Eclectic, capable of ranging between Baroque, jazz and contemporary music, Mario Brunello leads the audience on a fascinating journey exploring the complex harmonies of Johann Sebastian Bach and the depth of Mieczyslaw Weinberg’s compositions. Entitled Bach-Weinberg, the right distance, the concert is divided between Johann Sebastian Bach, with two solos for cello extraordinarily rich in invention and emotional depth (Suite no. 1 in G major BWV 1007 and Suite no. 2 in C minor BWV 1008) and two Sonatas for the same instrument by the 20th-century Polish Jewish composer Mieczyslaw Weinberg, who in 1939 fled the Nazi ferocity in his twenties and took refuge in the Soviet Union, where he spent most of his career and where he was particularly esteemed by Šostakovič. The reappraisal of his art, for a long time little known, is a recent trend. A kind of posthumous compensation for a composer who died in 1996 and whom some historians, in the second half of the last century, considered – probably not wrongly – to be equal to Prokof ‘ev and his mentor Šostakovič himself.
