© Luca Concas
Tribute to Stravinskij for the 50th anniversary of his death
Les Noces or Lo ’Ngaudio
Text in Gargano dialect by Roberto De Simone
for soloists, choir, 4 pianos, and percussions
conductor Marcello Panni
with the percussion ensemble Ars Ludi
and the chamber choir Ready-Made Ensemble
choirmaster Giuliano Mazzini
soloists
Orietta Manente soprano
Antonella Capurso mezzosoprano
Francesco Toma tenor
Andrea D’Amelio bass
Monaldo Braconi, Marco Marzocchi, Stefano Micheletti, Francesco Carlo Leone pianos
Antonio Caggiano, Rodolfo Rossi, Gianluca Ruggeri, Tiziano Capponi, Riccardo Zelinotti, Filippo Sinibaldi percussions
Giorgio Battistelli
Psychopompos for 6 putipù and marimba
Steve Reich
Quartet for 2 pianos and 2 vibraphones
Igor Stravinsky
Les Noces or Lo ‘Ngaudio
How does a Stravinsky ballet for Diaghilev’s Ballets Russes fit in with an ancient dialect from the Gargano area? How could Les Noces, premiered in 1923 Paris at the Théâtre de la Gaîté-Lyrique become Lo ‘Ngaudio? What Roberto De Simone appreciated in Stravinsky’s four tableauxis an original rendering of the peasant soul, its ritual, cross-cultural essence, which he now makes into a tool for experimentation and timeless language. The score and the singular orchestration are intact, but the dialect replaces Russian emphasizing the music’s rhythmic impetus. If Stravinsky’s interest in Russian popular poems mostly lay in their “sound” quality, it is also true that the purity of this XVII-century dialect can turn words into music.
