by InTrieste
Seventy years ago, in 1954, the city of Trieste rejoined Italy, marking the end of a turbulent chapter and the start of a cultural renaissance. This anniversary is being commemorated with a series of concerts and events celebrating Italian identity, none more poignant than Vola Colomba at the Civic Theatre Museum “Carlo Schmidl,” a showcase of Giulio Viozzi’s evocative chamber music.
The Italian city’s elegant Palazzo Gopcevich, itself a reminder of Trieste’s cultural heritage, will host the second of three concerts on Wednesday, featuring the talents of violinist Marco Favento, cellist Massimo Favento, and pianist Corrado Gulin. This series, curated by musicologist Stefano Bianchi, pays homage to Viozzi, a composer whose works shaped Trieste’s musical landscape in the years following Italy’s return. With pieces both refined and adventurous, the program highlights Viozzi’s devotion to classical forms while celebrating a sense of newfound freedom that permeated Trieste’s cultural revival.
The Composer and His City
Born in 1912, Giulio Viozzi was deeply influenced by Trieste’s layered identity, which blends Italian, Central European, and Balkan elements. The conference-concert series has cast a spotlight on his compositions for chamber music ensembles, inspired by Trieste’s notable musical groups, such as the acclaimed Trio di Trieste. This renowned group—composed of pianist Dario De Rosa, violinist Renato Zanettovich, and cellist Libero Lana—rose to prominence in the 1950s, embodying Viozzi’s vision of refined unity and technical prowess.
“Anything can be achieved through willpower,” Viozzi often told De Rosa, who, alongside his Trio di Trieste colleagues, represented a generation of musicians that catapulted Trieste to international recognition. Viozzi’s Trio for Violin, Cello, and Piano, dedicated to them, is an exploration of musical interplay, a work that captures the cohesion—and at times, the playful discord—that defined both the composer’s humor and the Trio’s celebrated synergy.
A Performance that Transcends Time
Each concert in the series is a blend of musical performance and historical reflection. On Wednesday, November 6, the musicians of Lumen Harmonicum will interpret some of Viozzi’s most intricate works, including his famous Trio for Violin, Cello, and Piano, which he wrote in 1956 for the Trio di Trieste. In the piece’s first movement, “Meeting,” listeners are drawn into a world where the instruments seem perpetually on the verge of converging yet are always slightly out of sync, a reflection of Viozzi’s playful side and his friends’ legendary camaraderie. The second movement, “Song,” subtly disrupts expectations, while the finale, “Rhapsody,” draws on syncopated jazz rhythms and eccentric themes, leading to an exhilarating climax.
Critic Corrado Maurel, present to provide historical insights, notes that Viozzi’s pieces are not just technically demanding but also deeply reflective of Trieste’s complex identity. “He was a composer who always saw his city as both a subject and a muse,” says Maurel. “His music captures a uniquely Triestine balance of resilience and sophistication, never shying away from playfulness or challenge.”
A Tribute to Trieste’s Legacy
The 70th-anniversary commemoration extends beyond the concert hall, part of a broader initiative by the Municipality of Trieste and supported by the Autonomous Region of Friuli Venezia Giulia. The city’s government sees the series not only as a tribute to a legendary composer but as a reflection of Trieste’s vibrant past and resilient spirit. With free admission, the event is drawing locals and visitors alike, eager to experience the city’s story through music that transcends words.
In closing the series, a final concert on November 13 will focus on Viozzi’s work with the Trio Pro Musica, highlighting the composer’s versatility and his fondness for instrumental variety. At Palazzo Gopcevich, the seats fill quickly as Trieste’s music lovers gather to remember a past that lives on in every note.
For many, these performances are more than a remembrance—they’re a reminder that, like Viozzi’s music, Trieste itself is a city in perpetual movement, forever striving toward new heights of expression.
