Da Mozart a Morricone vol. II
Gnocchi, I violoncelli del Mozarteum

Giovanni Gnocchi, cello

The Mozarteum Cellos (Alfredo Anastasio, Yhaïs Deefort, Ana Martínez González, Noah Oshiro, Leonard Razboršek, Lynn, Renouil-Hata, Keina Satoh, Hai-Qing Yang)

W. A. Mozart (1756–1791)
Sonata K 381 (mov. III)

J. J. F. Dotzauer (1783–1860)
Terzetto op. 104

J. J. F. Dotzauer / W. A. Mozart
Variations on the theme “Là ci darem la mano” from Don Giovanni

F. Schubert (1797–1828)
Marche militaire D. 733

W. A. Mozart / F. Say (1970)
Alla Turca Jazz

L. Schifrin (1932–2025)
Mission Impossible

Greek folk tradition
Pulp Fiction – Misourli

E. Morricone (1928–2020)
Malena

C. Gardel (1890–1935)
Por una Cabeza

H. Zimmer (1957)
Pirates of the Caribbean

40’ | Ticket offered by Oficina OCM and Gruppo Tea

PLEASE NOTE: Tickets may only be reserved and collected at the Trame Sonore Festival Box Office

Within the Crossroads strand, devoted to the fusion of classical tradition and experimentation, tonight’s programme traces an arc from Viennese Classicism to contemporary music, with the cellists of the Mozarteum and Giovanni Gnocchi serving as its unifying thread.

The evening opens with the third movement of Mozart’s Sonata K.381, followed by Dotzauer’s Terzetto op. 104, in which the German cellist-composer offers an example of his elegant and finely balanced chamber writing. This is followed by a tribute to Don Giovanni, arranged by Dotzauer himself for two cellos: the Variations in C major on the theme of the celebrated duet Là ci darem la mano.

The second half of the evening begins with Schubert’s Marche militaire D 733 op. 51, followed by a series of arrangements that move freely across genres: Say’s Alla Turca Jazz and Seidelmann’s Guten Abend, liebe Grossmutter. Schifrin’s Mission Impossible, Morricone’s Malena and Gardel’s Por una Cabeza then bring American television, Italian cinema and Argentine tango to the stage.

Bringing this extraordinary evening in Piazza Leon Battista Alberti — one of Mantua’s most evocative locations — to a close is Zimmer’s Pirates of the Caribbean: a spectacular work that once again demonstrates the cello’s extraordinary ability to narrate and move audiences, from eighteenth-century Vienna to the film scores of the present day.