First concert will be on1st May in New York, Italian Academy at Columbia University, and follows the invitation to give a Recital for the E. Lorch Memorial. The program will feature Italian Music from Baroque to Contemporary, beside Beethoven’s Les Adieux.

After this thrilling program, Emanuele will present the cycle VOICES AND PIANO by Austrian composer Peter Ablinger, after successful performances in Argentina, for the Italian most prestigious Festival of New Music with Electronics, AngelicA Bologna on 16th May.

The week after (on 22nd) Emanuele will play for “Verso Traiettorie Festival”, which this year is completely devoted to music for piano solo, in the beautiful venue of Parma’s Casa della Musica.

Other two engagements (23rd and 30th), in Prato and Budrio, will follow before the one on 2nd June for ART ARSENAL Festival in Kiev (Ukraine), which will be the last of a very diverse and varied tour, including music by Michel Van der Aa, Jonathan Harvey, Ivan Fedele and Terry Riley.

The pianist interprets the Left hand Concerto, passing from the orchestral part to the solo piano part as if in a private practice session, with repetitions and pauses, constant obsessive confrontation with the infinity of existing interpretations, exploration of most difficult virtuoso sections. He is the pianist Paul Wittgenstein himself, the amputee who attempts to enrich the spare cadenzas, who criticized Ravel and corrected him. The cellist listens and weaves in and out of pianist’s performance, using a private language, with suggestion of words, howls and monologues. He’s Ravel, at the beginning of his mental illness, the semantic privatist imagined by Wittgenstein, struggling witht the devastion of his mental lucidity and the uniqueness of his compositional quest. From time to time the cellist and the pianist talk to each other, using Ravel and Wittgenstein’s words reinvented by Russian poet Eugene Ostashevsky.

The work, as well as some masterworks from French repertoire such as Debussy Sonata, will be presented at Amici della Musica di Ancona on 11th April, at Accademia Filarmonica Romana on 9th May, at Villa Romana on 14th June, at MITO Settembre Musica on 17th September and in other venues on next concert season.

Indeed, in surveying some of the composer’s most acclaimed works, such as the Piano Quintet Op.44 and Three Romances Op.94 (originally scored for oboe), the compilation also features the linchpin of Schumann’s work, J.S. Bach. Bach’s contrapuntal influence on the composer was immense, and it is therefore unsurprising that Schumann arranged a number of his works — including the complete solo cello suites. Suite No.3 is the one chosen for this release, and is coupled with the Sarabande from No.5 in C minor, this time arranged by F.W. Grützmacher. One of the 19th century’s most acclaimed cellists, Grützmacher played a major role in widening appreciation of significant works, and the compilation offers five such transcriptions by this highly adept arranger. Teaming up once again to deliver consummate readings of these works are the seasoned Duo Dillon-Torquati, both of whom enjoy busy international careers.
This is the second issue of Schumann transcriptions for cello by the duo Francesco Dillon and Emanuele Torquati, “quasi novelli Florestan ed Eusebio, l’ardente violoncello di Dillon e il sensibile pianoforte di Torquati si muovono ‘da padroni’, con immaginativa sprezzatura sentimentale ed ispirata condotta tecnica nel multiforme universo schumanniano” (GP. Minardi).

Their earlier issue received enthusiastic comment in the international press: “comes across with vibrant conviction” (Musicweb International)

Programme includes a vast selection of Schumann chamber music and some important works of New music repertoire, from Boulez to Saariaho. Torquati will perform in 4 different concerts, on 13th Sur Incises by Pierre Boulez, under Matthias Pintscher, on 14th in a matinée devoted to Schumann and B.A. Zimmermann, and then in an evening concert with Schumann and 2 new works related to his music, on 15th will present Pintscher’s “Lieder und Schneebilder” with American soprano Marisol Montalvo.

In order to celebrate the 500th Anniversary from his death, Dillon-Torquati chose a wide selection of pieces written by most prominent Latinamerican composers, e.g. Alberto Ginastera, Heitor Villa Lobos, Carlos Guastavino and Astor Piazzolla.

The program is inspired by the idea of a mesmerizing journey between evocations, sounds and images, with the contribution of video artist Luca Di Pierro (USA-Italy) and film maker Gaston Solnicki (Argentina).

The project will feature Villa Lobos Bachianas Brasileiras n. 2 and the beautiful Song of the Black Swan, as well as virtuosic pieces like Ginastera’s Pampeana n. 2 and Piazzolla’s Le Grand Tango. Last but not least, Francesco Dillon will perform a new cello solo piece with electronics by Martin Bauer, while Emanuele Torquati will present Tango errante by Maria Cecilia Villanueva.

Their engagements include 3 concerts in Pescara, Rome and Campobasso, with a program devoted to Franz Liszt (recently released for Brilliant Classics), Busoni, Bartòk and Strauss, including a premiere of Italian composer Mauro Cardi especially written for them.

After this first round of concerts, they’re going to present a second version of last year successful project “DISTANT VOICES, STILL LIVES”, at Area Sismica, Villa Romana and NY Musikk in Oslo. This new edition will include beside Brahms and Schumann Lieder, a world premiere by Argentinian composer Martin Bauer and German composer Carola Bauckholt, a new piece by emerging talent Daniele Ghisi, plus Peter Ablinger Voices and piano and Jacob TV piece for cello, piano and electronic based on Chet Baker’s last interview.