Cristina Cavalli


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The common mark in all these pieces is their “painting” through sounds homages to people, to an ideal, to an intense memory, to a place of the soul. Some composers could never come back to their homeland, such as Rachmaninov, feeling all his life long a deep nostalgia for Russia; others have kept a meaningful memory of someone, or have been impressed by a side of the personality of a public or private figure.
Leoš Janáček’s Sonata 1.X.1905, also known as “From the street”, is a homage to the worker František Pavlík, who has been killed in the date indicated in the title, during the protests at Brno University. Alberto Ginastera measures wisely some elements from the popular music tradition, an intense expressiveness and other incredibly modern sounds (he was an idol for the progressive generation of the 70’s) to paint the extremely detailed portraits of his Argentinian Dances (Viejo boyero, Moza donosa and Gaucho matrero) and American Preludes (homages to Juan José Castro y Roberto Garcia Morillo). The Cantilenas are, among Carlos Guastavino’s works, the ones that better paint the landscapes and spleens typical of his native country; Santa Fé para llorar (Santa Fé for crying) is quite an eloquent dedication (Guastavino was from Sante Fé).
Giuseppe Devastato’s Toccata, dedicated to Cristina Cavalli herself, it’s a mix of high virtuosity and tribal dance, seasoned with a pinch of humor. The outcome is an effective portrait of the deepest dedicatee’s mood. Luz de Luna (Moonlight) by Alejandro Román was born as the main music theme of a film soundtrack and is a homage to Claude Debussy and his Clair de Lune. Retrato by Rudesindo Soutelo is a musical portrait of a young girl, Anita Spiess, speaking to her parents, and miming in a very lively and musical way… ending up in this contemporary drawing. From Joaquín Rodrigo’s Caleseras, from the Cuatro Piezas para Piano, an homage to Federico Chueca, one of the main representatives composers of the “chico” genre (zarzuelas in one act), moving on to Poulenc’s portrait of Edith Piaf and Ravel’s Pavane pour un infante defunte (Pavane for a dead princess), and ending with Piazzolla’s Ave Maria, which has been used with a different title as film music.
Ritratti is a homage to the variety of human beings, to life itself, which in its path takes us to meet always new portraits, among which the most mysterious remains, in the end, our own face.
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