VEDOVA AND THE MUSICAL AVANT-GARDEMagazzino del Sale21-24 October 2015

A series of concerts arranged by Mario Messinis

Fondazione Emilio e Annabianca Vedova

PresidentAlfredo Bianchini

Board of DirectorsMassimo Cacciari Germano Celant Fabrizio Gazzarri Bruno Giampaoli Maurizio Milan

Board of AuditorsRiccardo Avanzi Vittorio Raccamari Michele Stiz Archive and Collection Director Fabrizio Gazzarri

Artistic and Scientific Curator Germano Celant Assistant Curator Maddalena Pugliese

Organisational Management Elena Oyelami Bianchini

Archive Sonia Osetta

Digital Archive and ITBruno Zanon Communication and Press Office Studio Systema, VeniceAdriana VianelloAndrea de Marchi Livia Sartori di Borgoricco

Graphic ProjectCamuffoLab, VeniceMarco Camuffo

PhotoGraziano Arici, VeniceGianni Berengo Gardin, MilanFabrizio Gazzarri, VeniceLuigi Nono Heirs, Luigi Nono Archive, Venice

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When on the occasion of Expo ’67 in Montreal Emilio Vedova was invited by the Italian Foreign Ministry to intervene in the gigantic asymmetrical architectural space that internally linked the three sections of the Italian pavilion, he wanted his Percorso/Plurimo/Luce (the famous sail structure on which 14 projectors projected 112 glass plates he himself designed and engraved in a sequence of asynchronous movements), accompanied by electronic music by Marino Zuccheri: the music that was curiously called music without instruments.This was no accident and it was not without significance.It was no accident because Vedova had manifested an interest in music since his early days. It was not without significance because that interest did not express the stance of a simple common-or-garden amateur but the precise indication that Vedova perceived music as an essential element of integration of his own work.Vedova’s interest in Nuova Musica (New Music) which, as Mario Messinis affirms, arose at the time of Luigi Nono’s Intolleranza and the special artistic closeness between Vedova and Nono, may be explained by the acquisition or even assumption of music by Vedova as indispensable moment of his complex artistic process. This impression seems to me to find eminent proof in Rihm’s pertinent and passionate words about the works of Vedova and their “musical” profiles (we can read Rihm’s full text in this brochure).Vedova died in October 2006; the Fondazione wishes to commemorate him by stressing every aspect of his complex Artistic Presence.Hence the extraordinary “Vedova and the musical avant-garde” cycle created and planned by Mario Messinis: it is Mario Messinis himself who in this brochure illustrates the theme, and therefore I need not add anything other than to thank him and all the performers and, in particular, Wolfgang Rihm and Claudio Ambrosini because they enable us to listen to the world premiere of two compositions they have written. Finally, I wish you all good listening.

Alfredo BianchiniPresident of the Fondazione Emilio e Annabianca Vedova

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This project intends to stress the links between Emilio Vedova and some exponents of the musical avant-garde as regards their cultural and affective points of contact. Eight contemporary composers appear: Nono, Maderna, Stockhausen, Feldman, Kurtág, Lachenmann, Rihm and Ambrosini; five protagonists of the historic twentieth-century movements: Schönberg, Berg, Webern, Bartók and Varèse, and a piece by Beethoven. Vedova’s interest for New Music dated back to the time of Luigi Nono’s Intolleranza, the theatre work for which Vedova designed a set of slides revealing a close affinity with the music. The 1961 Omaggio a Emilio Vedova for magnetic tape, to which the painter immediately responded with Omaggio a Luigi Nono, marked the start of a dialogue that would last until the death of the composer. The two artists came to know each other quite late, but one can note some deep analogies, especially in their early maturity, from the point of view of ideological commitment and strong creative stimuli: Vedova’s Ciclo della protesta dates from 1953 and Nono’s La victoire de Guernica from 1954: there is not just a political affinity but also a singular artistic proximity. In the last ten years of his life, the composer abandoned an earthbound aggressiveness in favour of a striving for the interior nature of sound, as can be noted in his Fragmente-Stille, the string quartet of 1980 – irrational, metaphysical, with almost vocal echoes – and in “Hay que caminar” soñando for two violins, his last, touching composition. Helmut Lachenmann, the most speculative exponent of the European musical scene, frequented Vedova between 1958 and 1961, when he was a pupil of Nono. His conception was more material-based, but also interested in form (particularly evident in his third quartet of 2002, Grido) in line with the classical tradition, with some contacts with the “black geometry” of the early Vedova. With its inclusion of apparently non-musical noises, the so-called “instrumental concrete music” seems to reveal some affinities with the non-pictorial objects of some late works by Vedova. Moreover, there is a research into the substance of the images that both artists share. A great esteem linked the painter to the poetic Hungarian composer György Kurtág, in part for his Central European roots. The Kafka-Fragmente for voice and violin of 1987 comprises an anthology of writings by the Czech author and forty heart-wrenching, demoniacal, ironic and funerary fragments of Lieder. The music evokes the ghosts of the past in the revelation of Kafka’s cosmos, between illusory hope and the shadow of negativity.

VEDOVAAND THE MUSICALAVANT-GARDE

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Wolfgang Rihm, one of the most intensely subjective and original of German composers is particularly close to Vedova’s ideas, as was the early Nono, who introduced him to his friend the painter. His tumultuous poetic world is close to the glowing and dramatic manner of the Venetian artist. He has dedicated his latest quartet to him: Geste zu Vedova, a world premiere written for the occasion, thereby confirming their shared artistic and moral aspects. Rihm is probably the musician who most closely shares Vedova’s passionate poetic today. The American composer Morton Feldman is present with Projection I for solo cello, a fleeting, brilliant fragment of 1950, bearing witness to random extremism: the composer is also present because he had ties with the painters of abstract expressionism who had also interested Vedova. Bruno Maderna appears with Widmung (dedication), for solo violin, a bold piece dating from 1967 demonstrating how he was a central figure of the “Venetian school” along with Nono. Maderna frequented the painter above all during the time that Intolleranza was being performed in Venice. As composer, interested in a lyrical elegiac approach, he was a long way from Vedova’s strong expressiveness; and yet, in the frequent random passages of his works, there is a similar informal gesture.Stockhausen is present with a famous electronic piece of 1956, Gesang der Jünglinge, composed during the period of compositional and personal proximity to Nono, later broken off. The German composer’s demiurgic conception of the sound and his revolutionary mobile and spatial forms reveal some points in common with the magmatic mobility of Vedova’s Plurimi. In particular, I believe that the experimental lyricism of this work fascinated him: Vedova was not merely the author of Tintoretto-like machines. Claudio Ambrosini presents a new Quartet; he was able to frequent Vedova ever since he was a boy. The radicalism which we might dub ‘Vivaldi-like’ suggests links with the eighteenth-century lagoon nostalgia of the painter’s early career. Naturally, we cannot leave out the masters of Viennese expressionism, Schönberg, Berg, Webern, Bartók and Varèse. And finally, the late Beethoven, who anticipated the utopias of modernity. I conclude this note recalling the contribution of Massimo Cacciari during Nono’s shift to his esoteric so-called “third style” and to dialogue between the musician and painter. This was a meeting of three intellectuals. One need only consider Nono’s Guai ai gelidi mostri and Cacciari, inspired by Vedova’s Carnevali or the Prometeo performed at San Lorenzo in 1984 under the baton of Claudio Abbado. Musicians of international renown will be participating: the Quartetto Minguet, the Quartetto Diotima, soprano Monica Bacelli, soprano Anu Komsi with violinist Andras Keller and Marco Rogliano with Carlo Lazari. Plus the emerging Quartetto Noûs and the young flautist Andrea Vecchiato. The sound engineer is Alvise Vidolin. I wish to thank Alfredo Bianchini who gave me the possibility of rethinking Vedova’s distant and close ties with music.

Mario Messinis

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Next pageEmilio Vedova, Study for Prometeo ‘84 – 1/8, 1984Emilio Vedova, Study for Prometeo ‘84 – 2/8, 1984Emilio Vedova, Study for Prometeo ‘84 – 8/8, 1984Emilio Vedova, Study for Prometeo ‘84 – 3/8, 1984

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21 OCTOBER8 PM

Karlheinz Stockhausen (1928-2007)Gesang der Jünglinge for magnetic tape (1955-1956)Alvise Vidolin, sound direction 12’

The date 30 May 1956 – marking the first performance of Gesang der Jünglinge – is made by many musicologists to coincide with the birth of electronic music, not so much in technical terms as in terms of absolute musical work. The Gesang musically combines two different materials: the voice of a teenager who sings a text taken from the biblical Song of the youths in the furnace and synthetic electronic sounds, of which the author was a master in the studio of the WDR of Radio Cologne. In this composition, Stockhausen uses the entire universe of sound, bordered at the extreme poles by the three primitive electronic sounds –a sinusoidal sound, white noise and impulse – in which he inserts the sung vocal phonemes, thus creating a continuous timbre ranging from noise to pure sound, from point to line, from consonant to vowel. The formal construction of the work is still serial, but the sound world includes a broad range of random sounds of nature and noise, acoustically breaking the deterministic rigour of integral serialism. Finally, the sound events are organised in space, and foresee a multiphonic experience with four speakers placed around the audience. Space, therefore, becomes a compositional parameter.

Arnold Schönberg (1874-1951)Quartet for strings no.2 in F-sharp minor, op. 10 with voice (1907-08)Minguet QuartetMonica Bacelli, soprano26’

Schoenberg’s Second Quartet, written in 1908, marks the most radical moment in the Viennese avant-garde of the early twentieth century. In the last two movements, the voice intones poems by Stefan George, an invocation to divine comfort after earthly struggles and a vision of the journey of the spirit to the kingdom of heaven. Compared to the marble smoothness of the verses, Schoenberg’s music is more intensely expressive in the atonal articulation of the language.

Luigi Nono (1924-1990) Omaggio a Emilio Vedova for magnetic tape (1960)Alvise Vidolin, sound direction5’

Omaggio a Emilio Vedova (Tribute to Emilio Vedova) of 1960 is Luigi Nono’s first composition of electronic music. This work stands out from his later ones in that it is the only one to use exclusively synthetic electronic sounds (sinusoidal and random frequency bands not in harmonic relationship with each other and subjected to various processes of transformation); it was this new sound material that forced Nono also to rethink the method of composition. As he wrote in later years [...] electronic study demanded [a composition] not “designed” at the table, but with studio-experiment-listen in real time [...]. The work was performed by the Phonology Studio of the RAI in Milan with the technical assistance of Marino Zuccheri, and was one of the first compositions to use the quadraphonic technique.

Wolfgang Rihm (1952)Geste zu Vedova for string quartet (2015) world premiereMinguet QuartetUlrich Isfort, violin Annette Reisinger, violinAroa Sorin, violaMatthias Diener, cello

In the 1970s and 1980s, Wolfgang Rihm was a proud opposer of dogmatic principles and the abstraction of New Music, and interested in the antinomies of passion. He embodies an open avant-garde absorbing a variety of linguistic experiences, such as the affirmation of liberty, with a highly personal and hallucinatory evocation of Viennese expressionism. This “Gesture to Vedova” declares his passionate closeness to the painter’s own thinking.≥ Next page

GESTE zU VEDOVA Vedovas Werk ist geprägt von kraftvollen Setzungen. In der Erinnerung bleiben vor allem heftig artikulierte Vertikalen – Reste von Schlägen ? von Architektur ?– schwarze Zeichen in Aufruhr. Mit ähnlichen Gestalten wollte ich musikalisch antworten. Auch die physische Erscheinung Vedovas hatte für mich etwas von einer flammenden Vertikalen. Er schien wie ein schwarzer Blitz in den Boden zu fahren. Oder war er die Spur einer plötzlichen Eruption ? So sein Werk: Vibration von Kraft, Energie, Vektor eines eminent bewussten historischen Bewusstseins. Ein gigantisches Reservoir der hochreflektierten Venezianischen Kunst scheint durch Vedovas Sorgfalt und Wildheit zu explodieren: auf der Fläche und über diese hinaus – in den Raum.Die „Plurimi“ rhythmisieren den Raum wie eine gewaltige musikalische Energie, deren Seismogramme er fixiert. Ein bewegtes Ich – ich selbst ? – grüßt aus der Ferne mit einer Geste, die nur ein nachzittern ist. Musik ist zu vieldeutig, um je die zeichenhafte Kraft eines wirklichen Bildwerks zu erreichen. Dafür aber dringt Musik in uns ein – manchmal wie ein Gift. Und sie erschüttert unsere Grundlagen. Manchmal. Darin jedoch gleicht sie dem Bild, dessen Blick und Anblick wir wirklich standhalten.

Wolfgang Rihm (2015)

Edgard Varèse (1883-1965)Density 21.5 for solo flute (1936)Andrea Vecchiato, flute4’

Composed in 1936, Density 21.5 was commissioned by a famous musician who intendedto present a new platinum flute, whose density was estimated to be 21.5. After some scores for brass and percussion of an explosive tension, Varèse renounced composition for nearly two decades, perhaps waiting for a technological regeneration. The silence was broken, however, with this composition, which prophetically anticipated the compositions for flute of the late twentieth century. The use of registers is surprising, with a study of the intensity and tonal subtleties always widely diversified. It as though several instruments were responding to each other, with new effects of percussion on the keys at the same time as the sound emerges.

Ludwig Van Beethoven (1770-1827)Grosse Fuge in C-flat major, op.133 for string quartet (1825-26)Minguet Quartet17’

The Grosse Fuge was originally conceived in 1825 as a finale to the Quartet op.130. The publisher Artaria, however, deemed the work of excessive length and persuaded Beethoven to compose another finale, shorter and more accessible, while the Grosse Fuge was published separately as op.133. Together with the finale of the op.106 for piano, the most daring and complex polyphonic score by the composer, a monument to the transcendental splendour of symphonic grandeur.

GESTE zU VEDOVA

Vedova’s work is characterised by energetic gestures. It is especially worth recalling the vehemently articulated vertical lines – the remains of beatings? of architecture? – in a riot of black marks. I wanted to respond in music with similar figures. Even the physical appearance of Vedova reminded me somehow of a flaming vertical. He seemed embedded in the ground like a black bolt of lightning.Or was it the trace of sudden eruption? His work is thus: vibration of force, energy, the bearer of a historical consciousness that is extraordinarily aware. A gigantic reservoir of highly reflective Venetian art seems to explode under the care and the ferocity of Vedova: on the surface and beyond – in space.The Plurimi give rhythm to space like a powerful musical energy, with Vedova marking the seismograms. A shocked I – I? – greets from afar with a wave that is just a tremor.Music is too ambiguous ever to match the symbolic power of a painting. But that is why music penetrates us so much; sometimes like a poison. It shakes our very foundations. Sometimes. And in this, however, it is similar to a painting, the vision and look of which we are able to sustain.

Wolfgang Rihm (2015)

Anton Webern (1883-1945)Six Bagatelles for string quartet, op.9 (1911-13)Diotima QuartetYun-Peng Zhao, violinConstance Ronzatti, violinFranck Chevalier, violaPierre Morlet, cello5’

With the Six Bagatelles op.9, composed in 1911, Webern created aphoristic fragments in which a new drama of metaphysical silence holds a dialogue with expressionistic impulses. His composition conception advances through intransigent reduction, in accordance with Schoenberg’s famous definition, “novels in a sigh”.

22 OCTOBER8 PM

Helmut Lachenmann (1935)Quartet n.3, Grido (2001-02)Diotima Quartet23’

The octogenarian composer Helmut Lachenmann is the most linguistically radical European composer. His research into anomalous and unheard-of techniques have widely influenced the new generations, especially in Germany and Italy. He is the protagonist of a new complexity. A pupil of Nono until 1961 (then there was a break because Lachenmann, while to the left, despised the German communist regime) and later of Stockhausen, he developed a solitary reflection to challenge the “habit” of listening. Hence the broadening of the acoustic space to encompass noise through “concrete” procedures, a method that Lachenmann implements without resorting to electronics. In the Third Quartet, “Grido”, in 2001-2002 the German composer rethought the formal principles of the classical tradition, but with a very open-minded investigation into the nascent sound. The exploration of new sounds is attenuated compared to previous works, in a yearning reminiscent of classicism. Moreover, his is a distorted memory that refuses orthodoxy, with a ghostly return of the forgotten. The result is an idea that aims to be Beethoven-like.

Alban Berg (1885-1935)Lyrical suite for string quartet (1925-26)Diotima Quartet27’

Written in 1927, the Lyrical suite marks the final transition of Berg from free atonality to the adoption of Schoenberg’s twelve-tone method. Moreover, the new compositional criterion is not extended to the entire suite. The fluid and adorned expressivity suggests to what extent, even in the Berg of the 1920s, there was a nostalgia for Jugendstil, even though exasperated in the troubled lyricism. The poetry of the affections lives with a subjective immediacy.

Claudio Ambrosini (1948)Ma misi me per l’alto mare aperto for string quartet (2015)world premiereNoûs QuartetTiziano Baviera, violinAlberto Franchin, violinSara Dambruoso, violaTommaso Tesini, cello7’

Claudio Ambrosini is linked to the so-called “Venetian School” of Maderna and Nono. It was Nono who provided him with support as a composer from his earliest experiences. Ambrosini has invented a utopian instrumental virtuosity, jagged and iridescent; over thirty years ago, he founded the Ex Novo Ensemble, a laboratory for his experimentations. He has written a vast symphonic composition devoted to Vedova’s Plurimi. Among the awards he has received are the Golden Lion for Music of the Present at the 2008 Biennale, the Premio Abbiati and the Play It! prize for lifetime achievement.≥ Next page

Luigi NonoFragmente-Stille, An Diotima for string quartet (1980)Noûs Quartet36-37’

The electroacoustic research of Nono in the 1960s exacerbated his ideological commitment in a close relationship with Vedova and with the critic Pestalozza. With Fragmente-Stille, An Diotima of 1980, the musical horizon shifted in search of an esoteric concept of time and sound. Apocalyptic passion was succeeded by an interest in the immeasurable lyricism of Hölderlin in the figure of Diotima, the woman loved by the poet and evoked by the title. This is the time of the encounter with Massimo Cacciari and the distancing from collective political practice. Hence the exploration of silence in an elegy of suspended pianissimi.

23 OCTOBER8 PM

Morton Feldman (1926-1987)Projection 1 for cello (1950)Noûs Quartet3’

Morton Feldman is perhaps the most poetic American composer of the late twentieth century. A student of John Cage, in 1950 he experimented a graphical notation before his master, the theoretician of indeterminacy, with Projection 1. His experience grew simultaneously to abstract expressionism. Feldman argues that the contemporary acquisitions of informal painting (Pollock, Guston, Rothko) were culturally more decisive for him than music. The inclusion of chance, as rejection of rationality and the speculative constructions in Europe, have been decisive in the affirmation of a creative freedom.

Béla Bartók (1883-1945)Quartet for strings no.5 in B-flat major (1934)Noûs Quartet30’

The Six Quartets of Bela Bartok (with the Four Quartets of Schoenberg and the Two Quartets by Berg) constitute the revelation of chamber music of the twentieth century. The Fifth Quartet of 1934 belongs to composer’s maturity. These were the years of the Sonata for Two Pianos and Percussion and of Music for Strings, Percussion and Celesta: fixed points in a compositional progression marked by modernity plus a fruitful ethnic breadth. The Fifth Quartet consists of five movements: allegro, adagio molto, scherzo alla bulgarese, andante, allegro vivace: as engaging in the almost expressionist nocturnal breadth, as in its sharp and dramatic changes.

It’s curious but I had never written a quartet for strings, even though even invited to do so several times. Until I was asked by Mario Messinis for this original project, which is also a way to go back with one’s memory to Emilio, Bruno, Gigi, the Venice of the years when I started. And Gioacchino Lanza Tomasi, the dedicatee, who was one of the first to help me launch my ship. May Dante’s words still guide the vessel.As supplies: the study of the instruments (sound production / listening), the transformation of the energy flow into form.As destination: a tense sound, perhaps a ‘Vedovian’ gesture, entering a three-dimensional, Venetian space, in which the refractions, the exchanges in perspective, the ‘drumming’ alternations make the traditionally uniform formation of the string quartet unbalanced, changing, at times liquid and elusive.

Claudio Ambrosini (2015)

MA MISI ME PERL’ALTO MARE APERTOBUT I SAIL’D INTO THE DEEP ILLIMITABLE MAIN

Bruno Maderna (1920-1973)Widmung for solo violin (1967)Marco Rogliano, violin 10’

Bruno Maderna wrote Widmung (“dedication”) in 1967. The piece belongs to the most fruitful season of the Venetian composer, an exceptional creative euphoria before his death. This was a period of lavish symphonic music and a series of small solo pieces between divertimento and scherzo, of an elusive naturalness. Widmung is a piece in which the author abandoned himself to improvisatory pleasure. This work has been resumed in the Violin Concerto with cadenzas blooming like a “tropical flower” (Mila). It seems to resurrect the flair typical of the lagoon, with a virtuoso ease – up to dazzling hyper acute moments – in the mode of attacking the piece, the left-hand pizzicato, the shift between keys. Sometimes an elegiac thoughtfulness emerges, though submerged by the exuberance of the violin in the dynamic contrasts.

24 OCTOBER6.15 PM

Luigi Nono “Hay que caminar” soñando for two violins (1989)Carlo Lazari, violinMarco Rogliano, violin27’

In the last period of his life, Nono composed three works inspired by an inscription on the wall of a fourteenth-century cloister in Toledo: Caminantes non hay caminos, hay que caminar (“Oh you who walk, there are no roads, you need just walk”). In “Hay que caminar” soñando for two violins, written in 1989, a few months after the transcendental symphonic scores of Caminantes-aiacucho, dedicated to Tarkovsky, Nono tended to visualise the idea of walking, as if to evoke the thought of the Romantic wayfarer. In this work, there is neither fear nor grief, but a longing for knowledge, the will to follow unknown paths. The two violinists move between different music stands, “as though seeking a way”, in the words of the musician. Nono explores an intense instrumental investigation in tiniest detail, between ecstatic silences and exacerbated hard notes. This is the last composition by the Venetian musician, already stricken by an incurable disease.

György Kurtág (1926)Kafka-Fragmente for voice and violin (1986-87)Anu Komsi, sopranoAndras Keller, violin57’

György Kurtág, the nonagenarian Hungarian composer, explores a world of expression linked to lyrical and funereal Central European memories. In Kafka-Fragmente, composed between 1987 and 1988, the poetics of the Wayfarer are reborn, Schubert’s symbolic figure, expressing a mournful and restless wandering. Kurtág himself oversaw the selection of Kafka’s texts taken from his Diaries, Letters and Papers. Forty dazzling Lieder (approximately one minute in duration) offering a wide range of emotional approaches, a miraculous identification with the world of the Czech writer: surreal and visionary moods, sharp irony, bitter humour, theatrical passions; a tragic nihilism emerges. The score for the violin is of a hermetic complexity: the voice digs a glowing recitation. Kurtág plays a solitary role in the European vanguard : he does not believe in the geometric abstractions of New Music, but in an emotional dialogue with history.

The German Minguet Quartet is one of the leading chamber ensembles of Europe. It is much appreciated for its refined expression and analytical precision. The name refers to Pablo Minguet, a Spanish philosopher of the eighteenth century. In addition to the classical repertoire, it dedicated itself to contemporary music, working closely with composers to explore new languages. It has recorded Rihm’s complete range of quartets (15 quartets). The German quartet works with Monica Bacelli, one of the finest performers of Italian chamber music. The Diotima Quartet is the most important French quartet. Just like the Minguet, it prefers to alternate the classical repertoire with the twentieth century’s historic and contemporary works. The ‘Holderlinian’ title of Diotima is a tribute to Fragmente-Stille, An Diotima by Nono, with which the group expresses a widespread interest in New Music. It favours the hardest compositions of the late twentieth century, from Nono to Ferneyhough and Lachenmann, of whom they have performed all the works for string quartet. The Quartetto Noûs (mind) is an emerging Italian quartet of new generation. The title alludes to the rationality of the classical world. In 2014, it received the Premio Giovani della Fenice, as part of the Premio “Una vita nella musica”, and the Premio Abbiati from Italian music critics (Premio Speciale Farulli). The Finnish soprano Anu Komsi is a very versatile musician. She has played 40 roles in opera dating from the eighteenth to the twentieth century; she is also very interested in contemporary music. Among her favorite composers are Kurtág, Saariaho, Benjamin and Feldman. She has sung with majorconductors and leading orchestras, from Esa-Pekka Salonen to the Berlin Philharmonic. Andras Keller is the greatest Hungarian violinist today. In 1998, he formed the Keller Quartet, of rigorous Central European training. He studied with György Kurtág – whose entire violin works he has performed –and with Sándor Végh. He has worked with leading soloists, from Kremer to Rostropovich. He also conducts. Marco Rogliano and Carlo Lazari know all the ins and outs of the contemporary violin repertoire. They have performed countless premieres of contemporary scores. Andrea Vecchiato, recently graduated from the Conservatorio “Benedetto Marcello”, is one of the finest flute players to have graduated from the music schools of the Veneto.

INTERPRETI TicketsConcert ticket euro 8Subscription to the 4 concerts euro 25 Complimentary tickets for students of the Conservatorio Benedetto Marcello and of the Accademia delle Belle Arti di Venezia to be booked and collected from the ticket office Tickets may be bought online from www.fondazionevedova.orgor at the ticket office at Spazio Vedova, Dorsoduro 50 - Zattere from 10.30 a.m. to 6 p.m. and on the days of the concerts from 2.30 p.m. to half an hour before the start of performance.

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