L’Ora di Barga (world première)

On October 14th at the Teatro in Barga there is a concert of music to celebrate the 100th anniversary of the death of Giovanni Pascoli.

This includes readings and music inspired by the poet, including a performance of Dall’Alba al Tramonto for baritone and piano, written by Barga resident Michael Stimpson and first toured in Italy and the UK in 2006.

The concert also includes the world première of a new work by Michael dedicated to ‘il Comune di Barga’, a setting for soprano and piano of Pascoli’s renowned poem, L’Ora di Barga.

Music for classical guitar, and of Giocomo Puccini complete this unique concert (admission free).

Performers : Enrico Nenci (tenor) | Sally Li (soprano) | Massimo Grigo (reader) | Giacomo Brunini (guitar) | Massimo Salotti (piano)

L’Ora di Barga (world première)

Giovanni Pascoli is so closely linked with Barga that in this 100th anniversary year of his death, it seems most appropriate to set the words of this important poem. And so I have chosen soprano and piano to be the vehicle, acting as a compliment to the baritone and piano setting of Dall’Alba al Tramonto that I made some years ago.

What attracted me to the latter was that it encapsulated so many aspects of Pascoli’s life, loves, and experiences. But L’Ora di Barga is so interesting because while containing these elements they are much more subtle and hidden. Added to this are my own reflections of Barga, and the result is a piece that is a blend of the two.

Naturally in such a setting it is impossible to ignore the importance and influence of the bells of the Duomo of Barga, and as with Dall’Alba al Tramonto they appear throughout the piece – sometimes from afar (as they would be heard from Pascoli’s house), and sometimes closer and more dramatic; their variation of character is considerable both in this piece and in reality.

Equally as prominent as the bells is the line ‘È l’ora; È tardi’. This has given a clue to the musical shape of this work. I have given the phrase different interpretations, not least as a phrase of great drama, something reflecting the closure of life as much as simply hearing the bells. But gradually this piece transforms, from the more nervous and dissonant at the beginning of the piece to the warmth that both Pascoli and Barga has in abundance.   – Michael Stimpson

Click below to hear Michael Stimpson talking this afternoon  about the world première of his compostion L’ora di Barga