March 6, 2015 / no comments

Thanks to the great teachers with whom I have studied, I can claim my alma mater to be the great European school – from Rocco Filippini’s French-influenced school to the noble Russian school of David Geringas; from the encounters with William Pleeth in London to my longer studies under the aegis of Mario Brunello, to the impact of Mihai Dancila and the Romanian school.

Such a diversity has enabled me to approach teaching almost twenty years ago with confidence and eagerness. As a paradox, teaching is where I keep learning the most.
Tackling each of my students’ difficulties, researching the repertoire, solving physical and psychological problems – all this has made teaching a cornerstone in my personal and professional development.

As a teacher, I am particularly focused on removing those physical barriers that hinder musical performance. My own problems as a child have translated into a special sensitivity
for obstacles which often derive from slight, but underestimated, flaws.

I have led several dozens of pupils all the way to successful exams. An enormously rewarding experience that has taught me to have the same patience that I demand of students.


March 6, 2015 / no comments

Of Croatian descent, Cecilia Radic is one of the most appreciated Italian cellists of her generation. Her unique versatility allows her to perform successfully as soloist and chamber musician and to approach with consistent vividness the works of composers as diverse as Bach, Berio and Dutilleux.

Cecilia studied under the guidance of teachers such as Rocco Filippini, David Geringas, Mihai Dancila, Mario Brunello and William Pleeth, and graduated with best marks from the Conservatorio Giuseppe Verdi, Milan. After winning numerous international contests for young musicians, her debut as a young soloist took place in 1992 at Milan’s Sala Verdi, with the performance of Dvorak’s Cello Concerto with the Orchestra della Rai di Milano (Radio Symphony Orchestra).

She won the Premio Stradivari-Concorso Caruana International Award in 1996 and has since appeared in countless performances for Italy’s most distinguished associations, theatres and festivals, including La Scala in Milan, the Accademia Chigiana in Sienna, the Roman Philarmonic, the Ravello Festival, the Teatro San Carlo in Naples, the Teatro Carlo Felice in Genoa, Stresa Festival, Turin Settembre Musica and Unione Musicale, Milan Società dei Concerti and Serate Musicali, Bologna Musica Insieme, Amci della Musica of Florence, Palermo and Padua and Asolo Festival.

In 1998 she toured as soloist with the Orchestra Sinfonica Siciliana, she then played as soloist with Filarmonici di Verona, Ensemble of La Scala Theatre, Balkan Symphony Orchestra, Camerata Ducale, many times with Salvatore Accardo and the Italian Chamber Orchestra and I Solisti Filarmonici Italiani (Japan Tour 2012).

Ms Radic’s extensive international experience has reached far beyond Europe, with a variety of solo and chamber music performances in Japan (namely at the Suntory Hall and Triphony Hall, Tokyo, the Okayama Symphony Hall), Korea, and the U.S.A, La Coruna Festival, Spain, Cartagena Music Festival, Colombia. She toured South America with her piano quartet in the summer of 2002, to great critical acclaim. She has been invited many times at La Musica International Chamber Music Festival, in Florida U.S.A.

Ms. Radic’s chamber music appearances include a variety of performances with musicians such as, Salvatore Accardo, Isabelle Faust , David Finckel, Marco Rizzi, Rainer Kussmaul, Bruno Canino, Jennifer Frautschi, Bruno Giuranna, Laura De Fusco, Massimo Quarta, Wu Han.

She currently plays in the Accardo Quartett and is co-founder of Estrio (piano trio).

Cecilia Radic has been featured in various television and radio broadcasts, and has recorded CDs for various labels, including RAI (Italy’s national broadcasting corporation), DECCA, Chandos, Stradivarius, Sipario and Foné (a CD with Estrio and as soloist with Salvatore Accardo and The Italian Chamber Orchestra). In september 2014 her first trio recording for DECCA has been released.

As principal cello she has been working with the Italian Chamber Orchestra (Orchestra da Camera Italiana) since 1999. She has performed in the same role with I Solisti Filarmonici Italiani (both baroque and modern style, 2002-2012), Teatro La Fenice of Venice, Turin Teatro Regio, San Carlo Theatre in Naples and Teatro Regio in Parma.

She plays an 1837 Bernardel cello.

She is cello teacher at the Pavia Conservatory of music.

The Reading Tasso Project

March 2, 2015 / 13 comments

Marco Beasley, voice

Cecilia Radic, cello

‘An apparent distance’ is perhaps what best describes our new project which combines poetry, music and singing. The human voice and the instrument with a human voice together in an unconventional performance.

We have associated very different historical times to keep alive the connection that makes every form of art the highest expression of human passions and sufferings.

In Recitare Tasso, music underpins the spoken word, but traces an oblique path towards the verses not only from a timing perspective but, inevitably, at an interpretational level. Although the two means of expression appear distant from one another, they have a common denominator – the quest for re-creating the feelings and turmoils within each of us.

Reger, Britten, Gubaidulina, Weinberg and Morini are composers who use a modern language but convey eternal emotions. In our programme, the poet’s verses create an emotional tapestry for the cello’s voice, with surprising results. Centuries that are far apart blend into a contemporary dialogue.

Recitare Tasso combines twentieth century and contemporary cello solo repertoire, a relatively unfrequent choice in concert halls, with the poetry and prose of Torquato Tasso, a literary achievement that is too often relegated to schools and universities. A story of rediscovery whose aim is to draw the listener away from the noise of modernity, and closer to forgotten authors who cry out to the depths of who we are.


The JustCello Project

March 2, 2015 / no comments

One instrument. Solo. Over two centuries of music and a tribute to the string instrument with the gift of the human voice.

A journey from Bach’s polyphony to Max Reger’s late romantic reinvention of the suite, all the way to the lesser known Weinberg, whose music brings to us today the turmoil of the twentieth century.   

Three distinct styles through which the cello touches the most profound human emotions.

Johann Sebastian Bach (1685-1750)     Suite in D minor BWV 1008

Max Reger (1873-1916)     Suite in D minor op. 131 no.2

Miecyslaw Weinberg (1919-1996)     Sonata for cello solo no.1

The Estrio2017 Project

March 2, 2015 / no comments

“..technically excellent musicians and artists capable of both unsettling and relaxing, playing under the name of Estrio: solidity and imagination, culture and instinct in the beauty of sound…” (Lorenzo Arruga)





Trio in re min op.49

Trio in do min. op 66




Women in music


Clara Wieck Schumann     Trio

Germaine Tailleferre         Trio

Fanny Mendelssohn           Trio op. 11




The Cello & Piano Project

March 2, 2015 / no comments

A program which highlights the red thread running through three musical cultures as diverse as the German, the Polish and the Italian one. Three human paths paved with fascinating and tragic experiences.


Castelnuovo-Tedesco (1895-1968)            Sonata for cello and piano op. 50

Miecyslaw Weinberg (1919-1996)             Sonata n. 2 for cello and piano

Felix Mendelssohn (1809-1847)                Sonata n.2 in re maggiore


With Gloria D’Atri, piano



Two very different composers reimagining the same stirring musical form – the cello and piano sonata. Two languages which are far more different than the 18 years between them would lead us to imagine.


Richard Strauss (1864-1946)                     Sonata for cello and piano in f major op. 6 

Sergej Rachmaninov (1873-1943)             Sonata for cello and piano op. 19