Roma, December17  2025, 9 pm
Mattatoio di Roma, La Pelanda
62nd Nuova Consonanza Festival

FORTE SUONO PIANO LUCE

Francesco Prode – pianoforte
Luigi Ceccarelli – regia del suono
Carlo Bernardini – sculture di luce

program

Luigi Ceccarelli
4 Acousmatic Variations on Sonata 106 “Hammerklavier” (2024)
for electronic processing and spatialization of the piano sound
– Prelude to Allegro
– Prelude to Adagio
– Postlude to Scherzo
– Interlude in the Fugue

Ludvig Van Beethoven
Sonata No. 29, Op. 106 “Hammerklavier” (1817–1819)
– Allegro
– Scherzo. Assai Vivace
– Adagio sostenuto. Passionate and with much feeling
– Largo. Allegro Risoccato

An acousmatic reinterpretation of Beethoven’s Sonata No. 29, Op. 106, a true musical monument, in an ideal dialogue between past and present.
The performance of Beethoven’s masterpiece, performed in its entirety by Francesco Prode, is complemented by the visual setting and the acousmatic variations inserted in a precise temporal arrangement with respect to the original sonata.
An immersive spatialization that expands into the invisible dimensions of space, shaping its emptiness through the perceptual transformations of light and sound.

Luigi Ceccarelli’s pieces use exclusively sequences taken from the performance of the Sonata performed by Francesco Prode.
The acousmatic performance of the pieces takes place concurrently with the complete performance of Beethoven’s sonata, alternating the two compositions in the following order: the first variation, “Prelude to Allegro,” is performed before the first movement of the sonata; the second variation, “Prelude to Adagio,” after the first movement; The third variation, a postlude to the scherzo, follows the third movement, and the last, in a pause at measure 250 of the fugue. At the end of the variation, the fugue resumes.