Solo music: ROYAL WINTER MUSIC on Shakesperian Characters by Hans Werner Henze

ROYAL WINTER MUSIC on Shakesperian Characters by Hans Werner Henze

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In 1990, guitarist Marco Minà met Hans Werner Henze, which was no easy task, even though they lived quite close to each other. Minà had studied the guitar at the 'G. Verdi' Conservatory in Milan and was completing his studies in Aesthetics and History of Music at 'La Sapienza' University in Rome. At the time, he was preparing his thesis on the Royal Winter Music, which he had already performed several times. While performing the work for the Maestro at that time, he already wondered and shared with him the hypothesis of some "foreign bodies" in the printed score. This first meeting was followed by many others both at Villa La LepraraHenze's home in Marino, and in London, where among other things Henze listened to the Sonata II in Minà's interpretation at St Martin-in-the-Fields. On several occasions the guitarist was also invited by Henze to play in concerts at La Leprara.

 

Like other colleagues before him, Minà, in planning the recording, went to study the autograph of the Royal Winter Music at the Paul Sacher Foundation in Basel. The planned one day study turned into a whole week of intense work because of the sensational discoveries made seeing the manuscript, among the most obvious being the exchange, in Sonata I, between the third and fourth movements, Ariel and Ophelia. This was followed by the discovery of over 300 further changes made by Bream and Evers to the autograph, which partly affected the atmosphere of the music and the character of the portrayed Shakespearean characters. These weretherefore serious interventions in the dramaturgical and narrative architecture of Henze's music. The notes had often been modified in such a way as to render the original musical structure partially unrecognisable.


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