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Alessandro Cazzato, Dario Doronzo, Pietro Gallo Present "Rewritings" Recital at Weill Hall

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Alessandro Cazzato
Dario S. Doronzo
Pietro Gallo
(Trio Event Web Page)

Recital in Two Sketches
Violin, Flugelhorn, Piano

Weill Recital Hall
(Carnegie Hall Website)

Dr. Roberta E. Zlokower
July 13, 2017

Goffredo Petrassi, Elogio per un’ombra [1971] for solo Violin
Pietro Antonio Locatelli, Labyrinth Caprice for solo Violin
Ernesto Camillo Sivori, Caprice No. 7 Op. 25 for solo Violin
Paolo Geminiani, Paganini’s Allusions & Inferences [2017] for solo Violin*
João Pedro Oliveira, Derivative I [2017] for solo Violin*
Claudio Monteverdi, Sì dolce è’l tormento for Flugelhorn and Piano
Alessandro Parisotti, Se tu m’ami for Flugelhorn and Piano
Domenico Scarlatti, Sonata K. 87 & Allegro K. 141 for Flugelhorn and Piano
Pietro Mascagni, Intermezzo (Cavalleria Rusticana) for Flugelhorn and Piano
Tommaso Giordani, Caro mio ben for Flugelhorn and Piano
Giovanni Paisiello, Nel cor più non mi sento for Flugelhorn and Piano

Three very classy and talented musicians arrived at Weill Hall tonight for a rare program of contemporary classical music on solo violin, followed by jazz interpretations of Italian opera and instrumental works, reimagined for piano-flugelhorn duets. Alessandro Cazzato, Dario S. Doronzo, and Pietro Gallo traveled from the Bari region of Italy for their Carnegie Hall debut. All three musicians have impressive resumes, as they all teach at conservatories or high schools in Italy, and they all perform and record their music throughout Italy and abroad. Weill Hall was packed with fans and friends, as well as Italian culture aficionados. This understated, humble trio of virtuosos took the stage with no speeches or fanfare. Their professional performances spoke for the vibrancy of these visiting artists. The program was titled “Rewritings”, with two “Sketches”.

Mr. Cazzato performed the first half of the program, with the Petrassi Elogio eerie, atonal, and ghostly. Mr. Cazzato has masterful skill and formed pure, pristine tones. The Locatelli Labyrinth Caprice had a more harmonious tonality in an echoing theme. Dancelike, circular refrains were lovely and seamless. In the Sivori Caprice No. 7, there was yearning and a pulsating treble pizzicato. The Geminiani piece was imbued with Venetian inflections, mournful phrasing, and powerful, semi-tonal infusion. The final Oliveira Derivative I was dissonant, esoteric, and serendipitous, with shifts in tempo and sound.

The second half of the program brought out Mr. Doronzo on flugelhorn and Mr. Gallo on the Steinway. Mr. Doronzo traveled the length of the stage, during the performance, as a true jazz musician, with rhythmic body language. The Monteverdi piece, introduced by the piano, was melodic, with contrasting themes. The audience seemed to relax with this different, clublike ambiance. I thought of Miles Davis during this first jazz-infused work. The Parisotti Se tu m’ami had a folkloric style, a frolicking, tonal love song. This gentle, lilting tune was, at one point, evocative of a lullaby. The Scarlatti Sonata was a piano solo for Mr. Gallo. Mr. Doronzo stood stage right at ease. Syncopated jazz rhythms were remarkable in this unusual interpretation. This music was upbeat and fervent.

The Mascagni Intermezzo, evoking the operatic theme from Cavalleria Rusticana, offered contrasting harmonies, one for piano, one for flugelhorn, with a choral effect. At one point, Mr. Doronzo endlessly extended one note on the flugelhorn, while Mr. Gallo created a waterfall of notes, up and down the keyboard. The piece ended with a mellow melody. The Giordani Caro mio ben included improvisational elements with feverish flair. This piece also included Mr. Doronzo’s flugelhorn solo, showcasing its deep, resonant tones. The most relaxed work of the evening, by Paisiello, fused the flugelhorn and piano themes as one, tightly woven and harmonious. Flugelhorn improvisations led to a dynamic finale. Kudos to this talented trio from Italy, Mr. Cazzato, Mr. Doronzo, and Mr. Gallo.

Alessandro Cazzato, Dario Doronzo, Pietro Gallo
at Weill Recital Hall after the Concert
Courtesy of Roberta Zlokower

For more information, contact Dr. Roberta E. Zlokower at