Selected Concerts of works by Gian Paolo Chiti

December 3, 2006 Chiti : "En Ecoutant La Nuit" for String Quartet, "Conversation with Myself" for solo Violin, "Dans les Bois Oubliés" for solo Viola, Elaborazione for Solo Piano of Schumann's "Dichterliebe" and "Frauen Liebe und Leben", Gian Paolo-Chiti, Pianoforte, Quartetto Casorati di Torino, Auditorium Nino Carloni", L'Aquila, Italy

June 21, 2009: Chiti : Vox Flauti for Flute Quartet, Quartettto "Image" (Petrocchi, Castelli, Troiani, Campitelli), Teatro Fenaroli, Lanciano

July 20, 2008: Chiti : Vox Flauti for Flute Quartet, Quartettto "Image" (Petrocchi, Castelli, Troiani, Campitelli), Ortona, Italy

November 20, 2008: Chiti : Plexus for 2 bass flutes, members of the Quartettto "Image" (Petrocchi, Castelli, Troiani, Campitelli), Biblioteca Valliceliana, Italy

August 12, 2007: Chiti : (Spanish Première) Inscription for Solo Flute, Maria del Pilar Martinez Villalba, Flutist, Clasicos en Verano Festival, 20H00, Inglesia Parroquial San Eugenio, Navas del Rey, Spain

August 15, 2007: Chiti: Inscription for Solo Flute, Maria del Pilar Martinez Villalba, Flutist, Clasicos en Verano Festival, 20H00, Inglesia San Pedro in Cathedra, Horcajo de la Sierra,, Spain

July 20, 2008: Chiti : Vox Flauti for Flute Quartet, Quartettto "Image" (Petrocchi, Castelli, Troiani, Campitelli), Ortona, Italy

Recent Publications of works by Gian Paolo Chiti / Nouveatés par Gian Paolo Chiti :

About Chopin Promenade

The distinguished Italian composer Gian Paolo Chiti has long been attracted to the idea of framing the works of the past in other forms, or as « elaborazioni » or «reworkings» to use the composer's own expression. The composer's "reworkings" of the two great Schumann song cycles for Piano solo of Dichterliebe and Frauenliebe und Leben were the result of years of performing these cycles in concert. The versions for solo piano were intended to allow solo pianists to be able to present these vocal works as independant concert works, indeed (to quote the composer) "many believe they are listening to another new Schumann work and do not realise that this is a true presentation of the cycle with the voice part included. "

2010 will mark the bicentennial of Robert Schumann and Chiti's versions for solo piano of these cycles are receiving much deserved attention. In addition to this event, the bicentennial of Frédéric Chopin's birth will take place on February 22, 2010. This time, Gian Paolo Chiti has decided to rework Chopin's piano music for String Quartet in a original work entitled "Chopin Promenade", using original music by Gian Paolo Chiti coupled with fourteen different themes taken from famous piano works, which include :

1 Zyczenie op. 74 n° 1

2 Hulanka op. 74 n° 4

3 Preludio op. 28 n° 5

4 Preludio op. 28 n° 4

5 Preludio op. 28 n° 2

6 Valzer KK IV b n° 11

7 Valzer op. 69 n° 1

8 Valzer op. 70 n° 3

9 Studio in FA m n° 1 Trois Nouvelles Études

10 Mazurka op. 68 n° 3

11 Mazurka op. 56 n° 2

12 Preludio op. 28 n° 6

13 Preludio op. 28 n° 13

14 Preludio op. 28 n° 19

The composer explains his work in the following manner:

Chopin Promenade is a succession of works by Chopin, which, placed one after another, now form a single composition. My intervention has consisted in the identification and choice of the individual original pieces, their position in the sequence, the creation of musical bridges between one work and another and the total re-elaboration for a string quartet.

The following methodology was used:

a) I chose some well-known and some lesser-known works that I felt would be adapted for transcription for string quartet and would highlight the qualities of the sound of strings.

b) The order of the chosen works was undertaken with in order to create a homogeneous variety of sounds, tonalities and tempi between the individual fragments and works;

c) I composed “Bridges” sometimes only of a few bars, sometimes longer, which served to link both melodically and harmonically the chosen works.

In particular:

1) Between Hulanka (originally for voice and pianoforte) and the Prelude Opus 28 n° 5, there are six bars linking the two pieces using a thematic cell from the Prelude.

2) Between this Prelude and the successive Opus 28 n° 4 I have inserted three bars of music as an harmonic passage;

3) Between the Prelude Opus 28 n° 2 and the Waltz KK IV b N° 11 I have created one linking bar which using a rhythmical cell from the Prelude

4) In the above Waltz, beginning at bar 218, I have inserted an original sequence from the work now played by the second violin as counterpoint to the principal melody played by the first violin. This was conceived in order to enrich a work that was originally written as a melodic line with a rhythmical-harmonic accompaniment. To unite this part of the work to the successive Waltz Opus 69 N° 11 I have added seven bars (numbers 262 to 268) involving all four instruments using a modular development based on intervals taken from the Waltz;

5) Between bars 310 and 327 the main theme is exchanged, at an octave’s distance, by the two violins. This is not part of the original score;

6) Between Waltz Opus 70 n° 3 and the Study in F Minor I have added an harmonic - melodic bridge of six bars using the incipit of the Study;

7) Within the Mazurka Opus 56 n° 2, I have composed a new and special part for the violoncello (bars 617 – 621) in imitation of a canon in octaves with the viola; this was not in the original work. I undertook this in order to complete the lower register and the contrapuntal writing that characterizes the second part of the work (bars 605 – 622);

8) Between the Mazurka above and the successive Prelude Opus 28 N° 6, I have inserted seven bridging bars (including two with a pause) that anticipate the harmony and the characteristics of the next work;

9) For the performance of the Prelude Opus 28 N° 13, I have indicated “Andantino Sognante”, not in the original work. There are also instructions for the use of the Sordina by the performers in order to underline the particular “oasis” of serenity for the sound at this point which will contrast strongly with the succeeding, and last piece Prelude Opus 28 n° 19. This has a wheeling, seething, highly rhythmical and chromatic sound, and therefore I have written an extremely compact arrangement for the strings to highlight even further this particularly dramatic moment.

Purchase a copy of "Chopin Promenade" by Gian Paolo Chiti published by Musik Fabrik/Achetez une exemplaire de "Chopin Promenade" de Gian Paolo Chiti éditée par Musik Fabrik

Chopin Promenade for String Quartet/pour quatuor à cordes, Score and parts/partition et parties 44€95