Honorary Mention of 2004
International Web Concert Hall Competition
Laffranchini and
Rebaudengo (Cello and Piano Duo)
ITALY
 Tell
us about your musical background.
S.L. I started the cello when I was five and
my father is a cellist. I heard him playing J.S. Bach’s suite no.6 one
summer in the countryside, since, I wanted to play the cello. My father
is a solo cellist in Teatro alla Scala since 1968. There are several
musicians in his family. My grandfather is a pianist and organist and my
great-grandfather played organ in churches north of Italy. My mother is
an Italian school teacher.
When I was young, I studied with Maria Leali in conservatory and at
home, with my father. Such arrangement was like having two musical
parents. One focused on technical aspects of the instrument and the
other, on music. After receiving a diploma from the Conservatory, I
continued studying with Mario Brunello for three more years. I also
studied with Thomas Demenga in Switzerland. Thomas Demenga taught me the
importance of freedom in music as well as bringing out its personality.
He also taught me the importance of respecting what composer wrote.
During this period, under Mario Brunello, I have developed an ability to
understand the necessary needs, skills, and psychological preparation
for performing in the concert. That is, accepting and learning to
perform when I don’t feel completely satisfied about the concert…
nevertheless, I learned how to communicate with the audience.
A.R. I started when I was six. Both of my parents are pianists and
selecting piano for me was obvious choice. My parents made a wise
decision of not teaching me the instrument themselves but to send me to
study with Paolo Bordoni at Milan's Conservatory. Paolo Bordoni was my
teacher for the next eleven years, preparing me various ways, both
technically and musically. Bordoni was very strict, but now, I thank him
for that.
After the Conservatory I studied at the Accademia "Incontri col Maestro"
in Imola (Italy) and in Summer Master classes of Salisburg's Mozarteum.
My teachers were Alexander Lonquich, Lazar Berman and Andrzej Jasinsky.
How did your teacher influence you as a musician?
S.L. Mario Brunello shaped my understanding about forms and phrases
which I seriously started in the Conservatory with Maria Leali. Thomas
Demenga has taught me how to play with more freedom in tone production,
musical phrasing, and musical ideas.
A.R. Each teacher had played very important role in my musical life:
Lonquich made me discover about musical freedom, Berman taught me the
importance of determination, and Jasinsky made me understand the power
and uniqueness of presenting simplicity in music.
Do you teach? If so, where?
S.L. I teach in the Teatro alla Scala Academy (www.teatroallascala.org)
located in Milano. The uniqueness of this academy is that the program is
only one year and the tuition is free for the admitted students.
However, the requirements for student is that they must have a diploma
from a conservatorio. I also teach at Bollate Academy (www.accademiavivaldi.com).
This is private music academy.
A.R. I enjoy teaching very
much and I teach in Brescia's Conservatory. I also give private lessons.
What do you mostly emphasize to your
students and why?
S.L. It really depends on the level of a student. In general, as I
prepare them for contests, I like to emphasize in rhythm, intonation and
tone color. Emphasis on musical phrasing comes later, when they are
ready.
A.R. I emphasize the importance of rhythm and sound. First, I say rhythm
because pianists often risk of having a wrong sense of due to practicing
mostly on their own, therefore, often I find them taking-off on their
own terms and loosing the sense of rhythm. Second, I say sound because
with piano, it is an instrument that is capable of expressing multiple
color.
What is your practicing strategy?
S.L. The initial work with each passages in music must overcome,
that is, be clear and straighten out all technical passages, which
includes, shifting, intonation, articulation, clarity, etc. Later, I
work on various fingerings, technical acrobat and bowings with the
metronome. Finally I focus on studying the score of music, which it
helps me to understand the depth and perspective of the composition.
A.R. First I resolve the technical problems as much as possible, then, I
try to identify the sense of phrases of entire piece. For me, it's like
putting a puzzle together, for that matter, I find that discipline and
patience is very important factor.
Do you have a practicing method you
follow everyday?
S.L. I try to have consistency in my daily practicing and at the
same time, I try to draw out inspiration from my daily life.
A.R. I think that consistency is very important in your practicing
method: I try to make my piece grow "day by day".
How much or how often do you practice
basic (tone production, breathing, etc.)? If so, what kind of basic do
you practice?
S.L. I usually begin immediately with the passage, without any
exercises or others. And I go on from there.
How do you select repertoire for your concert (Duo concerts)?
We try to choose interesting and beautiful music, with a respect to
modern and contemporary composers.
How many concerts do you have a year as a duo?
We have some musical activities in Italy, but to be honest, we are
seeking for a good agent worldwide who can represent us.
S.L. A part from duo concerts, I have solo concerts occasionally.
A.R. A part from duo, I do have solo concerts too… duo concerts with the
singer Cristina Zavalloni, and contemporary music ensemble "Sentieri
Selvaggi".
What period music do you enjoy playing
most and why?
We enjoy playing modern and contemporary repertoire because we feel
it is very close to us and we can express firmly. Furthermore, we feel
we have more things to say when we perform contemporary works.
In your opinion, what is your strength in your playing?
Rhythm and displaying a personal
character in the music that we are playing.
What do you hope to accomplish as a musician?
To get better every day, always discovering new possibilities to
play better.
What countries do you perform most at this point? If you have
management, who is the management today?
As we said, we are looking for a management outside of Italy and we
will be happy to discuss with anyone who are interested in promoting us.
Do you perform much in Asia? If so,
what is your opinion about difference in audience on how they accept
classical music?
I performed as soloist and chamber musician with Teatro alla Scala
where we visited Japan almost every year. This group was conducted by
Maestro Riccardo Muti.
Every time I play in Japan I can feel a great interest and respect for
classical music from the listeners, sometimes they are fanatic about it.
In Italy, I must say that most of young people don't understand as much
as they should about classic music. They prefer listening to commercial
music. Although I often listen to this type of music, I don’t believe
that it can be the only way to discover and search of one self.
Do you compose?
I tried many times to compose very short pieces and write poetry.
But I must say that I'm not sure about the result.
How did you hear about the Web Concert
Hall and why did you select particular work for the competition?
We discovered from the internet and we decided to submit our best
performances for the competition.
Many critiques have concerns about the future of classical music... In
your opinion, where do you think classical music is heading?
We have to involve our young generation as much as possible as both
concert goers and players of the musical instruments.
Do you like any other forms of art? such as painting? a favorite writer?
S.L. I like architecture, sculpture and painting very much,
particularly Leonardo De Vinci, Caravaggio and Canova.
A.R. I'm a lover of painting and literature. My preferences change all
the time, but now I'm crazy about Picasso and Borges’ works.
What do you like to read? And why?
A.R. I like to be informed, so I read newspaper everyday. I also study
History at Bologna University, therefore, I like to read books about
contemporary history.
What are some of your recent reading?
A.R. Paul Auster’s The night of the oracle and Henry Levy’s Europe:
a Geography.
What do you do for hobby, if any?
S.L. I like swimming and being surrounded by wild and exotic nature
A.R. I like playing soccer and going to the movies
What do you hope to achieve ten years
from now in your music career?
We want to have many concerts together and challenge new musical
languages.
In your opinion, what are the characteristics of a good performer?
To involve the public and have a clear and expressive language in
the performance.
Do you believe a performer must attend conservatory? What is your
opinion on this?
Surely, attending the Conservatory leads students and teachers to
develop relations that can not be achieved otherwise. Exchanging ideas,
master and student dialog is the base of our profession. However, only
the conservatory experience may not be enough to be well-rounded
performer. Performers should learn as much as possible by traveling to
various places, meeting other artists, listening to other artists. Being
curios is crucial in this business!
Thank you and best of luck.
About Laffranchini and
Rebaudengo (Cello and Piano Duo)
They studied at
conservatorio di Milano. Laffranchini won in 2000 international
competition ‘Soloist cello in Teatro alla Scala di Milano’ and was the
first prize winner of Pinerolo international chamber music competition,
and received special prize in 1999 Stradivari cello competition.
Rebaudengo won third prize at Zwickau “Robert Schumann” competition in
year 2000 and received first prize at Concorso Pianistico Internazionale
di Pescara in 1998.
Interviewed by
MusicalOnline on August, 2004
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