The teacher Fabio Luisi salt on the podium of the May for the first date of the year of the cycle Mahler / Schubert, that Saturday 12 January at 20 sees him engaged together with the Maggio Musicale Fiorentino Orchestra in the performance of the Symphony n. 5 in B flat major D. 485 di Franz Schubert and in Symphony n.7 in E minor di Gustav Mahler.
La Fifth Schubert's symphony it was composed in the 1816 (fruitful period for the Viennese composer who in that year gave life to works for piano, compositions of sacred music, a quartet, over a hundred Lieder and two Symphonies, the Wednesday in C minor "Tragic" and Fifth in B flat major) and is inspired by the levity and grace of Mozart's symphonies. Performed in that same year by the small orchestra that met in the Schubert house or in the houses of friends - in which the composer himself performed in viola - the Fifth it owes its reduced proportions, four short and balanced movements, and the organic content, without trumpets, clarinets and timpani, to its domestic destination. Symphonic jewel in more classic and romantic clothes, the Fifth Schubert is loyal to the Mozart model not only in the direct quote of Salzburg but above all in the freshness of melodic invention, in the safe and crystalline writing and in the gentle and joyful nature of music.
Enigmatic and complex work, the Symphony n. 7 in E minor it was composed by Mahler between the 1904 and the 1905. As the Fifth and Sesta, Also Seventh he lives in a purely instrumental dimension charged with obscure presentations and calls to the sounds of nature, consecrated in two movements, the second and the fourth, which bear the title of Nachtmusik (night music). The beauty of nature cherished in earlier works is now felt to be a hopelessly lost good and to Mahler there remains only the bitter confession of the abysmal distance that separates him from that world of unattainable enchantment. The strings in the grave register and the tenor horn are entrusted with the task of introducing the funereal and full of pathos of the first movement on a funeral rhythm, an unavoidable element of Mahler's writing, while the soft timbric mixtures of the woods are called to give voice to the sounds of nature in the first Nachtmusik: hunting calls, trills of wild creatures, noises and distant echoes of pastoral life on which, however, a shadow of sadness weighs. In the third movement the sinister and spectral movements of the Scherzo act as a counterpart to the sentimentality of the second nocturn, a chamber page of extraordinary lightness that evokes the evanescent image of the moonlight serenades through the soft instrumental colors of mandolin, harp and guitar. The conclusion unexpectedly falls to a Rondo that is as magniloquent as it is ambiguous. Scanned by the massive sounds of brass, strokes of timpani and joyous fanfare, the final movement flaunts a bold character, decidedly unusual for Mahler, who has the bitter sweet taste of a rhetorical gesture exhibited to art.