What we now call classical, or “art”, music has, since its very beginnings, thrived on hybridisations, contaminations, and interferences.
This year once again, Piedicavallo Festival will host close encounters between distant musical worlds, in a living interplay of impulses, dialogues, and mutual resonances.
Renaissance liturgical chant, performed by the choir Mara Colombo and Triacamusicale, will guide us backwards through time in search of the origins of polyphony.
The Indian sarod of Vittoria Pagani and the Hawaiian-Portuguese ukulele of Giovanni Albini will open portals onto musical systems and sonic traditions that may appear distant, yet are increasingly interconnected through today’s media crossovers.
Erik Satie will re-emerge through music and celluloid alongside Man Ray, Domenico Venezia, and Ivan Cenzi.
A saxophone quartet will bring the iconic sounds of the twentieth century to the heights of Oasi Zegna, while the fortepiano, alone or in dialogue with the Berlin strings of Simone Bernardini, will lead us back to the origins of the piano itself, revealing the authentic sound of scores we thought we knew, yet perhaps had never truly heard.
Dance has the power to make sound visible: the music of Robert Schumann and Béla Bartók will be transformed through the movements of Alberto Pagani and Edoardo Fumagalli.
The romantic keyboards of Igor Cognolato and Danilo Mascetti.
A Lectura Dantis with Federico Fumagalli in dialogue with the guitar strings of Leonardo De Marchi.
Music is a game whose rules must constantly be reimagined in order to remain alive.Piedicavallo Festival is a small yet vital laboratory where this continues to happen, year after year.

— Alessandro Commellato Artistic Director, sarv