Silvia Colasanti: 'My string quartet is about the beauty and nostalgia of Rome'

Whether flowing melodies, driving rhythms or dense clouds of sound, the music of Silvia Colasanti (Rome, 1975) is always lyrical. On Monday 29 January, Quartetto di Cremona will perform the world premiere of her string quartet Ogni cosa ad ogni cosa addio at Muziekgebouw aan' t IJ Amsterdam.

The concert is part of the String Quartet Biennial, which takes place from 27 January to 3 February 2018. The ambitious programme presents a wide variety of music in concerts, workshops and master classes. Each morning will open with a string quartet by Joseph Haydn, mastermind behind the genre.

Besides classical and modern repertoire, there are also new works by composers such as Jörg Widmann, José Maria Sánchez-Verdú and Silvia Colasanti. Colasanti composed her quartet commissioned by the Biennale. It will be performed at the first morning concert on Monday 29 January alongside Haydn's Quartet No 28. Colasanti: 'I was inspired not by Haydn, however, but by Monteverdi.'

Nostalgia

Why did you call your quartet 'Ogni cosa ad ogni cosa ha detto addio'?

It is the title of a collection of poems by Italian poet Valentino Zeichen. It is dedicated to Rome, not only the city of today, but also at the time of the Roman Empire. Zeichen talks about themes of nostalgia and maturity. The book is about beauty and passing time, about the city and its contradictions. But I definitely did not try to make a musical equivalent of poetry. Ogni cosa ad ogni cosa ha detto addio is not a translation of poetic lines or thoughts.

I dedicated my quartet to Ilaria Borletti Buitoni, secretary of state for culture in Paolo Gentiloni's government. I admire her because she is active not only in politics but also in many organisations in the cultural field, especially in music. She is a sensitive woman. Our paths crossed only three years ago, but we have built a relationship of friendship and mutual esteem.

Monteverdi

Your quartet is on the programme with Haydn's Quartet No 28. In 2010, you wrote 'Chaos: Commento a Haydn, Hob. XXXI: 2' for chamber orchestra. Does your new string quartet also reflect on Haydn?

No. My new piece juxtaposes our oldest musical roots - from Monteverdi - with advanced achievements of the avant-garde. This allows distant and veiled harmonies to reverberate in a new form without losing their original expressiveness.

The quartet has one movement, with alternating sections. These are based on two different ideas: one more rhythmic and aggressive, the other more sensitive and lyrical. For this second idea, I took some harmonies from Monteverdi's madrigal Darà la notte il sol. I edited those with modern techniques so that the old material becomes audible in a different guise.

Lyrics

You seem to have a preference for melodic music.

Indeed, it is unfortunate that for years it seemed as if music was no longer allowed to be lyrical. But I firmly believe that the melodic aspect of music should remain, albeit with today's means and words. In this respect, there are many composers I admire, but György Ligeti is the most important as far as I am concerned. He taught us how all traditional musical parameters can be redefined.

What do you do first when you start a new piece?

I start from a basic idea that I try to mould into a structure, a project. This initial starting point is by no means rigorous, but very flexible. I always leave room to welcome new ideas that arise while composing. I don't compose at a piano or computer, I just use my head. - And paper, pencil and eraser.

Close cooperation

Quartetto Cremona often plays your music, did you collaborate with them on this new piece?

I have known Quartetto di Cremona for more than a decade, practically since its inception. We first worked together in a project on contemporary music by the Fondazione Spinola-Banna l'Arte. That meeting led to a close collaboration, including in the writing phase. They have a deep affinity with my music, both the technical side and the thoughts and emotions behind it.

This deep understanding allows us to work together fruitfully during the composition process and in rehearsals. Their questions, their doubts are a source of reflection for me and have sometimes led to revision. Our intensive collaboration enriches my work.

More info and tickets for the concert here.