The thing that touches is what they communicate and their common suffering. I love them all.
 An important moment of your career, a story you want to reveal to our readers?
Everything starts from my Foundation “Resonance”, which brings music to the places of solidarity. And here is revealed the mystery of the phenomenology of music. Often I perform in these places, such as prisons and nursing homes, in that places there is a great need for music. We do about two hundred concerts all year. I remember a concert in particular, in a nursing home. When I entered the large hall where I should start to show in the middle of the room surronded by beds of the elderly were all arranged around the piano. One in particular, however, was the one belonging to a black lady, attached to a machine that produced a sound, regular as metronome, “beep … beep …”. The nurse told me that she could no longer speak for some time, but had expressed a strong desire to be present at the concert, with her eyes full of passion. I still remember it now. I played a Berceuse of Chopin, with closed eyes, as always, by integrating the “beep” as an onomatopoeia in music. At the end of the lullaby, the “beep” has stopped and she had become golden. I opened my eyes and saw a tear on her face, just on the last agreement. The music allows us to a sanctuary, knows no boundaries materials.

Elizabeth Sombart

How many hours do you train a day?
I always play my piano four hours a day.  In the others  four hours I dedicate my time  to the foundation. The rest of the time is dedicated to  writing of my books that I recently published, on music ( here one of those amazing books:http://www.amazon.ca/MUSIQUE-AU-COEUR-DE-LÉMERVEILLEMENT/dp/2709617323 n.d.r)

What is your relationship with social media? Do you think they can contribute to the popularization of classical music?
With the I-phone I am perfectly at ease, I can keep in touch with my audience. But, you know, for a musician  the relationship with the “virtual” world is very different, very particular.The relation of the musician is with the public is vital and for me the concerts are essential just to create that energy that you can feel only  with physically participating and living  the event, to create emotion. In this historical moment we are inundated with videos, Youtube in particular and I think this may  create a distance-type of  energy. As long as the music is a metaphor for God. A life choice. Relationship alive. But I don’t want to   be categorical and as I told you in the right measure also I use these new technologies for sharing purposes, but anyway I believe it is essential the contact with the public.

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How much beauty has influenced your career?

During the difficult period of my childhood I had no awareness of being beautiful. During a competition I remember, I entered the room and sat at piano.A  gentleman of the jury said c”With that face she does not need to play.” And in that moment I felt almost hurt, I began to ask to myself some questions. I honestly do not understand why the world give so much weight to a thing I did not care as much.
I remember, when I was 22 and I did a TV interview and they asked me a question just like “What is the relationship I had with the beauty” and I said that for me the beauty is primarily the result of an inner movement. The presenter then took me aside backstage and told me why I said it so, because I was pretty, for him sure it would have been misunderstood by the public, in a way. Instead, because I was very young, I had so little confidence in myself!  It’s all in the report and in my books and I have suffered a great deal, especially  I remember some envy , even when I dedicated a special on television” from Bach to Bartok”. I lived all this without understanding, passed by without giving me an answer. I lived next to this without understanding. The sense of this then I wrote in my book, “On m’appelle Plume”(http://website.resonnance.org/resonnance/elizabeth-sombart/56-le-shop/book-shop/218-on-m-appelle-plume). The music is the heart of the enchantment and its synopsis.

Eliz Macro-8095 lg

( In the picture Elizabeth performs agains violence under woman,she is fighting for this cause for many years with associations)
What is never missing in your suitcase when you’re on tour?
A book and lipstick.
 Future projects?

I recently visited a Palestinian camp in Lebanon, these projects are very important and after the Masterclass in Rome ,that I’m doing these days, I’ll make a retreat of silence for eight days and then I will hold a concert with the Philharmonia of London.

 

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Thanks a lot to Elizabeth for give me the pleasure to interview her and a spacial thanks to Resonance Foundation:

http://website.resonnance.org/resonnance/presentation-resonnance

 

 

Etienne Abelin: technology meets the violin’s virtuoso

Etienne Abelin Violinist

Musiclovers! Today is with a me very special “Cyber” Violinist: Etienne Abelin!

Etienne Abelin is a Swiss violinist and conductor, a serial creative entrepreneur and TEDx speaker. He is the founder of classYcal, a start-up dedicated to innovations in classical music including the Ynight classical club nights (“Best of the Year” Tagesanzeiger Zurich) and the Apples & Olives Indie Classical Festival Zurich. He co-founded the Swiss El Sistema-inspired musical-social initiative Superar Suisse and the Sistema Europe Youth Orchestra whose musical co-director he currently is. He is also responsible for live performances of the Music Animation Machine and violinist of bachSpace, a project that combines music by Johann Sebastian Bach with electronic compositions. Etienne is a member of the Lucerne Festival Orchestra and was, for seven years, the principal second violin in the Orchestra Mozart Bologna, both orchestras founded and directed by the late Claudio Abbado. He was Artist-in-Residence and music curator at the Festspielhaus St. Pölten, Austria, serves in the jury of the Classical:NEXT conference and currently lives in Basel.

Etienne Abelin

Enjoy the interview!

Hello dear Etienne, thanks a lot to be here with me in this space! Let me start with this exciting question: How was your experience with Daniel Barenboim in Vienna this year?

You refer to a music education project with the Vienna Phil leading up to a pre-concert talk where adolescents introduced a piece by Pierre Boulez with help of the Music Animation Machine. I couldn’t be there unfortunately but it went very well!

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How did you start to realize that you really want to be a virtuoso?

I really didn’t want to be a virtuoso and am terrible at it. But I did, eventually, gradually, experience myself as someone expressing myself with music. And it’s a journey that never ends!

Your favourite book?

Hmm, constantly changing. Currently “The Rest is Noise” by Alex Ross. A fantastic book on music of the 20th century!

 Your favourite sound track for a trip?

Sam Amidon, the album Lily-O! Incredible indie folk musician, recording for one of my favorite labels, Bedroom Community in Iceland.

Etienne Abelin

What do you think about new technology like the “Music Animation Machine” created by Stephen Malinoswki?

It’s really intriguing how new technology can enhance our experience with music. The Music Animation Machine is a prime example. It’s an actual GPS for music!

Etienne Abelin

Etienne Abelin

 What’s your realation with social media or in general with web and stuff?

Twisted. I love it, am hooked to it, see many advantages that I use happily and then again I REALLY enjoy times without the net.

 What’s never missed in your suitcase when you are on tour?

Hmm, a few Cuban cigars…

What’s on your agenda for this time

Playing Vivaldi’s “Winter” with a cool young orchestra, preparing the Richard Strauss Oboe Concerto score to conduct in early January and preparing a concert trip to Buenos Aires, Rio de Janeiro and Caracas in January, can’t wait! Rio will be so much fun: I get to perform with the Music Animation Machine in the new Rc4 Festival that also includes shows by Francesco Tristano, Gabriel Prokofiev and Brandt Brauer Frick. And in Caracas I’ll get to visit El Sistema. I do some work for “Sistema Europe” and now I’ll get to experience the world-changing music-social initiative first hand. Very excited about that.

Here he’s special dedication to me! Thank you Etienne!

Etienne Abelin

Official Website: http://www.etienneabelin.com/