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THE AMOROUS AFFECTIONS IS A MUSICAL INITIATIVE THAT WILL ANIMATE THE ROOMS OF THE GALLERIA BORGHESE


THE AMOROUS AFFECTIONS IS A MUSICAL INITIATIVE THAT WILL ANIMATE THE ROOMS OF THE GALLERIA BORGHESE
Every first Saturday of the month at 11 a.m. and 12 p.m., specialists in historical instruments or young musicians from the Conservatorio di Santa Cecilia in Rome will offer an immersive music experience of Baroque and 18th century culture in a different room of the museum each time. These concerts, of the duration of about 30 minutes, will feature music contemporary to the works on display or inspired by them.
On Saturday, July 2nd, the fourth performance entitled “The Soul that Forges Marble and Forms” will take place and will be held in Room IV of the sculpture floor.
The pieces proposed for this occasion, the String Quintet in C major, Op. 163 [D. 956], will be played by the students of Maestro Michelangelo Galeati’s String Ensemble Music class.
Completed just weeks before its author’s death, the Quintet for Strings in C major (1828) is the swan song of Franz Schubert (1797-1828). The Austrian genius’ last chamber effort disrupts the earlier Mozartian and Beethovenian formation of the quintet, which included a second viola in addition to the classical quartet: Schubert, with the addition of a second cello, enriches the potential of the extensions of the individual instruments as well as of the entire group, often exploding into an almost orchestral fullness.
The writing for strings alone, more intellectual than the works for Voice and Piano for which the composer was best known, grants Schubert a portentous lyricism that transcends formal structure. Indeed, the themes of the Quintet yearn for pure song: the classical no longer manifests itself as conflict and resolution but as a sublime romantic synthesis of tonal relationships and kaleidoscopic themes.
The opening chord of the Allegro ma non troppo is the generating nucleus of the entire quintet; from the explosive propulsion of the full ensemble, it then moves on to the tender enchantment of the theme of the two cellos to a development where the contrapuntal interplay between the five parts is clear. In the Adagio, however, Schubert indulges in a bare, intimate lyricism that flows into utter despair in the middle section. The exuberant Scherzo and the final Allegretto, on the other hand, reconcile with the classical macrostructure that dictates the disengagement of the final two movements, bent, however, definitively to Romanticism with a final melancholy and intense reminder presented once again by the two cellos, mirroring the second theme of the first movement.
Schubert’s Romantic lyricism rebels against the granitic force of the classical as Carrara marble bends tenderly under the fingers of the god of the Underworld in Gian Lorenzo Bernini’s The Rape of Proserpina (1598-1680). Schubert, like Bernini to marble, gives a soul to the sonata-form: the ethereal and the pathetic merge in this testament, the last confession of the Romantic genius just before he himself is welcomed into the arms of death.
The Amorous Affections initiative is free of charge, included in the regular museum admission ticket.

To purchase the ticket, reservation is required by calling 0039 06 32810 or by clicking on BUY

Download the program for Saturday, July 2nd here

 



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