Palazzo Sacchetti - Roma

Grand'era gia' la colonna del Vaio (Pigli), Sacchetti, Giuochi, Fifanti e Barucci e Gally e quei ch'arrossan per lo staio

Paradise, Canto XVI

Written references to the noble Tuscan family of the Sacchetti can be traced back already to the 10-11^th Century, possibly descending from the Gens Cornelia of the Roman Republic.  As attested by Dante’s quotation in his Divine Comedy, the family was already established in Florence in the 12^th Century. During Florence’s internal battles between the Guelfs (the supporters of the Papacy) and the Ghibellines (the supporters of the Emperor), most members of the family sided with the Guelf party. While in Florence, the Sacchetti family participated in the Battle of Montaperti, against the Ghibellines of Siena. Even though the Sienese win caused the Sacchetti at first to be exiled, they later returned to Florence and the family continued to hold there the highest offices of the Republic. At this point the family divided into two branches: one that remained in Florence until the Sixteenth Century, when they relocated to Rome when the Republic collapsed and the Principate of the Medici was established, and the Neapolitan branch, that went into the service of the Normans.

The current Roman family descends from Matteo Sacchetti and his wife Cassandra Ricasoli-Rucellai. Since then, within the family tree we find connections with some of the most prominent names such as Colonna-Barberini, Montefeltro della Rovere,… and titles, such as Marquis, Princes, Commissary General of the Papal troops, and the Cardinal Giulio Cesare Sacchetti (1586-1663), twice unsuccessfully nominated for election as Pope! ...until Giulio Sacchetti, the last Chief Quartermaster of the Vatican, who married Giovannella Emo Capodilista, who was the kind Marchesa who hosted my concert at Palazzo Sacchetti.

Marchesa Sacchetti

The Sacchetti were among the most important patrons of the Baroque Era, promoting and commissioning masterpieces by Pietro da Cortona, Andrea Sacchi, Nicolas Poussin, Simon Vouet, Guercino and Guido Reni. Their collection was sold in the Eigthteenth Century to the Pope Benedict XIV, becoming one of the foundations of the Capitoline Museum in Rome.

This is the Sala where I performed!

...and among frescos by Pietro da Cortona and le Storie di David of Salviati there was me! The whole night really felt like being in a movie and, as I discovered afterwards, Paolo Sorrentino indeed filmed La Grande Bellezza exatrly in here, in the very room where I performed! I found a beautiful article with many pictures that five an idea of the Palazzo and its many beauties here:

http://www.adayinrome.com/2014/05/15/con-italian-ways-a-palazzo-sacchetti/

This is where part of the reception took place...

Concerto a Palazzo Sacchetti - Roma

In a few days, on July 3rd, I will be performing in one of the jewels of Italian Renaissance: the Villa Sacchetti, very kindly opened to the audience by the Marchesa Giovanna Sacchetti.

The villa was designed and built in the very heart of Rome, in via Giulia, by Antonio da Sangallo for himself and his family to live in, and only in 1649 it became the residence of the Marquis Sacchetti. Antonio da Sangallo left Florence very young and had come to Rome to study with Bramante, whose style he followed during his many years working, aboung others, extensively for the Popes. Among other projects, he worked on the cortile of the Farnese Palace, later completed by Michelangelo and, of course, he was the chief architect for the Basilica di San Pietro in 1520.

Marcello Sacchetti - Pietro da Cortona (1627)

I am particularly excited to be performing in a hall frescoed by Pietro da Cortona, who also painted the vault in the main hall in Palazzo Barberini in Rome as well as the Sala della Stufa in Palazzo Pitti for the Medici family in Florence. Interestingly, his young talent was discovered while still in Toscany by Marcello Sacchetti, the papal tresurer during the Barberini papacy, who helped him make a name for himself in Rome. This contact brought him to work closely with Bernini, as well as gave him commissions by the pope Urban VIII (Maffeo Barberini) and the Cardinal Francesco Barberini.

JAPAN!!!

New Musical Friends

About a month ago, I had the great privilege of playing two concerts with people I had just met – one of the many Beauties of Music - and thus making new very interesting friends: two beautiful musicians from Japan came to Canada for just over a week and offered me the occasion to learn a little bit more about their culture…just enough to have a glimpse into how much I really do not know, and even that, it was just a glimpse.

After our concert in Toronto

Takayo and Yasutaka (www.x-iksa.com) come from Matsue, a town on a river that connects two close lakes, hence acquiring sometimes the nickname of the Water City - a Japanese Venice? 

Of course I had to check on a map: first of all I discovered that Matsue is very close to one of the oldest Shinto Shrines of Japan, Izumo Taisha, just on the other side of one of the lakes.

That’s when I first discovered that, really, I knew NOTHING of Shinto.  This ancient native Japanese religion recognizes the presence of the divine spirits in nature: mountains, forests, and even rain,…can contain a kami, which is a worldly manifestation of the spiritual powers.  These spirits, which give life to humans, will return to nature after the death of a person in a renewable cycle. The physical “residence” of kami, a shintai, is a physical object such as Mount Fuji, waterfalls, mirrors, swords, jewels, such as, for instance, a Magatama! Thus I discovered that the wonderful pendant I often wear and that was brought to me from a recent trip to Japan, is actually a comma-shaped bead whose history can be traced back to Japan’s culture already in 1000BC! In ancient times it was made of stones, of course, and only successively mostly in jade.

It is such an important symbol that it is found also as part of a bridge in Matsue!

Interestingly, it was the beginning of agriculture which determined the need to attract the life spirits – kami -to ensure good harvests, and so the first shrines appeared. Around the 6^th Century, though, Buddhism made its way to Japan, introducing the idea of a shrine that would now be permanent. For a long time the Buddhist temples and the Shinto shrines coexisted, with the temple built next to an existing shrine. From an architectural point of view, an interesting fact is that Shinto shrines were traditionally rebuilt at regular intervals, strictly following each time the original plan and design, and so are preserved till today almost intact, to protect the shintai and the kami which inhabits it.

  

Back to Matsue, one of its most famous ruler, Matsudaira Fumai, was a great enthusiast of the Tea Ceremony – a ritual that I have been finding incredibly intriguing lately - and a renowned tea master himself, and thus in 1779 built a famous tea house, which is still there: Meimei-An. There are special sweets – Wagashi -which are consumed during the Tea Ceremony, and Matsue is famous for several kinds, but the Wakakusa is the most famous one, the Spring one!  I will have to visit my new friends in the Spring.

A big discovery for me during this concert was the music of Toru Takemitsu, which I had of course studied in school, but never really worked on closely. I played his Rain Tree Sketches II, written in memoriam Olivier Messiaen. Not much is written in English, but I discovered that the whole concept of the Rain Tree comes from several stories by Nobel laureate Kenzaburo Oe, where the infinite tiny leaves of this life tree collect the rain and disperse it during droughts. It is beautiful and magical music, which, from a purely pianistic point of view, feels incredibly like playing Ravel, in particular my beloved Jeux d’eau.

A little Japanese side story - not surprising, knowing me -: on my way to my European Tour this past Fall, I met on the plane a wonderful Japanese Shiatsu Practicioner who lives in Toronto and with whom I became fast friends. Naturally, I invited him and his wife to our Japanese concert and it turns out he was coming with a great friend who is a violin maker here in Toronto, Mr. Masa Inokuchi. So, of course, after our concert we all were invited to see this incredible place where this wonderful family works untiringly on shaping, tapping, scraping, drying wood to make violins, violas, cellos and double basses! (www.inokuchiviolin.com)

With the not so good wood they make cutting boards: I got one as a gift and now proudly chop my veggies on a missed back of a violin.  

Please allow me one last Japanese thread: all this thinking of Japan brought me to have a special eye for anything Japanese in my daily life and so, looking at the wallet I carry every day, in a Proustian leap I suddenly went to two wonderful neighbors I had when I lived in Vancouver: Jun Wada and his wife Mary, who came to many of my concerts and gave the wallet to me on one occasion. As I discovered only after moving to Toronto, our quiet and friendly neighbor is in fact an incredibly famous neurologist, whose major research changed the world in the field of epilepsy. But then again, many of the people who lived on that street are very very special human beings.

This is from wonderful Mary

...and these are from my beautiful Friend Becky

また近いうちに

Sala Tripcovich a Trieste – really the Sala Raffaello de Banfield

Under circumstances really along the lines of the best Pirandello stories – maybe partially also due to its Sicilian connections -, not only in terms of plot and characters, but especially of emotional sub-tones and unspoken implications, I was suddenly and unexpectedly “enlisted” to perform in my beautiful hometown, Trieste, to give a solo recital on December 27^th at the Sala Tripcovich. 

 

I realized only afterwards that I knew very little of the history of the hall, not to speak of the shipping company that gave it its name or most of the people connected to it. So I did some research and found, as often is the case with such matters, many intertwined fascinating stories. One research lead to the next and I had to open many parentheses, much like in a long mathematical equation. I hope to keep it clear.

The concert hall where I just performed is known as Sala Tripcovich, carrying the name of the shipping agency, still operating today, that sponsored the renovation in the 1990s of what used to be a bus terminal. So, let’s go back several centuries.

The first known mention of the family Tripkovic - note the different original spelling -, stems from around the year 1000, when they were appointed with the title of counts by the Emperor of Byzantium. 

This is how the Byzantine Empire roughly looked then:

Already at this time, the Tripkovic worked in the field of navigation. They lived in the Bocche del Cataro, the Bay of Kotor, at the time part of the Byzantine Empire and today part of Montenegro.  In the following centuries, the family built a strong tradition of ship builders and was even involved in the rivalries between the Republic of Venice and that of Ragusa, as well as, later, in the battle of Lepanto, in 1571, when they sent three ships in support of the victorious Holy League against the Ottoman Empire. 

The family lived in the area for centuries and was found still in Dobrota in the mid 1800s. Then, the 22 years old Diodato Tripkovic left for Trieste, at the time the main harbor for the Austro-Hungarian Empire. In 1880 Diodato Tripkovic starts working for the Lloyd Austro-Hungarian; during these years he meets important traders on the ships and makes valuable connections for his own entrepreneurial future.  In 1895 he changes his name and founds the Tripcovich Shipping Agency: D.Tripcovich Societa’ di Armamento e Agenzia Marittima.  A note of colour: initially Diodato made a fortune shipping oak to France, where the oak was made into casks to age cognac! By 1910, his fleet of steamships carried passengers as well as goods all over the Mediterranean Sea, he owned a special fleet to pull and save boats in the harbor, and his became one of the most important fleets in WWI.  In 1921 his daughter, Countess Maria Tripcovich marries the Austro-Hungarian flying ace Goffredo de Banfield and here is where the two families come together.  Their son is Raffaello de Banfield.  Here opens another parenthesis, the square one I believe.

In very succinct terms and for the purpose of keeping the focus on the Sala Tripcovich, the colourful life of Raffaello de Banfield will be recalled with only a few salient facts: he studied composition with Malipiero in Venice and Nadia Boulanger in Paris, where he became lifelong friend of von Karajan, as well as met Picasso, Cocteau, and Poulenc. He then moved to the States where he became friends with Tennessee Williams, Leonard Bernstein and Maria Callas. In 1972 he came back to Trieste and became the Director of the Teatro Verdi.

In the 1990s, the Teatro Verdi was in need of serious renovation and Trieste found herself searching in a great hurry for a new place to host the musical events of the heart of the city, while still trying not to disrupt the programmed schedule of activities.  Raffaello de Banfield, also the head of the huge shipping empire Tripcovich, secured the financial support to turn an old bus terminal located just outside the main railway station of Trieste, and a few steps from the Teatro Verdi, into the new Sala Tripcovich. Incidentally, the Teatro Fenice in Venice had been completely destroyed by a fire a few years before and, during restorations, the musical events of the city took place in a tent, something that in Trieste, with the Bora, her famous wind at 170km/h, would simply be inconceivable. 

Let me open one last parenthesis here...we are at the curved one! The bus terminal was originally built in 1935 by the famous Triestino architect Umberto Nordio. Please excuse one final tiny parenthesis, his father was also a famous architect, the Trieste-born but Austro-Hungarian Enrico Nordio. He had studied architecture in Vienna where he collaborated to the restoration of the Stephansdom, as well as the nearby Kleusterneuburg, as well, also part of the Empire, as the Academy of Science and Arts and the cathedral in Zagreb! In 1888 Enrico Nordio had also participated in the competition for the new façade of the Dome of Milano.

Back to his son, Umberto Nordio, also born in the Austro-Hungarian Trieste. Among his main imprints in the city’s architecture, most notable are the new University (1938-50) and the Stazione Marittima.

Universita' di Trieste

Stazione marittima

Incidentally but for me most interestingly, he was a great supporter of the arts, both figurative and performing. His wife, Lidia Piani, had a diploma in Piano and for years the Trio di Trieste would rehearse at their home in via Cicerone!

So, back in 1992, thanks to the support of Raffaello de Banfield, director of the Teatro Verdi but also heir of the Tripcovich empire, the bus terminal built in 1935 by Umberto Nordio is turned in record time into the Sala Tripcovich!

In 1997, the Teatro Verdi is ready to be reopen and the two halls live parallel and symbiotic lives. There are many discussions today on what to do of the Sala Tripcovich which is by now named Sala Raffaello de Banfield after the latter's death in 2008. Still today, there have been bellicose supporters of the idea of demolishing the hall and so restoring the old open green space in front of the Railway Station, while others want to keep the building but to host youth events of various kinds, and the Teatro Verdi, of course, would like to keep it as part of its Fondazione for concerts and rehearsals.

In the meantime, here I was on December 27^th!