Redi Lamçja, the international career of the Albanian instrumentalist
- Redi thank you for agreeing to share this interview with our readers! How did your connection to music begin? Is there a person or event that you remember that defined exactly the path you took?
Hello and thank you for the opportunity you are giving me! My first meeting with music has been in my family. My mother attended a music school in the city of Elbasan as a child. She has also participated and been awarded awards at several festivals. My father, he was passionate about the guitar and continues to play it today. However, they have not become a professional musician. I would never have taken music seriously if I had not met some passionate teachers at Virginio Elementary School where I studied in the city of Bergamo.
2. How do you remember your first appearance on stage?
The first concert was with the school orchestra. Of course I experienced emotion, but only in the months to come it would become clear to me what path I would choose-
3.First the mandolin conservatory in Milan and now the guitar conservatory in Bergamo. What is the role of these prestigious institutions in your artistic formation?
Before talking about the conservative, I would like to mention the role that the elementary school has played for me and, in parallel, the mandolin and guitar “Estudiantina” orchestra. The guitar was the first instrument I studied as the orchestra approached me with the mandolin orchestral repertoire. The pursuit of the Giuseppe Verdi Conservatory in Milan for mandolin was an indispensable experience in my formation and education through the discovery of the repertoire of great composers. Mandolin is a little known tool not only by people who are not musicians but also by experienced musicians. That is a challenge for me. I would like to emphasize the contribution of maestro Ugo Orlandi, who is not only one of the most important soloists of this instrument, but also a musicologist. He has rediscovered many compositions in and out of Italy that were thought to be lost, at least not at all, to perform in various scenes. After finishing my studies in Milan, I thought I would continue to play guitar at the Gaetano Donizetti Conservatory in Bergamo. I’m attending last year. That’s because just so I would feel fulfilled in my profile. I am pleased to quote both Professors Luigi Attademo and Nicola Jappelli for their help and important role in my formation as a guitarist.
Why the guitar? How is mandolin practiced today and how can a young person approach this instrument?
I chose the guitar because I had the opportunity to see and discover it closely and I really liked it. My dad played the guitar and I grew up with its sounds. When I started learning this instrument when i was in the 6-8 class of elementary school, my teacher, Pietro Ragni, was not only a guitarist but also a mandolinist. In Italy, nowadays the idea people have for mandolin is that it is a folk instrument and in its repertoire there is only Neapolitan folk music. The truth is that it has a little-known but very interesting concert repertoire. Vivaldi, Mozart, Beethoven, Prokofiev, Mahler, Schönberg and many others have written about this gadget. In addition, many lesser-known composers have written about this gadget exploring all of its timbric, technical, musical and expressive capabilities, as a solo instrument in various formations (mandolin-guitar duets, mandolin-piano, mandolin quartets). , the “a pizzico” orchestra, which are mandolin and guitar). For young people who want to discover mandolin we organize courses with the Estudiantina Orchestra. The presence of this orchestra is very important. It has been six years since the mandolin was studied at the Lyceum with music direction in Bergamo.
5. What about the Albanian musicians? Do you have any idea on them?
So far I haven’t had many contacts with Albanian musicians. i am a person of many interests, BUT because my activities take place in different directions, there are times when I try to limit my curiosity. Recently have I been approaching Albanian culture.
6. You have been several awards and performed in various concerts in Italy, Switzerland, Croatia. Can you tell us more about these experiences?
After Italy, Croatia was the state where I gave more concerts. There I have twice participated in the European Youth Orchestra (EGMYO – European Guitar and Mandolin Youth Orchestra) also in many master classes. I have also given concerts in France and Germany as a soloist with the mandolin and the orchestra. In Switzerland I have had the opportunity to give concerts in many feather orchestras and have participated in a project that brings together six regional orchestras. I had the opportunity to participate in these projects thanks to the help of Swiss mandolinist Silvia Čičić. I was honored with many awards for various categories at the “Giacomo Sartori” competition in Trento’s Ala.
What about your activity?
I am a member of Bergamo’s Estudiantina Orchestra and other feathered orchestras such as the Orchestra Città di Brescia, the Bustesi Mandolinist or the Circolo Mandolinistico “Aurora” in Switzerland. mandolin (Gruppo Mandolinistico) “Eliante”. I perform as a soloist in different formations of chamber music (often in mandolin-piano or guitar-mandolin duets but also in others). And lastly, I’m a teacher at the Paolina Secco Suardo Music School.
8 Is Albania a scene you would like to perform, and if so, how do you imagine the Tirana audience?
I have always spent my childhood vacations in Tirana and Elbasan with my grandparents and cherish many memories. So, I want perform on the Albanian scene. I imagine the Tirana audience curious about what I have learned while living in Italy.