tags: giovanni bertelli

Stencils and Shadows

Friday, April 28th, 2017

Performing as Friends of MATA, nine of NYC’s top new-music interpreters – including violinist Miranda Cuckson, cellist Mariel Roberts, and pianist Isabelle O’Connell – play works that explore what remains unsaid. Bangkok native Siraseth Pantura-Umporn’s MATA-Commissioned Ripples, inspired by disturbances of water, exposes what lies beneath the surface. Chilean composer Francisco C. Goldschmidt reflects on the loneliness of existence in his mesmerizing …y te pierdes y te hundes…. Foreground and background are engaged through the vibrant absences of the Italian Giovanni Bertelli’s quartet Libro d’Aprile and the shifting shapes and contours of Piano by Krists Auznieks from Latvia.

The Friends of MATA are Isabel Lepanto Gleicher, flute; Carol McGonnell, clarinet; Leah Asher, Miranda Cuckson, Pauline Kim Harris, violins; Hannah Levinson, viola; Mariel Roberts, cello; Isabelle O’Connell, piano; Carl Bettendorf, conductor

Friday, April 28th
8PM at the Kitchen, 512 W 19th St, NYC
$25

Tickets available here

Francisco C. Goldschmidt (Chile/Germany): …y te pierdes y te hundes… (2013-16), AP
Giovanni Bertelli (Italy/France): Libro d’Aprile (2012), AP
Krists Auznieks (Latvia/USA): Piano  (2015), NYP
Siraseth Pantura-umporn (Thailand): Ripples (2017) MATA Festival Commission

Giovanni Bertelli

Friday, March 3rd, 2017

Giovanni Bertelli was born in Verona, Italy, where he spent the first twenty-eight years of his life studying piano, philosophy and composition. In 2008 he attended Stefano Gervasoni’s class in Paris. He spent a couple of years at Ircam, before beginning work with Frédéric Durieux and Marc Battier in 2014 on SACRe doctoral research. His project, concerning the physical movements of performers, will finish in 2017.

Of his relationship to music, he says: “I must confess that I have never been able to consider it as an object, even less as a tale. Rather I’ve always seen it as some sort of place, even better as an enigmatic map in a one-to-only-god-knows ratio, deliberately conceived in order to (mis)direct us through the boundless and unintelligible spaces that surround us – me and you, my reader (and listener too, I hope).