Reviews
Press and Web Reviews
“Musica” nr.300, P.Rattalino, October 2018
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“Giovanni De Cecco wants to lead you to discover and appreciate musical passages rather than themes, and he acts more like a sommelier than a drinker. […]
If Mozart’s keyboard music satisfies you more when performed on the clavichord, then let the clavichord be.
And in this clavichordistic performance by Giovanni De Cecco, I do not miss the fortepiano.
Giovanni De Cecco thinks outside the box and this is a blessing.”
Musicvoice.it, Andrea Bedetti, October 2017
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“ … the expertise, discipline, architectural (Bach) and psychological (Mozart) sagacity with which De Cecco wraps his performances, the Lutheran way in which he can express the melodic brightness of the transcription by Vivaldi and Alessandro, and the way in which he can evoke nuances of scented face powders and beauty spots in Mozart’s chords in order to remind us of the historicity made of seductive rococo, which the divine Amadé would savour, already looking forward to the taste of Vienna, as he was saturated by stuffy Salzburg.”
dionysos41 blog by Dino Villatico, 6th Feb. 2017
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“immerse yourselves in these Venetian concertos rethought by a German musician and interpreted, almost brought back to their homeland, by a Venetian musician. There is no page that does not tear a gasp of admiration, a backlash of emotion, for the freedom of phrasing, the sensitivity of touch, the imagination of timber solutions, that on the clavichord seem limitless. Bravo! As in every part of the world today, with an Italian word, we applaud the artist who does not betray the etymology of his profession: making art.
That is combining the accuracy and efficiency of the technique to the creative freedom of imagination. In modern Greek literature is called logotechnía, technique, art of the word, of speech. Whereas music comes from musiké, belonging to the Muses. Of course! After all also Latin ARS is both technique and art, meaning that the two are inseparable.
And this happens when we listen to Giovanni De Cecco playing Vivaldi and Marcello transcribed for keyboard by Bach.”
“Il Friuli” magazine, February 2017
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“In the case of this recording Giovanni De Cecco uses all the possible gamut of colors, touches and dynamics; played by Giovanni De Cecco, the clavichord seems an instrument on which nothing is impossible.[…]
Extraordinary is the accuracy in the virtuosic moments (concerto BWV 972 from Estro Armonico by Vivaldi), in passages that are much easier to achieve on a harpsichord or a piano; gentle themes in pianissimo pizzicato (the second movement of concerto BWV 974); impetuous crescendos (III movement of concerto BWV 976).
De Cecco shows incredible imagination fantasy also in varying and embellishing themes, as in the third movement of concerto BWV 974, from the famous oboe concerto by Alessandro Marcello: the reprises are ornamented with ideas that are brought to the climax. De Cecco in fact does not just offer here and there embellishments with good taste and inventiveness; he starts with an idea and does not abandon it until it is consistently expressed, even in the most difficult passages for the performer.
Surprising is also the bold use of variations in intonation; in concerto BWV 975, some high notes, played in vibrato, bebung, are almost shrill, like (apologies to purists) in the bending of electric guitars. They range from the sighs in pianissimo to harsh sounds, through moments of poignant lyricism, as in all the adagios of the recording. In fact a recording that must not be left out in the collections of baroque music enthusiasts.”
Marco Maria Tosolini, Il Gazzettino (engl. transl.), 24th Jan 2008
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“Powerful and feral or lyrical and vibrating, whenever necessary, and perfectly in harmony with the violinist’s executive verve, was the sound of De Cecco’s piano. The young musician from Udine is bringing to the world the sensual heartbreaking music of Eastern Europe (the duo have just arrived from Istanbul and are about to leave for Stockholm). There was a long applause by the large deeply moved audience.”
Lucia Ludovica De Nardo, Il Gazzettino (enlg. transl.), 30th Jan 2006
–
“….De Cecco’s piano performance turns out to be far more than a mere accompaniment, because of the character itself of the music. In the laments it becomes functional, thus reinforcing the melody of the flute with broken chords full of pathos (a clear reminder of the cymbalom); in the dances, it assumes the role of rhythmic support. As a soloist, he defines a link between learned and popular music, with his performance of the “Dances in Bulgarian Rhythm” and of the “Three Folk Songs of the District of Ciuc” by Béla Bartók, in which he proves to be fully aware of the twentieth century timbre research (metal resonances, percussive treatment of the piano) and always gifted with the rhythmic liveliness which has captivated, as well as fascinated, the audience.”
2018
“Musica” nr.300, P.Rattalino, October 2018
–
“Giovanni De Cecco wants to lead you to discover and appreciate musical passages rather than themes, and he acts more like a sommelier than a drinker. […]
If Mozart’s keyboard music satisfies you more when performed on the clavichord, then let the clavichord be.
And in this clavichordistic performance by Giovanni De Cecco, I do not miss the fortepiano.
Giovanni De Cecco thinks outside the box and this is a blessing.”
2017
dionysos41 blog by Dino Villatico, 6th Feb. 2017 (engl. transl. of excerpts. Read the whole review in Italian here)
[…] Giovanni De Cecco […] has created here an ideal recording of what one should mean today by interpretation of Baroque music.
This CD has gathered some concertos by Vivaldi and one by Alessandro Marcello, that Johann Sebastian Bach transcribed for harpsichord, or perhaps simply for keyboard (when the target instrument is the organ, Bach explicitly declares it and composes accordingly).
[…] In a way the Bach transcription sometimes surpasses the original. But the execution on the clavichord succeeds in the effort to keep in the transcription for keyboard the timbre nuances and dynamics of the concerto for strings, moreover sometimes managing to emphasize the contrapunctual devices, and even to add new ones. For example in the final gigue of Concerto in G minor by Vivaldi (RV 316a) or when wonderful successions of chords are proposed (among Vivaldi’s most amazing creations) of which the dynamic sensitivity of the clavichord can return the timber richness, for example in the Largo of the same Concerto, in which the repeated chords alternate with openly cantabile passages.
A “Venetian” Bach, then, that makes us grasp the cosmopolitan atmosphere of Baroque Europe, where the styles and musical ideas circulated with great freedom.
Couperin in France turns to Corelli, Bach in Germany to the French concerto in his Brandenburg concertos, and to the Italian concerto in most of his work, Corelli himself in Rome (in the Roman church of San Luigi dei Francesi, where he started his violin practice), in contact with French music, developed his new synthesis of the concerto, of which Handel was one of the great heirs.
But what is there to wonder if the same wonder of the great Renaissance Venetian painting, its new vision of color and light, is born because a Sicilian painter, Antonello da Messina, back from Flanders, brings to Venice the new Flemish invention of oil painting? And would we have Petrarch’s great poetry without his long sojourn in France during his youth and then, after Petrarch, in the rest of Europe the explosion of subjective poetry until Shakespeare, Donne, Ronsard, Gòngora, Baudelaire? Europe was more united when States made war against each other. Culture circulated from country to country, each in turn an example and model of culture to the others.
Giovanni De Cecco makes us also think of this. But immerse yourselves in these Venetian concertos rethought by a German musician and interpreted, almost brought back to their homeland, by a Venetian musician. There is no page that does not tear a gasp of admiration, a backlash of emotion, for the freedom of phrasing, the sensitivity of touch, the imagination of timber solutions, that on the clavichord seem limitless. Bravo! As in every part of the world today, with an Italian word, we applaud the artist who does not betray the etymology of his profession: making art.
That is combining the accuracy and efficiency of the technique to the creative freedom of imagination. In modern Greek literature is called logotechnía, technique, art of the word, of speech. Whereas music comes from musiké, belonging to the Muses. Of course! After all also Latin ARS is both technique and art, meaning that the two are inseparable.
And this happens when we listen to Giovanni De Cecco playing Vivaldi and Marcello transcribed for keyboard by Bach. And at once the past becomes present. Because the beauty of this music – even if they are transcriptions, or perhaps better because they are transcriptions – makes us put aside all the restrictions of gender, imaginary philology, fashions, that confusedly clutter the contemporary interpretive view.
This Bach who transcribes Vivaldi appears extraordinarily contemporary, wonderfully similar to us, as free as many of us do not dare to be any more, because it suggests how misleading, sterile, superficial, and specious are many discussions about the correct interpretation of the music of the past.
If Bach transcribes Vivaldi, and De Cecco plays the transcriptions on the clavichord, why should I be forbidden to play Bach on the piano? Let us set the record straight.
I do not want to criticize the philology of the texts, which is sacrosanct, and the effort to understand with what instruments they once made music. Indeed they teach us to play it with more attention and understanding even on different instruments.
What I have always found annoying, is the fetish whereby the means justify the result. No, the use of original instruments in no way guarantees a correct interpretation of the music written for these instruments, if it is not accompanied by the freedom, imagination and invention that the musicians of the time adopted for their own interpretations. This is what De Cecco teaches us here: that that freedom, that fantasy, that invention are possible, and must always be exercised, whatever instrument you play, and more so if one is playing the instrument for which the composer once wrote and of which he thought about while writing. Bravo, Giovanni! Here’s to the next!
“Musica” magazine, February 2017 (engl. transl. of excerpts. Read the whole review in Italian here)
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“[…]The courageous recording initiative is linked to the name of Giovanni De Cecco, who plays a modern copy of a 1775 instrument, attributed to Johann Heinrich Silbermann. […]
[…] the interpreter’s expertise […] allows us to get accustomed to listening to an instrument too often unjustly neglected, but already present in the Baroque world. ”
Lorenzo Tozzi
“Il Friuli” magazine, February 2017 (engl. transl. of excerpts. Read the whole review in Italian here)
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“In the case of this recording Giovanni De Cecco uses all the possible gamut of colors, touches and dynamics; played by Giovanni De Cecco, the clavichord seems an instrument on which nothing is impossible.[…]
Extraordinary is the accuracy in the virtuosic moments (concerto BWV 972 from Estro Armonico by Vivaldi), in passages that are much easier to achieve on a harpsichord or a piano; gentle themes in pianissimo pizzicato (the second movement of concerto BWV 974); impetuous crescendos (III movement of concerto BWV 976).
De Cecco shows incredible imagination fantasy also in varying and embellishing themes, as in the third movement of concerto BWV 974, from the famous oboe concerto by Alessandro Marcello: the reprises are ornamented with ideas that are brought to the climax. De Cecco in fact does not just offer here and there embellishments with good taste and inventiveness; he starts with an idea and does not abandon it until it is consistently expressed, even in the most difficult passages for the performer.
Surprising is also the bold use of variations in intonation; in concerto BWV 975, some high notes, played in vibrato, bebung, are almost shrill, like (apologies to purists) in the bending of electric guitars. They range from the sighs in pianissimo to harsh sounds, through moments of poignant lyricism, as in all the adagios of the recording. In fact a recording that must not be left out in the collections of baroque music enthusiasts.”
2012
Jacopo Gianninoto, blog www.retrogarde.net, 30th Jan 2012
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“Italian Pianist and Gipsy music researcher Giovanni De Cecco visited Bangkok for a short tour of concerts and master classes. In the last few days he had a very busy schedule giving a concert and a workshop at the Yamaha Kolkarn auditorium, three workshops at Silpakorn University and one at Assumption University; I attended his workshop at Assumption on Monday, January 30.
The interesting part of Giovanni’s research is that, following the footstep of the great composer Béla Bartók he traveled all over eastern Europe to get in touch with the source of Gipsy music and its cultural roots by connecting with local musicians, especially from Romania, and having the direct connection with their knowledge and music approach. He later integrated all of this experiences with his western academic background to develop his personal path in music. Giovanni’s work and approach is great and I really enjoyed his workshop as I’m sure it would be the same for all the music lovers and students”
Galianox, Youtube, comments a video of mine, Feb 2012
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“Fara cuvinte! Ionica Minune al pianului…
Pacat ca Romania nu stie sa-si pastreze adevaratele valori! Asa ceva se naste la 100 de ani!”
(transl: “I have no words! He is the Ionica Minune of the piano… It is a pity that Romania is not able to conserve some real values! Something like this (music) comes to world only once a century!”)
2011
Mikemdy, Youtube, comments a video of mine, 2011
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“Fameux. Giovanni De Cecco, m’a enthousiasmé, m’a rappelé avec forte émotion les “Chants Hongrois” et les “Scènes de village” de Bela Bartok. Superbe… beau à donner envie de pleurer !“
2009
Wolf Ebersberger, Nürnberger Zeitungen, 9th Mar 2009
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“Nicht minder stupend das Duo im Anschluss: Giovanni De Cecco und Leonard Jeszensky entfalten eine Wucht, mit der man zu später Stunde nicht mehr gerechnet hatte. Rumänische Folklore in all ihrer flirrenden Pracht, vom Hochzeitstanz zur jüdischen Synagogenmusik: Der italienische Pianist schüttelte am Flügel die schwersten Variationen aus dem Ärmel, der ungarische Geiger tänzelte selig wie ein Bär, wenn er den Verzückungsspitzen und vertrackten Melodien nachspürte. Großartig!”
2008
Michaela Bocu, Faclia, Ziar Indipendent de Cluj (engl. transl.), 3rd Feb 2008
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“De Cecco and Jeszensky, two talented musicians with a classical background, but who have developed a passion for klezmer music, as well as that of Romania’s and in general the Balkans’ “lautari”, including also authentic gypsy music. In their recent concert at Tonitza hall of [Cluj’s] Art Museum, the two musicians performed in the piano – ‘vioara cu goarna’ and piano – violin formulas, well known as well as inedited pieces, showing an interesting approach full of magic, animated more by emotion than by stylistic virtuosity; thus nearer to life, joy and at the same time suffering”
Marco Maria Tosolini, Il Gazzettino (engl. transl.), 24th Jan 2008
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“Powerful and feral or lyrical and vibrating, whenever necessary, and perfectly in harmony with the violinist’s executive verve, was the sound of De Cecco’s piano. The young musician from Udine is bringing to the world the sensual heartbreaking music of Eastern Europe (the duo have just arrived from Istanbul and are about to leave for Stockholm). There was a long applause by the large deeply moved audience.“
Website of the “Association of the Italians in Romania” (engl. Transl), RO.AS.IT., Jan 2008
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A concert of the “Duo Sebes” – Giovanni De Cecco, piano and Francesco Socal, clarinet,- was listed in the programme of the month of February of the Italian Institute of Culture (Bucharest). A concert like many others, you might have thought, and yet it was not. The two Italian musicians enchanted us immensely and filled our hearts with joy. They did it through their music and through the way in which they were capable of captivating the audience that filled the concert hall.
The rapturous applause, or better the cheers of enthusiasm created an atmosphere of conviviality towards the two young artists, which is seldom found.
What generated this success? I will try to explain it simply, presenting the two musicians and especially the music they performed. [-] The friendliness of the pianist Giovanni De Cecco contributed to the warmth of the atmosphere, in the way he presented the programme and introduced the single pieces, in…the Romanian language! The audience was conquered by the pianist’s accurate language, characterized by a slight Italian accent. But they also liked Francesco Socal and his “impishness” during the concert.”
Wolf Ebersberger, Nürnberger Zeitungen, 9th Mar 2009
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“Nicht minder stupend das Duo im Anschluss: Giovanni De Cecco und Leonard Jeszensky entfalten eine Wucht, mit der man zu später Stunde nicht mehr gerechnet hatte. Rumänische Folklore in all ihrer flirrenden Pracht, vom Hochzeitstanz zur jüdischen Synagogenmusik: Der italienische Pianist schüttelte am Flügel die schwersten Variationen aus dem Ärmel, der ungarische Geiger tänzelte selig wie ein Bär, wenn er den Verzückungsspitzen und vertrackten Melodien nachspürte. Großartig!”
www.derwesten.de, 14th Nov 2008
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“Die Musiker Giovanni De Cecco und Leonardo Jezensky gastierten in der Bleckkirche
Einen Ausflug in die musikalische Tradition Rumäniens unternahm das Publikum am Donnerstag in der Bleckkirche. Giovanni De Cecco (Piano) und Leonardo Jeszensky (Geige) entfalteten bei ihrem Konzert ein breites Stil- und Klangspektrum der Folklore dieses Landes. Die beiden Interpreten haben sich intensiv der rumänischen Musik gewidmet. Das daraus resultierende Programm haben sie schon im rumänischen Präsidentenpalast anlässlich des EU-Beitritts, am Jazzcenter Istanbul oder bei der EXPO in Japan aufgeführt.
Gleich das erste Stück des Konzerts demonstriert die emotionale Spannweite des Repertoires: Über leisen Tremolo-Akkorden des Klaviers intoniert der Geiger wie improvisiert wirkende, flehend klingende Tonfolgen, die an ein instrumentales Rezitativ erinnern. Dann steigen beide Musiker in einen festen Rhythmus ein, zu dem sich eine liedhafte, eingängige Melodie entfaltet. Schließlich werden Tempo und Intensität abermals bis ins mitreißend-tänzerische gesteigert.
Jüdische, der Klezmer-Tradition verpflichtete Melodien verbinden sich in diesem Programm mühelos mit rumänischer Folklore, die durch eine strikte, synkopenreiche Rhythmik gekennzeichnet ist, sowie mit orientalischen Einflüssen. Interessant ist es, bei all den Liedern oder Tänzen aus der Türkei, Ungarn und Rumänien die Gemeinsamkeiten und Unterschiede zu vergleichen. Leonardo Jeszensky erweist sich als virtuoser Könner und intensiv gestaltender Interpret auf der Fidel, der Laute und auch der Strohgeige, einem kuriosen Instrument mit eigenwilligem Ton, das sich mit der Orgelbegleitung Giovanni De Ceccos zu einem ungewöhnlichen, aber höchst reizvollen Klang verbindet. De Cecco beschränkt sich meist auf die Klavierbegleitung im Hintergrund, stimmt aber auch Improvisationen an, die gekonnt Folkloristisches, Jazz und Klassik verbinden”
2006
Marco Maria Tosolini, Il Gazzettino (engl. transl.), 11th March 2006
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“…the duo formed by Francesco Socal (clarinet) and Giovanni De Cecco (piano) transformed the professor’s fascinating “Lògos” to a musical journey within the various souls and poetics of ethnic groups. In the centre above all there was Transylvania, the historical region of melancholy sensual music, which is sometimes slightly comic and at the same time heartbreaking as is also the case of the Jewish “Klezmer” genre. Thus, reiterating a success which the duo had achieved some time ago in Udine, they were able to transfer into sounds the attractive suggestions already announced by Csillaghy’s intense conversation, by performing their own renditions of “Doinas” from the Banat, launched into melodious enthralling suites of Romanian dances – “Banaţeanca”, “Anna”, “Hora ca din caval”, “Cânta cucu’”, “Cântec de leagăn” – or into renditions of fantasies on ancient Romanian themes. Socal’s personal virtuoso performance combined with the executive sensibility of De Cecco, who is always very attentive to calibrate the dynamics. Long applause and two encores from an audience enticed by the bewitching melodies from the Carpathians.”
Lucia Ludovica De Nardo, Il Gazzettino (enlg. transl.), 30th Jan 2006
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“….De Cecco’s piano performance turns out to be far more than a mere accompaniment, because of the character itself of the music. In the laments it becomes functional, thus reinforcing the melody of the flute with broken chords full of pathos (a clear reminder of the cymbalom); in the dances, it assumes the role of rhythmic support. As a soloist, he defines a link between learned and popular music, with his performance of the “Dances in Bulgarian Rhythm” and of the “Three Folk Songs of the District of Ciuc” by Béla Bartók, in which he proves to be fully aware of the twentieth century timbre research (metal resonances, percussive treatment of the piano) and always gifted with the rhythmic liveliness which has captivated, as well as fascinated, the audience.”
Alberto Rochira, Il Piccolo (engl. transl.), 30th Jan 2006
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“Very intense was the improvisation on themes from the Maramures, which De Cecco presented to the audience of his own city”.
Marco Maria Tosolini, Il Gazzettino (engl. transl.), 25th Jan 2006
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“By merging the heartbreaking suggestions of the Romanian music from Transylvania and other regions, penetrating into the mazes of the comic yet at the same time soul-stirring klezmer eccentricity, bringing back formal rigour and historical genius with Bartòk’s dances, […] De Cecco overwhelmed the audience with expressive vigour, inflamed atmosphere, yet capable of melancholy moments, capacity to elaborate in a personal way some features of a music full of emotion often unrestrained. From the “doina” of the Banat to Bartók’s Bulgarian rhythms, through bold and dishevelled Jewish melodies, the musicians have hit the target. […] Two encores and a standing ovation for a unique concert.”
ルーマニア音楽、魔法の詩
「・・・クラリネット奏者フランチェスコ・ソカルとピアニスト、ジョヴァンニ・デ・チェッコによるデュオは、ロゴスを、民族の魂と詩のはざまの音楽 の旅に 変容させた。中心には、トランシルヴァニア地方の、歴史的にメランコリックで官能的な音楽、これは同時に、ユダヤ音楽クレズマーのように時にコミカルでか つ悲痛でもある。数カ月前のウディネでの成功を思い起こさせつつ、チッラギ教授がその言葉で示した魅力を、2人はその旋律の中で奏でた。たっぷりと魅惑的 なルーマニア舞曲の組曲(”Banaţeanca”, “Anna”, “Hora ca din caval”, “Cânta cucu’”, “Cântec de leagăn”)でバナット地方のドイネを、かと思えばまた、ルーマニアの古い旋律によるファンタジアを、独自の演奏で聴かせる。ソカル個人の名人芸が、 そのダイナミズムにぴったりと寄り添うデ・チェッコの繊細さに見事に溶け合った。
カルパチア山脈の魔術的なメロディーに魅了された聴衆の長い拍手、二度にわたってアンコールが求められた。」
マルコ・マリア・トゾリーニ
(イル・ガゼッティーノ紙、2006年3月11日付)
ルーマニア大衆音楽の魅力
「・・・デ・チェッコのピアニズムは、単なる伴奏に留まらない。それはまた、彼らの演奏する音楽の特徴でもある。哀歌は、フルートの音色が、物悲し いアル ペッジョな(まさにツィンバロンがそうであるように)和音を伴ってこそはじめて生きるものだ。ダンスにおいてはリズムを支え、またソリストとしては、バル トークの「ブルガリアのリズムによる6つの舞曲」、「チーク県の3つの民謡」において、インテリの音楽と大衆のそれを結ぶ連結符となった。その中で20世 紀の音色(金属的共鳴、ピアノの打楽器的使用)に対する研究の深さをも見せる。そのリズミカルな鋭敏さで聴衆を幻惑し、魅了した。」
ルチア・ルドヴィーカ・デ・ナルド
(イル・ガゼッティーノ、2006年1月30日)
カルパチア山脈に響く魅惑
「ルーマニアの文化と、音楽に対する情熱、それはまるで恋に落ちるかのように生まれた。ジョヴァンニ・デ・チェッコ、フリウリ州出身の30歳のピア ニスト のその情熱が、ブカレストの友人ニコラエ・ヴォイクレツと1つになった・・・ルーマニア伝統音楽の旋律でヨーロッパからアメリカ、アジアまで、多くのホー ルで成功を収めてきた2人は、昨日、フリウリの中心にあるアヤチェの間、オーケストラ・フィルハーモニカ・ウディネーゼ主催のコンサートで絶賛を浴びた。
ヴォイクレツとデ・チェッコがそれぞれ個々の技術と、またデュオとしてのアンサンブルを聴かせた2つの組曲のあと、ピアノ・ソロでベラ・バルトークの数節が奏でられた。トランシルヴァニア地方の「チーク県の3つの民謡」、「ブルガリアのリズムによる舞曲」。
再び、ヴォイクレツと共に、ドイナ、農民の葬送哀歌、結婚の機会に奏でられる伝統的舞曲。
そして、デ・チェッコから彼の町の聴衆に贈られたマラムレシュの旋律による即興は、めったに聴けるものでないことは、誰しもが認めるところであろう。フィナーレ、アンコール、熱狂的な拍手・・・そして、演奏者とじかに接する機会・・・。
ルーマニアで『子どものころ夢見た、小さくて、カラフルに塗られた家のならぶ村』を見たというデ・チェッコは、早々にヴォイクレツとCDを製作する予定だと言う。『たとえ、イタリアの主要都市でのコンサートで既に大変忙しいとしても、ね』。」
アルベルト・ロキーラ
(イル・ピッコロ、2006年1月30日付け)
(抜粋)
「・・・デュオ、ジョヴァンニ・デ・チェッコのピアノとフランチェスコ・ソカルのクラリネットによるコンサートは、ブルガリア、ルーマニアの伝統音楽、そしてクレズマーをもって、聴衆の間で大きな成功を得た・・・」
(イル・フリウリ、2006年1月27日付け)
カステッロ(古城)にて、ジョヴァンニ・デ・チェッコとフランチェスコ・ソカルのデュオによるすばらしい演奏会
「コンサートは、聴衆の大きな喝采を得た。・・デ・チェッコは、世界的な音楽シーンの中でも重要な人物である・・・」
(イル・ヌォーヴォ、2006年1月27日付け)
東欧からの魅力
「・・・英知と非凡さの中で、クラリネット奏者フランチェスコ・ソカルとピアニスト、ジョヴァンニ・デ・チェッコのデュオによるすばらしいコンサー トが催 された。音楽的勇気と知性を持ちあわせた、類まれなき2人の若い才能は、クラシックから出発し、『別の』音楽に魅せられるようになり、やがてオリジナリ ティと繊細さを持って、それをよみがえらせるに至った。
トランシルヴァニア地方やそのほかの音楽を織り交ぜ、コミカルさと劇的さを持ち合わせた狂気のクレズマーを奏でつつ、バルトークの舞曲のように規則 正しい クラシック音楽に戻る。ソカルとデ・チェッコは、正確な表現、鮮やかな調合や哀愁漂う瞬間、そして、情熱にあふれ通常であれば抑え難い旋律を、自由にこな すその能力の高さで聴衆を圧倒した。
バナット地方のドイネから、バルトークのブルガリアのリズムまで、無骨で不揃いなユダヤの旋律を走り抜けながら、彼らは見事に的を射抜いた。
綱渡り名人的で多彩な音色を奏でるソカル、正確なリズムの中にも非常に音楽的で魅惑的なデ・チェッコ。 ありきたりでないコンサートに、立ち上がった聴衆から2回のアンコールが求められた。」
マルコ・マリア・トゾリーニ
(イル・ガゼッティーノ、2006年1月25日付け)
普遍的パンフルートと、ヨーロッパのルーマニアに対する弁護
「ルーマニアのEU加入への正式調印を記念し、プラハのルーマニア文化会館では超一流の芸術家によるイヴェントを企画した。
ルーマニアの伝統を表現するのに最もふさわしい、我々を象徴する楽器パンフルート、その奏者ニコラエ・ヴォイクレツの音楽家であり芸術家である職人 芸が、 天賦の才能をもつイタリア人ピアニスト、ジョヴァンニ・デ・チェッコの伴奏とともに、プラハの2回続けての演奏会で聴衆を魅了した。
第1回は、2005年4月26日、世界的に有名な音楽家、ルイ・アームストロングやチック・コリアも演奏したことで知られるREDUTAハウスにて、聴衆を虜にした。
第2回は、同27日、大使館ホールにて、ルーマニアのEU加盟への調印を祝うと同時に、イラクで拘留された3人のルーマニア人ジャーナリスト、そしてバナット地方を襲った洪水の被害者たちに捧げられた。
2つのコンサートは、『普遍的パンフルートと、ヨーロッパのルーマニアへの弁護』と名づけられ、それは観衆から広い支持を得た。」
(在プラハ、ルーマニア大使館webサイト、2005年5月)
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