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An interview with Ivano Leva in which he recalls the spontaneous improvisation with Marika Lombardi that gave rise to La Cathédrale transfigurée, and discusses its relationship with his other recordings.
Read the interview ↗ - MeerDa Vinci Classics
Physical and Digital Release: 13 October 2017
Marika Lombardi and Ivano Leva take Debussy's La Cathédrale engloutie as the starting point for a sequence of improvisations, transforming its thematic material through the changing colours of oboe and piano.
13.67€
La Cathédrale Transfigurée · Ivano Leva & Marika Lombardi · 9 tracks
Ivano Leva, piano; Marika Lombardi, oboe. Nine improvisations on thematic material from Claude Debussy’s La Cathédrale engloutie. Timings follow Spotify, Apple Music and Amazon Music (70:13).
Ivano Leva was born in Naples, Italy, in 1975. He studied piano with Alexandra Brucher at the Conservatory of Campobasso and composition with Gaetano Panariello at the Conservatory of Naples. Interested in improvisation and jazz from an early age, he also studied jazz piano with Francesco D’Errico, Francesco Nastro and Enrico Pieranunzi.
An award-winning composer, he has received commissions from prominent institutions, and his works have been premiered in Australia at the Geelong Performing Arts Centre and Melbourne Recital Centre, in France at the Auditorium Maurice Ravel and Académie Diplomatique in Paris, and in Italy at the Goethe-Institut and Auditorium Scarlatti in Naples. As a pianist and improviser, he has appeared at festivals and concert series including Katerinburg Jazz, Festival dei Due Mondi, Camerata Musicale Barese, Festival Oboe Paris, Nick La Rocca Festival, Pietà de’ Turchini and Piano City Napoli. He has also performed on television and radio programmes for the Italian national broadcaster RAI.
His longstanding exploration of the relationship between classical music and real-time composition has helped shape a distinctive personal style. His album of original compositions L’ala del silenzio explores the balance between the formal architecture of the piano quintet and elements of free improvisation. He also works as a music tutor and lecturer; his teaching has included classical and jazz piano, harmony and theory in the pre-academic courses of the Conservatory of Salerno.
Born in Italy, Marika Lombardi studied at the National School of Music in Milan, where she won first prizes for oboe and chamber music. Her career began in 1988 with a successful solo tour. She continued her studies in Paris, receiving further first prizes at the Conservatoire National de Région de Saint-Maur, the École Nationale de Musique de Montreuil and the Ville de Paris. She refined her technique with Pierre Pierlot, Hansjörg Schellenberger, Maurice Bourgue, Ingo Goritzki, Lothar Koch and Sergiu Celibidache.
A prizewinner in international oboe and chamber music competitions, she received a distinction at the International Chamber Music Competition in Paris and an award from the Cziffra Foundation. She performs regularly in chamber music and orchestral concerts in France and elsewhere in Europe, and gives masterclasses. Her musical collaborators have included Bruno Canino, Frank Braley, Sylvie Gazeau, Henri Demarquette and Nathalie Dang. Since 2000, her artistic activities have included directing the international music academy and festival Risonanze Armoniche in Lasino, Italy, and the OBOE festival in Paris. She has appeared at numerous European festivals and performed in the United States.
Since 1992, her teaching in Paris and the surrounding region has included the Conservatoire Municipal du Centre and the Conservatoire of the ninth arrondissement, the national music schools in Pantin and Chantilly, the Conservatoire à Rayonnement Régional d’Aubervilliers and the Schola Cantorum. She received her national teaching diploma in 1999 and was invited to give a masterclass at New York University in 2012. Her album SOLO was selected for broadcasts on France Musique and Italy’s Rai Radio 3 programme Suite. She plays a Howarth-London oboe.
Claude Debussy: (b St Germain-en-Laye, 22 Aug 1862; d Paris, 25 March 1918). French composer. One of the most important musicians of his time, his harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic.
Peu à peu sortant de la brumeAlbum notes by Ivano Leva. Original English translation by Marco Beccari, revised for this edition. The project Debussy: La Cathédrale Transfigurée pays tribute to the genius of the great French musician in anticipation of the centenary of his death in 2018. At its heart lies the evocative fascination of free improvisation, a practice Debussy himself enjoyed as a way of discovering the “colour” of resonating sounds: what he called “the gift of hearing”. La Cathédrale engloutie, the tenth prelude in the first book of…
Peu à peu sortant de la brume
Album notes by Ivano Leva. Original English translation by Marco Beccari, revised for this edition.
The project Debussy: La Cathédrale Transfigurée pays tribute to the genius of the great French musician in anticipation of the centenary of his death in 2018. At its heart lies the evocative fascination of free improvisation, a practice Debussy himself enjoyed as a way of discovering the “colour” of resonating sounds: what he called “the gift of hearing”.
La Cathédrale engloutie, the tenth prelude in the first book of Préludes, draws on the Breton legend of Ys, the city engulfed by the sea following the transgressions of its princess, Dahud. In the version of the legend evoked here, she yields to the devil, disguised as a handsome young magician. Written as part of the first book of Préludes in 1909–1910, this is among the most celebrated and frequently performed works in Debussy’s piano repertoire. Its refined compositional techniques create a vivid narrative atmosphere. In my reading, these include proportions associated with the golden section within the piece’s smaller sections, and a sequence of two intervals, a second and a fourth, around which the melodic and harmonic material revolves. Through these subtle processes, Debussy creates a rhapsodic succession of short episodes telling of the cathedral, which briefly rises to the sound of bells before sinking into the depths once again.
Taking the fragmentation already present in the original piece as our starting point, our project seeks to develop each episode into a distinct moment: ideally, a new legend in its own right, a framework that explores an aspect of the original story in greater depth. The aim is to give each musical episode its own narrative significance, in the manner of an ancient folk legend: a “once upon a time” story handed down and enriched by storytellers over the centuries.
Two strong impulses arise from this intention. The first is the decision to adopt radical improvisation, using thematic openings drawn from the original score on each occasion. Only through this approach can the performer give musical form to spontaneous invention, beginning with something familiar and enriching it with personal contributions. The second is the decision to leave the pieces untitled, apart from the generic designation Nouvelles, inviting listeners to devise their own titles according to their individual perceptions. Debussy took a comparable approach: to avoid influencing the listener in advance, he placed the titles of the pieces in both books of Préludes at the end rather than the beginning.
A final consideration concerns timbre. I particularly wanted Marika Lombardi to take part in this project, not only for her extraordinary instrumental and improvisational abilities, but also because I believe that the choice of oboe opens up unpredictable, “against-the-current” possibilities of sound. Its character offers a different perspective from instruments more readily associated with Debussy’s fluid sonorities, such as the flute, which plays so prominent a role in his music.
Ivano Leva, piano; Marika Lombardi, oboe.
Nine improvisations on thematic material from Claude Debussy’s La Cathédrale engloutie.
Recorded at Godfather Studio, Naples, on 10 April 2017.
Sound engineer: Massimiliano Pone.
Production, design and art direction: OMK–Da Vinci. Printed with the support of S.P.L.M.
Selected awards, reviews and interviews. Radio broadcasts and podcasts are listed separately below.
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Interview · Marta Mentasti · 12 November 2020
An interview with Ivano Leva in which he recalls the spontaneous improvisation with Marika Lombardi that gave rise to La Cathédrale transfigurée, and discusses its relationship with his other recordings.
Read the interview ↗ - Meer