Recital program Berio Scarlatti

SCARLATTI     Sonata K 491 in re maggiore

BERIO               2 Encores : Brin, Leaf

SCARLATTI     Sonata K 454 in sol maggiore

BERIO               2 Encores: Erdenklavier, Wasserklavier

SCARLATTI     Sonata K 239 in fa minore

BERIO                 1 Encore: Luftklavier

SCARLATTI     Sonata K 342 in la maggiore

BERIO               1 Encore: Feuerklavier

SCARLATTI     Sonata K 146 in sol maggiore


BEETHOVEN   Sonata in mi maggiore op. 109

                       Sonata in la bemolle maggiore op. 110


SCHUBERT      4 Improvvisi op. 90

It is a dialogue and a contrast at the same time, it is a listening experience where the effect of the juxtaposition of the visionary 18th century of Scarlatti and Berio’s piano of microcosms, can bring to life unexpected results.

On one hand we can find Scarlatti’s Sonatas in one movement, where the formal, rhythmic, and melodic freedom adds on to the various piano techniques, absolutely revolutionary for that time, that come from the fusion of the Italian school and the Spaniard tradition.

On the other side, with Six Encores (1965-1990), all the peculiar characteristics of Berio’s piano writing are condensed in the fugacity of sophisticated miniatures of hard execution.

This combination is the last of many gift I received from Luciano Berio.

It is a program that we studied together during the last days of the illness that led him to his death. He was very curious of hearing this sequence (the pieces come one after the other with no solution of continuity) that intersect his Six Encores with 5 Scarlatti’s Sonatas.

The idea of playing with references comes from some peculiarities of the writing of both the composers, in the use of the keyboard and in the research of particular sonorities. IN the end, the various pieces can be seen from a new perspective, enlighten from a different light.

Contemporary music has been part of my repertoire since my first encounter with Berio.

Later on, I accepted also various stimulations towards contemporary music also the chamber music field.

I have had a strong passion for chamber music for a long time: I believe it is the ideal dimension of music making, that is also sharing ideas, emotions and knowledge necessaries to the collective construction of a musical building. I have liked team efforts since the time of my soccer games when I was a kid, and that’s why I explore all the dimensions of this extraordinary repertoire with great enthusiasm.

Andrea Lucchesini