What Are Some Ways In Which Music Reflects A Society Costa Blanca Arts Update – Trio Mariozzi-Mariozzi-Rucli and Duo Palomares-Espi

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Costa Blanca Arts Update – Trio Mariozzi-Mariozzi-Rucli and Duo Palomares-Espi

In December 2020, live music may not be a common commodity everywhere you live. We have some in our corner of southeastern Spain. Normally, whatever the phrase means now, there were at least two or three concerts a week in the area, but our new normal changed things for months. I don’t know if it’s this new scarcity, this new normal, or just the quality of what we hear, but I can write without hesitation that everything now sounds clearer, more consistent, and more beautiful. This weekend was dedicated to two chamber music events presented by the Classical Music Society of Alfas del Pi.

On Saturday, December 12, at Casa Cultura, the association organized a piano trio, which at first glance seemed like a fairly standard program. The trio included Vicenzo Mariozzi on clarinet, Francisco Mariozzi on violin, and Andrea Ruckli on piano. It was the trio’s fourth concert on a mini-tour with one program, and if the other three venues had been given time to rehearse, the perfection of this fourth performance might have had an explanation other than the obvious and sustained skill of the musicians.

We started with Brahms Trio opus114. His soft, almost flickering lines gather to suggest a mind in turmoil. Phrases can be short, sometimes very short, but statements are long and sometimes broken. But at the end of the day, it’s straight music, albeit with an almost constant quality that the listener can enjoy on its audible surface. But there’s more here than just the gloss. The effects of depression are obvious, but the desire to reflect on the past with strong memories remains unfulfilled. Along with fear of the future and the unknown, there is nostalgia. The music seems to evoke a sense of regret. Both his style and his hand are fully assured, but as the composer raises new personal doubts, we have detailed descriptions of personal doubts and intangible feelings, expressed in a strikingly mixed and assured technique of late Brahms. It was a picture conveyed with great skill by Vicenzo Mariozzi, Francisco Mariozzi and Andrea Ruckli.

Looking back at the next two works in the program, a pair of similarities and unexpected similarities seem to share an unusual conceptual framework. Beethoven was a young man when he wrote his three Gassenhauer compositions. He wanted to show off. He wanted his future income to leave his mark on the life of the city. Thus, he created a serious trio that showcased his melodic, conceptual, and compositional talents. But more importantly, he used modern earworms for the main theme of the finale. A tune everyone was whistling around town. In Beethoven’s hands it became a series of variations in which rhythm was the main variable. This small idea, despite its humble origins, sometimes turns into something great, even great. This is what Beethoven himself wanted to do in his own life.

The final part of this program was Nino Rota’s Trio. The first two movements of the work are very melodic and very rhythmic, but the musical language has a style that can only be described as rigid neoclassicism. It may not be Hindemith or Stravinsky, but it is music with a hard, sometimes rough surface. But the finale is like a cross between Charlie Chaplin and the Keystone Cops, a scoop of ice cream on a shortbread cookie. It’s a moment that reminds us not to take anything too seriously, except for the surrealist side, and thus the revelatory view of life. While Beethoven chooses silly acts to flatter himself, Rotha seems to mock the entire process until he realizes how beautifully written and constructed the entire work is. The fact that this description speaks only of artistic impressions is a testament to the perfection that Vicenzo Mariozzi, Francisco Mariozzi, and Andrea Ruckli brought to the performance.

Then, on Sunday lunchtime, the Alfas del Pi musical society presented a violin and guitar combo in Albir. It’s a combination and concert we’ve heard before and hope to hear again. The association’s vice president, virtuoso violinist Joaquin Palomares, has renewed his collaboration with guitarist Fernando Espy in a program called Música Iboamericana. In theory, these could be considered lighter pieces for a nice time at the beach on a clear, sunny December day.

But it’s the understanding between these two accomplished musicians that makes everything they play not only beautiful, but exciting and ultimately thrilling. The program was Malats’ Serenata, Machado’s Brazilian Dance, Tavolaro’s Milonga, Boutros’ Amasia, three popular songs by Manuel de Falla, and two parts of Piazzolla’s History of Tango. The music went from bossa nouveau to tango, from Europe to South America, from folk to dancehall, a journey that showed just how far music can take listeners, in different places, unlike last night’s trio. can take us.

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