{"id":2023,"date":"2022-03-23T11:15:13","date_gmt":"2022-03-23T09:15:13","guid":{"rendered":"https:\/\/355.darcdot.gr\/?page_id=2023"},"modified":"2026-02-06T00:56:30","modified_gmt":"2026-02-05T22:56:30","slug":"repertoire","status":"publish","type":"page","link":"https:\/\/mariospanteliadis.com\/it\/about\/repertoire\/","title":{"rendered":"REPERTORIO"},"content":{"rendered":"
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\"VIEW
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\"La musica \u00e8 l'arte di svegliare una partitura addormentata e di comunicarla ad un pubblico.\"<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Home<\/a><\/div>\n\t\t<\/div>\n\t\t<\/div>\n\t\t<\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\tIl repertorio di Marios Panteliadis spazia dal barocco alla musica contemporanea, includendo i maggiori compositori dal 18\u00b0 al 20\u00b0 secolo cos\u00ec come notevoli composizioni dei nostri giorni.\t\t\t<\/p>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Solo piano proposals for 2025\/2026<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A) \"Frammenti di sogni\"<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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G. Rossini: <\/b>Quelques Riens pour Album (No. 1, 4, 10, 12, 21, 6)<\/span><\/p>

F. Schubert – F. Liszt:<\/b> \u201cAuf dem wasser zu singen\u201d, \u201cGretchen am Spinnrade\u201d<\/span><\/p>

M. Hatzidakis:<\/b> Suite Ionica per pianoforte<\/span><\/p>

M. Theodorakis:<\/b> Sonatina per pianoforte<\/span><\/p>

R. Schumann: <\/b>Carnaval Op.9<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"Frammenti di sogni\" rappresenta una collezione di opere piccole, ma profonde ed evocative, ognuna delle quali intravede paesaggi emotivi distinti; proprio come frammenti di sogni che scorrono lasciando tracce di ispirazione nella loro scia.<\/span><\/p>

I \u201cQuelques Riens pour Album\u201d di G. Rossini <\/b>dai \"Peccati di vecchiaia\" aprono il nostro viaggio con una selezione di affascinanti miniature (nn. 1, 4, 10, 12, 21 e 6). Ogni brano \u00e8 una deliziosa immagine che cattura momenti fugaci di gioia e giocosit\u00e0, ma a volte anche di contemplazione e intimit\u00e0, ponendo le basi per le narrazioni musicali che seguiranno. L' umorismo e l'eleganza di Rossini traspaiono, fornendo una perfetta introduzione ai temi della spontaneit\u00e0 e della reminiscenza.<\/span><\/p>

I<\/span>l programma prende poi una dimensione pi\u00f9 cupa, passando ai regni lirici di\u00a0 F. Schubert<\/b>, dove incontriamo due sue celebri Lieder \u201cAuf dem Wasser zu singen\u201d e \u201cGretchen am Spinnrade\u201d trascritti da F. Liszt<\/b> nella versione per pianoforte solo. <\/span>Il primo Lied incarna la bellezza della natura e i momenti di gioia, dove la fluidit\u00e0 della musica rispecchia il dolce movimento dell'acqua e suggerisce uno stato onirico, mentre il secondo cattura il profondo desiderio e lo strazio di un amore non realizzato, illustrando come i sogni possano essere frammentati dalla realt\u00e0. <\/span><\/p>

Mentre ci addentriamo nel programma, ci viene ricordato che l'anno 2025 segna la celebrazione del centenario della nascita di due straordinari compositori, Manos Hatzidakis e Mikis Theodorakis. La \"Suite ionica\" di M. Hatzidakis<\/b>, una collezione di brani orginali che talvolta richiamano la tradizione greca, ci trasporta nei paesaggi e negli echi culturali della Grecia. Ogni movimento \u00e8 un'istantanea di vita vibrante che ci invita ad entrare in sfumature ritmiche e motivi lirici. Allo stesso modo, la Sonatine di M. Theodorakis<\/strong>, <\/span>in realt\u00e0 dedicata a Hatzidakis, riflette il virtuosismo di Theodorakis con le tecniche e l'estetica della musica contemporanea del suo tempo. Composto nel 1955, include riferimenti alla tradizione musicale cretese e presenta momenti di vivacit\u00e0, spirito ed esplosione, ma anche momenti di contemplazione e serenit\u00e0.<\/span><\/p>

Il recital culmina con il \u201cCarnaval\u201d Op.9 di R. Schumann<\/strong>, un capolavoro del romanticismo tedesco, un ampio intreccio di identit\u00e0 mascherate e personaggi vividi, una \u201csequenza di sogni\u201d in cui il pianista evoca un caleidoscopio di figure e stati d'animo. La musica \u00e8 piena di umorismo, ironia e spirito, con momenti di intimit\u00e0 e tenerezza come anche estroversione e pathos.<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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B) \"Narrazione e folklore\"<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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J. C. Bach:<\/b> Sonata Op.17, No.2 in do minore<\/span><\/p>

L. v. Beethoven: <\/b>Bagatelles Op.126<\/span><\/p>

F. Liszt:<\/b> Ballata No.2, S.171<\/span><\/p>

Y. Constantinidis:<\/b> Dai 22 canti e danze del Dodecanneso\u00a0 <\/span>(No.1, 13, 4-5, 9, 8, 10-11)<\/span><\/p>

M. Balakirev:<\/b> Islamei (Fantasia orientale)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u201cNarration and folklore\u201d intertwines the emotional depth of Western classical music with elements from enchanting traditions of the East and Mediterranean, creating a rich tapestry of sound.<\/p>

We begin with Johann Christian Bach\u2019s Sonata Op. 17, No. 2 in C minor, a piece composed by one of J.S. Bach’s sons that embodies the transition from the Baroque to the Classical era. Its dramatic contrasts and lyrical themes provide a powerful start for the musical journey, as the programme unfolds with both expressive tension and grace.<\/p>

Following this, we delve into L. v. Beethoven\u2019s Bagatelles Op. 126. These charming yet mature and introspective pieces, with their succinct forms and rich emotional content, invite us to explore the subtleties of human sentiment. Each bagatelle serves as a reflective moment, capturing the essence of fleeting emotions\u2014a hallmark of Beethoven’s profound and artistic vision.<\/p>

As we transition into the Romantic era, F. Liszt\u2019s Ballade No. 2, S. 171 transports us into a world of passionate intensity and lyrical beauty. Inspired by the Greek myth of Hero and Leander, the music “narrates” Leander’s swim across a straight so as to be with the priestess Hero several nights in a row with increasing storminess in the sea, ending with poor Leander drowning. This piece, characterized by a narrative depth, weaves together moments of turmoil and serenity, allowing the expression of a wide range of feelings and colours.<\/p>

Next, we journey to the enchanting sounds of the Dodecanese Islands with Y. Constantinidis\u2019s “22 Songs and Dances from Dodecanese.” Through selected pieces (No. 1, 13, 4-5, 9, 8, 10-11), we encounter the vibrant musical heritage of Greek folk traditions. These selections highlight the interconnection between culture and emotion, inviting the listener to experience the joy, nostalgia, and richness of the Mediterranean soundscape.<\/p>

Finally, we arrive at M. Balakirev\u2019s “Islamei (Fantaisie orientale)”, a stunning showcase of Eastern influences and technical prowess. Written in September 1869,\u00a0Islamey\u00a0is based on two contrasting folk themes: a quick dance-tune from the Caucasus in southern Russia and the \u201clove song\u201d used as a middle theme, from the Crimea in southern Ukraine. Although the subtitle \u2018Oriental Fantasy\u2019 is misleading in this decidedly Russian work, it displays Balakirev\u2019s original and highly influential brand of Russian exoticism.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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C) \"Fede e musica\" (programma di 30 minuti)<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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J.S. Bach: “Jesus bleibet meine Freude\u201d BWV 147 (transcr.: W. Kempff)<\/u><\/span><\/div>
\u201cIch ruf zu dir, Herr Jesu Christ\u201d BWV 639<\/span><\/span><\/div><\/div><\/div>(transcr.: F. Busoni)<\/span><\/div>
F. Schubert-F. Liszt:\u00a0\u201cAve Maria\u201d,\u00a0<\/span>\u201cGretchen am Spinnrade<\/span>\u201d<\/span><\/span><\/div>
F. Liszt: Ballata No.2 S.171<\/span><\/span><\/div>
Leggenda No.2, S.175\u00a0\u201c<\/span>\u00a0San Francesco di Paola che cammina sulle onde<\/span>\u201d<\/span><\/span><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Il tema centrale del programma \u00e8 la divinit\u00e0 e la religione, con la presentazione di opere conosciute di J.S. Bach, F. Schubert e F. Liszt.<\/span><\/p>

Il nostro recital inizia con due corali del grande compositore barocco J. S. Bach. Il capolavoro \u201cJesus bleibet meine Freude\u201d (\u201cGes\u00f9 rimane la mia gioia\u201d), tratto dalla sua Cantata BWV 147, incarna la gioia e la speranza della fede, offrendo la pace dello spirito. Il successivo \u201cIch ruf zu dir, Herr Jesu Christ\u201d (\u201cTi invoco, Signore Ges\u00f9 Cristo\u201d) BWV 639, un Corale dalla sua raccolta di brani per organo intitolatoOrgelb\u00fcchlein”<\/i>\u00a0(Piccolo libro per organo<\/i>esprime una devozione assoluta e la ricerca di una guida spirituale. La sua profonda dimensione emotiva ci condurr\u00e0 in uno stato di riflessione.<\/span><\/p>

Il recital prosegue con due celebri Lieder di F. Schubert su trascrizione di F. Liszt: \u201cAve Maria\u201d che offre un'atmosfera delicata e devozionale unita a \u201cGretchen am Spinnrade\u201d (\u201cGretchen sull'arcolaio\u201d) che coglie la dimensione struggente e quasi religiosa dell'amore e dell'attesa.<\/span><\/p>

Il programma prosegue con la \u201cBallata n. 2\u201d di F. Liszt, una potente narrazione, un'espressione autentica di romanticismo. Sebbene non sia di carattere strettamente religioso, questo brano richiama i conflitti interiori che spesso accompagnano il viaggio spirituale dell'uomo: la lotta, il trionfo e la ricerca estrema della salvezza. La scrittura lirica ma tempestosa di Liszt riflette gli alti e bassi emotivi che accompagnano la fede e la ricerca della verit\u00e0.<\/span><\/p>

Il tema centrale del programma \u00e8 la divinit\u00e0 e la religione, con la presentazione di opere conosciute di J.S. Bach, F. Schubert e F. Liszt.<\/span><\/p>

Our recital opens with two chorales by the great Baroque composer J.S. Bach. The masterpiece “Jesus bleibet meine Freude” (“Jesus remains my joy”) drawn from his Cantata BWV 147 embodies the joy and hope of faith, offering peace of mind. The next one “Ich ruf zu dir, Herr Jesu Christ” (“I appeal to you, Lord Jesus Christ”) BWV 639, a Chorale from his collection of Organ pieces called “Orgelb\u00fcchlein”\u00a0(Little Organ Book), expresses absolute devotion and the search for spiritual guidance. Its deep emotional dimension will lead us into a state of reflection.<\/span><\/p>

Il recital prosegue con due celebri Lieder di F. Schubert su trascrizione di F. Liszt: \u201cAve Maria\u201d che offre un'atmosfera delicata e devozionale unita a \u201cGretchen am Spinnrade\u201d (\u201cGretchen sull'arcolaio\u201d) che coglie la dimensione struggente e quasi religiosa dell'amore e dell'attesa.<\/span><\/p>

Il programma prosegue con la \u201cBallata n. 2\u201d di F. Liszt, una potente narrazione, un'espressione autentica di romanticismo. Sebbene non sia di carattere strettamente religioso, questo brano richiama i conflitti interiori che spesso accompagnano il viaggio spirituale dell'uomo: la lotta, il trionfo e la ricerca estrema della salvezza. La scrittura lirica ma tempestosa di Liszt riflette gli alti e bassi emotivi che accompagnano la fede e la ricerca della verit\u00e0.<\/span><\/p>

La strepitosa Leggenda No.2 di Liszt ci riporta a una dimensione puramente religiosa: \u201cSt Fran\u00e7ois de Paule: Marchant sur les flots\u201d (\u201cSan Francesco di Paola che cammina sulle onde\u201d). Il compositore raffigura la forza serena del santo mentre cammina sulle onde, una potente metafora della fede incrollabile in mezzo alle tempeste della vita, un viaggio non solo musicale ma anche di resilienza spirituale di fronte a ogni tipo di avversit\u00e0.<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Mythos Trio proposals for 2025\/2026<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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A) \"Riflessi di guerra e speranza\"<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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F. Margola: Trio No.2 per violino, violoncello e pianoforte<\/span><\/a><\/p>

M. Theodorakis: Trio\u00a0<\/span>per violino, violoncello e pianoforte<\/span><\/p>

D. Shostakovich: Trio No.2, Op.67\u00a0<\/span>per violino, violoncello e pianoforte\u00a0<\/span>in mi minore<\/span>\u2029\u00a0<\/span><\/p><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDescrizione<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/i><\/span><\/i><\/span><\/div>

B) \"Echi di innovazione: un viaggio nel Trio pianistico del XX secolo\"<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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D. Shostakovich: Piano Trio No.1, Op.8\u00a0<\/span>per violino, violoncello e pianoforte<\/span><\/p>

G. F. Ghedini: 2 Intermezzi<\/a><\/span>\u00a0<\/span>per violino, violoncello e pianoforte<\/span><\/p>

M. Ravel: Piano Trio Op.67, in la minore per pianoforte, violino e violoncello<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDescrizione<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/i><\/span><\/i><\/span><\/div>
Descrizione<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/i><\/span><\/i><\/span><\/div>

C)<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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D. Shostakovich: Piano Trio No.1, Op.8\u00a0<\/span>per violino, violoncello e pianoforte<\/span><\/p>

G. F. Ghedini: 2 Intermezzi<\/a><\/span>\u00a0<\/span>per violino, violoncello e pianoforte<\/span><\/p>

M. Ravel: Piano Trio Op.67, in la minore per pianoforte, violino e violoncello<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDescrizione<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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<\/i><\/span><\/i><\/span><\/div>
Descrizione<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u03a4\u03af\u03c4\u03bb\u03bf\u03c2 3<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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<\/i><\/span><\/i><\/span><\/div>

A<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\u039a\u03b5\u03af\u03bc\u03b5\u03bd\u03bf<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDescrizione<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u0392<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\u039a\u03b5\u03af\u03bc\u03b5\u03bd\u03bf<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDescrizione<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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C<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\u039a\u03b5\u03af\u03bc\u03b5\u03bd\u03bf<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDescrizione<\/a>\n\t\t\t\t\t<\/div>\n\n\t\t\t\t\t
<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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D<\/p>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\u039a\u03b5\u03af\u03bc\u03b5\u03bd\u03bf<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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D<\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t
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\u039a\u03b5\u03af\u03bc\u03b5\u03bd\u03bf<\/p><\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Other projects<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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