The myth that often associates with the latest works by an author is generally equal to the popularity the same acquired over the centuries. The bent regards how these works, felt as a transfigured preparation to an earthly ending or accompanied by a serene inner peace, are still fascinating, not only in music, those legions of scholars who, according to the time of listening and their own mood predisposition, usually, do not gather through the notes the most shimmering undertones.
After all, this is the meaning of “masterpiece”, an overexploited word that perfectly fits in the three works presented here with their incessant ductility that, after almost two centuries, still communicate different messages and, sometimes, even new and genuine ones neither contemplated by their creators. Yet, interpretation cannot be easily restrained, hence, Schubert, Schumann and Brahms are actual examples in this view. Three pianists, although not virtuosos conforming with the Lisztian sense of the term, that gave music some of the most emblematic pieces and who were able to explore, each in his own way, a different musical spirituality. […]
Franz Schubert: (b Vienna, 31 Jan 1797; d Vienna, 19 Nov 1828). Austrian composer. The only canonic Viennese composer native to Vienna, he made seminal contributions in the areas of orchestral music, chamber music, piano music and, most especially, the German lied. The richness and subtlety of his melodic and harmonic language, the originality of his accompaniments, his elevation of marginal genres and the enigmatic nature of his uneventful life have invited a wide range of readings of both man and music that remain among the most hotly debated in musical circles.
Johannes Brahms: (b Hamburg, 7 May 1833; d Vienna, 3 April 1897). German composer. The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid- and late 19th-century art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime.
Robert Schumann: (b Zwickau, Saxony, 8 June 1810; d Endenich, nr Bonn, 29 July 1856). German composer and music critic. While best remembered for his piano music and songs, and some of his symphonic and chamber works, Schumann made significant contributions to all the musical genres of his day and cultivated a number of new ones as well. His dual interest in music and literature led him to develop a historically informed music criticism and a compositional style deeply indebted to literary models. A leading exponent of musical Romanticism, he had a powerful impact on succeeding generations of European composers.
Vergari, Paolo (Pianist) was born in Falerone (1964, Fermo, Italy) and studied piano and composition at the “L. D’Annunzio” Conservatory in Pescara with Giovanna De Fanti, and subsequently with M. Della Chiesa D’Isasca, E. Hubert, A.Ciccolini, T. Nikolajewa, E. Murano and A. Hintchev.
He has given concerts as a soloist and in chamber ensembles at major concert halls and for international organizations including Teatro La Fenice in Venice, Sala Nervi in the Vatican City, Teatro Regio in Parma, the Reggia in Caserta, Teatro Regio in Turin, Teatro Verdi in Salerno, Teatro Olimpico in Vicenza, Accademia Santa Cecilia in Rome and outside Italy at the United Nations Auditorium in New York, the UNESCO headquarters in Paris, the Dante Alighieri cultural centre in Moscow, the Klementinum and B. Martinu Hall in Prague, Salle Cortot Paris, the Manoel national theatre in Malta, IRCAM Paris, A. Williams Concert Hall in Buenos Aires.
His performances have been broadcast by RAI, TMC, Radio France, RSI, Radio Maltese, Blu Sat 2000 and ORF.
He tours Asia regularly, China specially, and has been in this Country several times since 2004, performing in the most important concert halls in Beijing, Shanghai, Guangzhou, Shenzhen and Shenyang.
He has performed as soloist wih the Philarmonia of Salta, the Windkraft Orchestra, the Orchestra of Radio Sofia, the Lublin Philharmonic Orchestra, the Bacau Philharmonic Orchestra (Romania), the State of Mexico Symphony Orchestra, the Fiati di Parma wind orchestra, the Philharmonic Orchestra of Brno and the RAI National Symphony Orchestra. He has played under conductors such as Giorgio Bernasconi, Mirjam Schimdt, Marco Della Chiesa D’Isasca, Petr Altrichter, Kaspar De Roo, Michele Santorsola, Jorge Lhez.
His interest in the masterworks of chamber music has led to major collaborations with the “Quartetto Szymanowski”, with violinist Nicolas Chumachenco and with the Ensemble Oggimusica of Lugano. He was also a founding member of the ADM Ensemble of Modena.
He has partecipated in various international music festivals including: Montepellier and Radio France; Festival of Stresa; Musica Riva in Riva Del Garda; Giardino della Musica, in Milan; BadiaMusica in Bolzano and Festival Pontino in Latina (Italy).
He is been the founder and artistic director of BadiaMusica (Bolzano), an international festival launched in 2000 which each year hosts symphonic and chamber music played by prestigious performers.
He teached Masterclass at Kunming University (Yunnan, China), the University “G. Enescu” in Iasi (Romania), the Magnificat School of Music in Jerusalem where hebrews and arabian musicians share their musical life.
He has made numerous recordings, including the complete concertos for piano and orchestra by Gian Francesco Malipiero performed in 2005 with the Philharmonic Orchestra of Iasi (Romania) and released in 2007.
In 2006 he recorded the CD My love to China, wich includes traditional Chinese music. Hailed by the critics as one of the most important works released in recent years, in 2003 he made the first ever recording of a double CD containing the 40 “Studi di perfezionamento” by Gino Tagliapietra.
He has recorded the Goyescas by E. Granados for the label Clarius Audi and works by composers such as O. Messiaen, L. Liviabella and C. Rastelli for Phoenix and Altrisuoni.
In 2010 he composed the music for the movie “Duns Scoto” by director Fernando Muraca.
Following the passion and practise of improvisation, throught several workshops with M° François Rossé, Vergari have performed concerts on improvisations for piano solo and with other musicians as Carlo Rizzo (virtuoso player of Tamburello), Elisa Tonelli (voice), Massimiliano Dragoni (percussion); with them has recorded CD Taka’s Question (2010) and after series of concerts with the Ladinian poetess Roberta Dapunt, in 2001 he recorded Perdono, improvisations inspired by her poetry.
He has teached Piano in the Conservatories “G. Braga” Teramo, “Nicola Sala” Benevento, “Niccolò Piccinni” Bari, “Domenico Cimarosa” Avellino.