0d502ac463f5471799e1c75b768cff87 Contemporary Guitars Blog: Interview with Lorenzo Micheli e Matteo Mela second part

Wednesday, February 10, 2010

Interview with Lorenzo Micheli e Matteo Mela second part

I was genuinely impressed by the monography devoted to the music of Astor Piazzolla: why the choice of this artist, as your previous record releases were more oriented about the nineteenth-century romantic repertoire and how did start the collaboration with an artist like Per Arne Glorvigen ?

[MM] I have in the repertoire the Cinco piezas for solo guitar by the Argentine composer from a very long time, and the same can be said for the Tango Suite, which I have played for so many years with Giampaolo Bandini (first) and Lorenzo, and the Histoire du Tango, which I have long played with Ivan Rabaglia. The affinity and interest that I have always felt toward the music of Piazzolla have prompted me to create, five or six years ago, this project. When it was decided to include the Concerto for bandoneon and guitar I started searching for a bandoneonist. A mutual friend introduced me to Per Arne Glorvigen, a persone with incredible talent and charisma, which in Norway is considered a national celebrity. Per Arne has enthusiastically agreed to be part of the group of musicians, and so, after a series of concerts played together in the winter of 2004, we recorded the Tribute to Liege. Relations with him were very close, so that later than a few months ago we performed in Holland one of his works for bandoneon and guitar.

I noticed that the notes on the booklets with your CDs have been written directly by Lorenzo Micheli. I've always found them well written and full of interesting information, a signal of attention not only to the music but also to the writings of music, do you think to start even an editorial work in addition to the record one?

[LM] I've always felt the need to complement my strictly musical work with a historical and theoretical reflection to help me to bring order to my ideas and insights about music, I think it is a remnant of my classical university studies, as well to be the fruit of my insane passion for the written word. From many years I have worked with magazines such as "The Fronimo" and "Guitar Forum”, for which I wrote essays and articles about history and practice of literature, and at some point came to natural the decision to write the notes of the books.

As well as playing a significant activity as a performer, you are both teachers: Matteo Mela at the Conservatoire Populaire de Musique in Geneva and Lorenzo Micheli at the Musical Institute of Aosta. How do you manage to combine these two activities? Sometimes one gets the impression of a dichotomy between the two "careers": that a performer is unable to be at the same time also a teacher ...

[MM and LM] It is difficult to think about musical activity "all round" that can be independent by the teaching’s experience. After all teaching is one of the few chances we have for reflection (and self-criticism, in a constructive way) on our way to make music and all the questions, about techniques and interpretation, linked to it. And then we like to teach: the enthusiasm of the pupils may be contagious as a few other things.
to be continued

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