A actually define a necessary comment sull'autobiografia review of a great master such as Riccardo Muti seems a little risky, but I'll try ...
Maestro Muti tells the story of his life through the development of his passion for music that was like a shock on the road to Damascus at the beginning rather hardly averebbe and wanted to learn the gift of a violin for the Gion St. Nicholas when she was about eight years was not welcomed with great joy. The plot of the book is the story of his life and experiences and encounters important and fortunate enough to have helped this great artist to mature and evolve.
What struck me is the use of a style or indeed no pompous rhetoric but even at times witty and fun, definitely a smooth writing even when it addresses issues such as finding a particular interpretation or the study of tracks and works in order to transmit as faithfully as possible the idea of \u200b\u200bthe composer by performing . One way to describe the music for those who do not have a great knowledge of "classical" music.
Cross around the world from Naples to Milan, Florence and London to Vienna to Philadelphia in the binding constants and relationships with several orchestras, each of which seems to have its own color of the Wiener Philharmoniker writes: "... The ease with which the strings sang was for me a new way, Italian tangibly different from the habit which had been developing in the work and even in Donizetti repertory, but it contained something dark and deep ... that gave the Impressions to get more bottom notes ...".
They meet the likes of S. Richter, V. Gui, Nino Rota, G. Petrassi, L. Pavarotti and many others, some performers that I have heard him play countless times in the CD: I thought I almost know them personally.
The piece that struck me most and that I read while I was on the train returning from a hard day's work was the description of the attack by a Mozart Symphony No. 40 in G (famossissima) was described the sound that I felt in my mind for having listened to that song so many times:
" ... Take the beginning of the Symphony in G minor by Mozart, one of the attacks the most difficult imaginable. not for the famous "reason" ... but only to the extent of accompanying ... here the motion is dizzying, and a row of pansies must leave alone the silence with a movement now forced to create the climate of anxiety that will load at that fantastic reason for a moment ... have to deal with the infinite, so that only you can say is that there are no words to say. "
He succeeded.
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