Salvatore Accardo

Speaker 10:00

Hello, I'm Kirsty Young and this is a download from the Desert Island Discs archive. This edition may be slightly different from what was actually broadcast, but it's the only version we have. It comes from the British Library's radio collection. It was archived without the music, so although the Castaways choices are introduced, they're not part of this recording. Full details can be found on the Castaways page on the Desert Island Discs website.

Speaker 10:26

The programme was originally broadcast in nineteen eighty.

Speaker 10:30

And the presenter was Roy Plumley.

Presenter0:33

This week, our castaway is the violinist Salvatore Acardo.

Presenter0:37

mister Acado, have you ever imagined what it must be like to be alone on a desert island?

Salvatore Accardo0:43

Yeah.

Presenter0:43

Uh

Salvatore Accardo0:44

Oh, since I was invited here, so I started to to think about it. And uh Do you think you could you could endure

Presenter0:51

Thank you.

Presenter0:52

Pure loneliness?

Salvatore Accardo0:53

Well, i I think so. If I could have something which helped

Presenter0:59

Meat.

Presenter1:00

Well, all you have is eight discs that comfort you. Did you find it very hard to choose just eight?

Salvatore Accardo1:03

Yeah, yeah.

Salvatore Accardo1:04

Hmm.

Salvatore Accardo1:07

At the beginning, yes. Then not at all. Because uh what I choose was all records that well they were really my first records.

Presenter1:19

Mm.

Salvatore Accardo1:19

That I bought when I was very young. How young? I I was twelve, thirteen, something like this. They were the records I used to play a lot, you know, when I I had only five, six, seven records and so I was playing always the records all all day long so because now now it's very difficult to play records and to listen to records. I only re listen once or twice to a record because I have no time to do I have to practice and to to travel and to to play. And uh so it was very easy to to make the choice of the records.

Presenter1:22

How young?

Speaker 11:34

Gold.

Presenter1:36

Yeah.

Speaker 11:36

Because no

Presenter1:45

Yeah.

Presenter1:48

Yeah.

Presenter1:53

These are records that have stood the test of time, then. What's the first one?

Salvatore Accardo1:58

The first one uh I would make just was the Verdi Requiem, conducted by Toscanini.

Presenter2:03

Yeah.

Presenter2:06

Magnificent recording, which part of it?

Salvatore Accardo2:08

I think the beginning of the Diazira. And uh you know this was the first time I heard the Verdi Requiem in my life was w with this this record. I didn't know the the piece at all and when I put it on my record player uh it was a big shock really. It's a great rating experience and I was on the chair just like uh I I was afraid. I had the goskin gossip every word. Yes, and uh I was really afraid. I was on the chair. Shaking. Shaking. Yeah.

Presenter2:35

Embry was

Presenter2:43

Shaking. Shaking. Well, let's listen to that very exciting beginning.

Presenter2:53

The opening of the Diez Eere from the Verdi Requiem Mass, Toscanini conducting the NBC Symphony Orchestra.

Presenter3:01

Whereabouts in Italy were you born?

Salvatore Accardo3:04

Well, I was born by accident in Turin. Yes. From uh Neapolitan family and uh my family moved very soon to Naples after I was born, just four or five days after. So you consider yourself I am Neapolitan. I had all my musical uh you know, studying i in Naples and I consider myself really a Neapolitan.

Presenter3:07

Really? In Turin. Yes.

Presenter3:21

So you consider yourself.

Presenter3:31

Were your parents interested in music?

Salvatore Accardo3:34

Well, my father was very much. He was himself a violin uh amateur, directante.

Presenter3:39

Two.

Salvatore Accardo3:42

We used to go from Torre del Grego, which was the the little town we were uh living to Naples on foot to listen uh opera or a concert. It was something like twenty kilometers, you know. And uh he he told me that uh he he wanted a a son, well was a violinist, and he he started with my sister when she was five, six years old, but nothing happened because she was she was not at all interested in violin or music in general. And she had other interests in in life. And then when I when I came, he started with me. But the he it was not difficult uh for him because I asked him to buy me a real violin. I was very tired to to joke with the with, you know, the toys and musical toys, little guitar and so on and so. I was not even four.

Presenter4:29

How does it

Speaker 14:29

Yeah.

Salvatore Accardo4:40

Really?

Presenter4:40

Yeah. Yes.

Salvatore Accardo4:43

Yes.

Presenter4:44

It must have been a very small one.

Salvatore Accardo4:45

It's it is a very small. It's always there. And I remember that I took the violin in the morning. I I got up from uh from a bed. I was I had a little uh grip, you know. Cold. Yes, a cold. And I I saw the violin case on my bed, so I took the violin out and I started to play. Just like this, and I was able to play all what my father used to play. Really? Yes, so your Neapolitan songs and uh opera areas and so.

Speaker 14:50

Uh

Presenter4:50

Yeah.

Presenter4:58

Code.

Presenter5:10

Brilliant.

Presenter5:17

So you began to read music at the same time that you were learning to read print?

Salvatore Accardo5:21

Mm, maybe before. Maybe before, because then, uh just after this experience, my father uh he he started to learn me how to to read music. So I really started to read music before I was able to read uh anything else.

Speaker 15:34

Yeah.

Presenter5:34

Mm-hmm.

Salvatore Accardo5:39

When did you start having proper lessons? When I was uh almost six. And I had the chance, the big chance, to have a very good professor, because it's very important to have uh to start, you know, a real a very good uh professor for the technique, for your basic technique, when you can uh afterward you can base your musical uh um uh repertoire on the on the technique. And this was my big chance.

Presenter6:08

Now this meant that you had to practise every day. How did you feel about that? There were the other boys outside playing football and and you had to stay indoors and and and scrape away. Did you?

Salvatore Accardo6:16

I'm not sure.

Salvatore Accardo6:18

Well, I was I was playing football also, you know, at the same time. And this was my mother was not very happy about it. But uh I had all Sunday free, always, to play football. And all the other six days I was playing I was studying a lot. But it was a joy for me. It was never me they never forced me to to study really divine because for me it was very natural.

Speaker 16:38

Yeah.

Presenter6:47

Hmm. What was your very first appearance in public?

Salvatore Accardo6:52

Well, I had several appearances in public uh when I was very young, but you know, like benefit concert for schools and things at the conservatorio and concert of students and ec etcetera. But my first professional appearance wa was when I was uh thirteen. Only thirteen? Yes. Where? In uh Trieste in north of Italy. It was my first profession. I was paid f to pay to to play.

Speaker 17:16

Yeah.

Presenter7:16

Yeah.

Presenter7:21

Yeah.

Salvatore Accardo7:21

And

Presenter7:21

Do you

Salvatore Accardo7:21

You believe.

Presenter7:21

So

Salvatore Accardo7:21

Uh

Presenter7:21

First time Yeah.

Salvatore Accardo7:22

And you play Evening. And I play a recital, I play some uh Paganinika Prison, I play some Bach, Brams, Vivald, I play a very nice programme. Very nice.

Presenter7:31

Very nice programme. Well, let's break off at that point for your second record. What's that to be?

Salvatore Accardo7:37

Well, this will be the my really uh beloved violinist uh and he was the one who really made a big impression to me, not only as a violinist but also as a person, because we had uh um many days to spend together, many weeks, uh, when he was in Italy, when uh he was in Europe, and he helped me a lot musically. It's Da David Oustrak. And uh I chose the Brahms concerta.

Presenter8:11

But

Salvatore Accardo8:11

Uh it was the first time I heard uh this concertos uh especially the after the cadenza, when it the violins comes uh and the orchestra comes with the D major chord and and uh which is always the most uh impressive part of the concert.

Presenter8:34

The closing passage of the first movement of the Brahms violin concerto, David Oeustrack, with the Dresden State Orchestra.

Presenter8:42

Who were your heroes as a boy, as a young student among violinists?

Salvatore Accardo8:50

The first violinist I heard in person was Jascha Heifetz. It was the last time he played in uh Naples. It was in uh nineteen fifty three and I was twelve.

Salvatore Accardo9:02

Uh before I heard some other violinists, uh I will not mention them they did not uh make a great impression on me. But when I heard High Fetz in the the San Carlo uh theatre,

Speaker 19:06

Um

Speaker 19:11

Yeah.

Salvatore Accardo9:16

It was a big shock, I mean, to to be such a violinist. And I remember the programme he played, he played the Vitaly Shaccon, he played Bach Shaccon, he played Crochet Sonata by Beethoven, and then he played in the second half all a series of short pieces, like Horace Daccato and Rondo Capriczos and all these kind of things.

Salvatore Accardo9:37

And it was really amazing. I mean, it was incredible.

Presenter9:41

Well, having been launched at that first public recital in Trieste, you began to win competitions. In particular, you were the first winner at the Paganini Concourse. Right. Where is that competition held?

Salvatore Accardo9:53

The competition is in Genova, is the town where Paganini was born.

Presenter9:57

You've always felt a great thing about Paganini, haven't you? A a a great association with Paganini.

Salvatore Accardo10:04

Well, because I was the the winner of the competition, I was the first one, and uh till now I am the only Italian who won the competition.

Presenter10:14

It gave you the opportunity to play Paganini's own instrument. That must have been exciting.

Salvatore Accardo10:19

This is right. This was another of my great uh experience. I was crying when I was playing the violin. I you can imagine, you know, to have uh under your neck the violin who who was playing by Paganini. But I must say that to have the label of a Paganini play was not always something very positive in my career. I had to do a lot to give up th this label, to take out this label from uh myself, and I I think I

Speaker 110:41

No, like

Speaker 110:49

I

Salvatore Accardo10:52

My success uh on this.

Presenter10:53

Oh, yes. On this. Now, we won't put any labels on you. Record number three. What's that to be?

Salvatore Accardo11:01

Number three will be the Subert uh death and madden maden death. How do you say it in English? Because in Italian it's La Morte, eh, La Fancia, so.

Presenter11:07

Okay.

Presenter11:10

Death and

Salvatore Accardo11:11

The men.

Presenter11:11

Yeah.

Presenter11:13

Uh

Salvatore Accardo11:13

Uh

Presenter11:13

Why do you choose it?

Salvatore Accardo11:14

Yeah.

Salvatore Accardo11:16

Well, when I heard this piece the first time, my first reaction was why I cannot play this music. And this was the reason that my German music festival came up, because uh it was a little an egoistic uh thing that I I have to play this beautiful music, how? So let's do a music festival and uh so I could be able to play this beautiful music.

Presenter11:45

Who's playing it on this record?

Salvatore Accardo11:47

The bushquart.

Presenter11:52

Part of the second movement of the Schubert Quartet, Death and the Maiden, the Bush Quartet.

Presenter11:59

mister Ricardo, you are renowned as having a large repertoire. Have you any idea how many concerti you you have played?

Salvatore Accardo12:08

Well, I never counted them. Never counted. But I play almost all the repertoire. Everything, yeah.

Presenter12:16

Ordinarily, do you play the accepted cadenzas in the works or or or do you sometimes write your own?

Salvatore Accardo12:23

Well, you know, if the composer wrote a cadenza, I play the cadenza the composer wrote. Otherwise I I like to do by myself, except for the Beethoven concerto and the Brahms concerto, because I think the cadenza or Joachim wrote for the those concertos are the really the best one you you can choose. But for the others I I compose myself, the cadenza.

Presenter12:47

Do you sometimes on on a a relaxed occasion improvise a condenser?

Salvatore Accardo12:51

Yeah, sometimes I do. Especially in in the Paganini cadenzas. Yes. I wrote a basic scheme of the cadenza, but I change a lot when I play in in public.

Presenter12:55

Yes.

Salvatore Accardo13:02

Yeah.

Presenter13:02

Now tell me about your instruments. How many do you have, and what are they?

Salvatore Accardo13:07

I have many violins, but the the most outstanding are two. The the Stradivari named Farrebert ex Saint Exuperie was played by the famous French writer, because he he was a violinist himself and he he made a lot of German music in his house, which is seventeen eighteen.

Presenter13:28

Mm-hmm.

Salvatore Accardo13:29

And I have uh Del Jesu, Guernerius Del Jesu, from seventeen thirty three, ex Lafonte. Now La Fonde was a French violinist of the same period of Paganini, and they made a competition together in La Scala, in Milano. And actually Paganini won the competition. But he was very, very how do you say, very clever in that occasion because they were supposed to play the Kreutzer Sinfonia Concertanta for two violins and in rehearsals Paganini wrote exactly what it was written on the music. And then at the competition, at the concert, so he started to improvise and then he played so the poor La Font was dying there. He couldn't do he he couldn't do anything. So he was really

Presenter13:36

Good.

Salvatore Accardo14:20

Well, forget it.

Presenter14:23

Yeah.

Salvatore Accardo14:23

I need to

Presenter14:23

Yeah. Yeah. When you travel, do you do you take both of them?

Salvatore Accardo14:26

Most of the time, yes.

Presenter14:28

A tremendous responsibility would never let them out of your sight.

Salvatore Accardo14:31

Yes, it is a tremendous responsibility, but anyway it's better if they are with me than in at home in Rome, because, you know, if I leave one violin at home in Rome, when I come back I will never find it uh uh again, you know, in in Italy it it's a little dangerous to leave something in the house when you don't live.

Presenter14:48

Correct.

Presenter14:49

Do you find that the different instruments suit different composers?

Salvatore Accardo14:53

Yes. For instance, uh the Guarnerio sound maybe for Brahms would be more convenient because he has a more dark sound and maybe for Beiton the Stradivarius can shoot better because of his uh quality as a crystal, you know, and pure and clear.

Presenter15:13

Now, those instruments that you were telling us about, uh, Baroque period instruments. Do they sound now as as they did then? Were were they strung differently in those days?

Salvatore Accardo15:25

It is a little difference. After viotti, the violin change, uh let's say the the neck the how do you say in English? The the fingerboard. Yeah. The fingerboard is a little longer and uh the bridge is a little bigger. And maybe the sound is is bigger than it was before, but the quality is just the same. And I would say it's not a big difference. It maybe the difference of uh way of playing. In the Baroque period they were playing without vibrato. They were playing not in tune.

Presenter15:35

Yeah.

Speaker 115:46

Mm-hmm.

Speaker 115:52

Uh

Presenter15:52

B

Salvatore Accardo16:01

And so the violin was uh playing not very big because the wood vibrate much more if you play in tune. If you uh have a great strut, for instance, a great stradivarius playing very badly for ten, fifteen years, his sound is not very nice. And then you start to play it very well and after uh a few days it starts to vibrate again. And a very nice story is it happened to Francescati. He was telling me this story and it's very amusing, it very uh interesting. Francescati once went to see Chrysler

Presenter16:09

Yes.

Presenter16:26

Hmm.

Salvatore Accardo16:40

And Chrysler told him, Why don't you play on my violin next concert you're doing? He was playing in New York all the Beethoven Sonatas with Casadesius.

Salvatore Accardo16:51

And Francesca was very happy to play on the Chrysler strad. So he said to Chrysler, Well uh but I need the violin at least two or three hours before, because I have to, you know, to play it and to to come uh accustom it on it And he went to the hall two, three hours before and he started to play on on the violin. One hour before the concert, Casa de Sus was coming in the hall.

Salvatore Accardo17:17

And he was listening to Francescati playing, and he didn't know that Francescati was playing on the Chrysler instrument.

Salvatore Accardo17:26

And he said, But

Salvatore Accardo17:28

It seems to me you're playing like Chrysler today.

Salvatore Accardo17:34

It's amazing. And Francescati stopped playing, he said, But you know, I'm playing on the Chrysler violin. And you can imagine. The violin sounds as, you know, uh as a person with the person who is playing it and the and the wood vibrate with with the person. It's it's incredible.

Presenter17:38

Not playing his

Presenter17:43

You can imagine

Presenter17:49

Fool.

Presenter17:53

Yeah.

Salvatore Accardo17:53

Yeah.

Presenter17:53

It's a strange story. Now, you have a a Chrysler record among your eight. I suggest we play it now as you've been talking about.

Salvatore Accardo17:59

Yes, yes, with much pleasure. And it's the Liebesleit playing by Chrysler. And you should listen to the sadness of this sound.

Presenter18:13

Chrysler playing his own Liebeslide. Of recording, of course, is is is a big part of your work. And if you're something of a collector, you like to assemble a number of violin works of a certain composer and and and record them all together. I'm thinking of of of the whole of of Bruch which you assembled.

Salvatore Accardo18:32

Well, yes, I did all uh violin work by Brooke. I did all the violin concerto by Paganini. But the Brooke was a great experience because most of the piece I record I didn't know. I I did not know the existence of some of them. I knew that there was a third violin concerto somewhere, but I I didn't know the key, I didn't know how it sounds, I I didn't know anything about it. And I didn't know that there was a concert stuke, I did not know that there was a Raduin Memoriam and uh the serenade, for instance, which is a big piece, I did not know the existence of it.

Presenter19:08

And uh the six Paganini concertos, they must have involved some research.

Salvatore Accardo19:13

Yes, but you know the Paganini music is so well written for violin that everything is there. I would not say this easy to play, but it's violinistic. It's very nice and it's a joy to play violin music by Paganini because really all the difficulties are easy to play, if you know how to.

Presenter19:18

Yes.

Presenter19:35

If you know how. And you've recorded all the unaccompanied Bach sonatas and and partitas.

Salvatore Accardo19:40

And they record all the accompaniment uh piece by Paganini also, the twenty-four copies and the other pieces. Yes. And also the the national anthem you have, God Save the Queen.

Presenter19:46

Yes.

Salvatore Accardo19:52

Yeah.

Presenter19:52

You have an aversion to recording in bits. You you like to get a a sweet on it.

Salvatore Accardo19:58

Yes, I don't like at all to cut the musical line because this is something you cannot do. I mean, you cannot record the movement of a Schubert quintet or quartet or anything, just uh recording four bars and then six bars and then ten bars and then going on, because you lose the musical line, absolutely. So I like to record two or three times one complete movement and then make the choice of the best one, and then if in the best one there is something to to change, we can take from the other complete version.

Presenter20:38

Record number five Motion

Salvatore Accardo20:40

Well record um number five is the Brahms version of Paganini team, played by Michelangelo.

Presenter20:48

Why do you choose this in particular?

Salvatore Accardo20:51

Well, first of all, because I am a great admirer of Michelangelo playing, I think he's really one of the most incredible pianists of all time.

Salvatore Accardo21:03

And I heard this piece played by Michelangelo himself in Naples when I was eleven. And uh this was another great shock of my life. I had several. And then after the concert Michelangeli was in Naples for uh two or three days because he had to play with the orchestra afterward. So he heard that there was a young violin student in Naples that was talented, so a friend of mine was a friend of Michelangeli.

Speaker 121:32

Mm-hmm.

Salvatore Accardo21:38

combined the the meeting. So I was playing for him and he was very impressed. I played the Bach G minor sonata and two Paganica piece for him. And then afterward I used to play with the pianist who was his pupil and he died in a flight accident six, seven years ago. And before a Tourney we went to see Michelangelo, we played for him all the pieces we were playing in the tour. Brahm sonata, Ravel sonata, Schumann sonatas and all this. And you cannot imagine the suggestions he gave to me, but not only musically, but also on the vi violin technique. Because he he started to play violin when he was young. And it's incredible how he knows the violin. And also I remember the finale of the first Schumann sonata. I was playing it very fast. And he said you have not to play so fast because it is not written if you see how the bow are. There are not points on the note. So that means that you have to play it very slow. Because other otherwise you cannot you cannot play it so fast. And he was right. I mean really after he he told me it was another world on this uh violin sonata. Yeah. And uh musically he did a lot to me. I mean really was a great great uh experience to speak with him and to to study in a in a sense with him.

Presenter23:13

Well, let's listen to Michelangelo playing just a couple of those variations by Brahms on the theme by Paganini.

Presenter23:24

Michelangeli and two of the Brahms variations on a theme of Paganini. You said you lived in Rome. How much of the year can you spend there?

Speaker 123:33

Hmm.

Salvatore Accardo23:34

Very Very few days. Altogether, maybe one month, one month and not more. Also because when we have vacation we go to Sardinia, where we have a house there on the sea. So we spend some days also there. And I teach in Siena during uh the August. Yes, August. So yes, so I have another month to pass there. So really in in my home in Rome we spend very, very few days. Unfortunately, but

Presenter23:40

What mountain is that?

Presenter23:48

Hmm.

Presenter23:53

Yes, your masterclasses.

Presenter24:03

You talk about we. You have a family?

Salvatore Accardo24:05

Yes, I have a wife.

Presenter24:07

Yes. And you're one of the founders of the Naples Chamber Music Festival.

Salvatore Accardo24:07

Yeah.

Salvatore Accardo24:12

Yes. There are two every year, is that right? We do it twice every year. We start um in May for uh two weeks and uh two weeks in November or December. It depends of uh the availability of the other players. And since last year we had only one week. We were playing every day a new programme. But since last year we had to play twice the programme because we have so many uh people that we don't know where to put them. So we had to to double the performance.

Presenter24:47

And a nice innovation, you invite your audiences to attend the rehearsals as well as the performances, so that they can watch the whole thing grow.

Salvatore Accardo24:55

Yes, they can come every time they want. We have always four hundred people all day long there, from nine thirty, ten o'clock in the morning until midnight at night. So well, they're not always the same. No, no, no, no. But they change, they come for one hour they stay there, then maybe they go to listen another rehearsal, because we have also the possibility to do two or three rehearsals at the same time. Because we have three rooms very well dislocated and uh so they can make the choice. Well, let's uh hear the Schubert quintet and now we go to listen to the rehearsal of the Tchaikovsky trio. Um it's very nice for the young people, I I must say, because they they really enjoy it. I'm sure.

Presenter25:12

No, no.

Speaker 125:12

But the MMS.

Presenter25:43

Uh

Salvatore Accardo25:43

Yeah.

Presenter25:43

I know one of your hobbies is is is watching football. Your travels must give you some very interesting opportunities. You you must be an expert on the international game. Uh

Presenter25:53

Yeah, man.

Salvatore Accardo25:55

I would say that I make the choice of a concept looking at the schedule of a football match.

Presenter26:02

Yes. Yeah. Which team do you support above all others?

Salvatore Accardo26:05

I support Juventus Torino. Torino. I was born in Turin. By accident, but I was born there.

Presenter26:09

By accident, but I was

Presenter26:11

Did it have a good season?

Salvatore Accardo26:13

They always have a good season. It's the team who won more than all the others. We were eighteen times champion in Italy and uh five times the cup. And well, it's a very good team.

Presenter26:28

Going a winner.

Salvatore Accardo26:29

Yeah.

Presenter26:29

More music. What next?

Salvatore Accardo26:32

Well next we come back to violin.

Salvatore Accardo26:36

And I think one of the most extraordinary violin playing is uh this record with Jasha Heifetz playing uh the Sarasata Zigonia Violin and other things, but I choose uh Zigoiner Visin because it's really incredible what he does on the violin.

Presenter26:59

Jascha Heifitz playing the closing passage of Sarasati's Sigoineweisen. Let's go straight into our next record now. Watch that.

Salvatore Accardo27:06

What, let's make um

Salvatore Accardo27:08

Great change musically and let's listen to the Schubert String Quidditch played by Stern, Casals, Tortellier and others from the Prades Festival.

Presenter27:26

part of the second movement of the Schubert string quintet, Isaac Stern and Alexander Schneider, Milton Katims, Pablo Casals and Polto Tellier.

Presenter27:37

Are you good at water sports? Swimming?

Salvatore Accardo27:39

Yes, very much. Really? Very much. I like to swim. I I won the competition we did with in the school for hundred meters and two hundred meters for two years. And uh I swim a lot when I am in Sardinia. And also if I can uh find a swimming pool I do something like this because it's very nice for uh exercise, you know. And to play violin is very nice to swim. I mean i it helps a lot. It's the only sport I can do now because football is a little dangerous. And now I am old to to play football. And all the others, they are a little dangerous.

Presenter27:54

Yeah.

Speaker 128:12

Yeah.

Presenter28:12

Now

Presenter28:15

And it'll

Presenter28:17

In Sardinia do do you sail small craft? Are you good in in in boats?

Salvatore Accardo28:22

No, because with boat it's dangerous. Because you have to put to t I don't know the weather, yeah. And this is very dangerous for the hands. I swim a lot. I have the sea just there, just near the house.

Presenter28:27

I don't know what the weather is.

Presenter28:35

Yes. What what this is leading up to is is finding out how good you would be at looking after yourself on a desert island. Do you think you could manage?

Salvatore Accardo28:43

Yes, very much. I mean, I could swim a lot there. Ah, yes, but that's

Presenter28:46

Uh yes, but that's

Salvatore Accardo28:48

Uh

Presenter28:48

Yeah.

Salvatore Accardo28:48

Have we done the fishing?

Salvatore Accardo28:50

I don't

Presenter28:50

Official

Salvatore Accardo28:51

Yes. You do. I do fish. Oh, that successfully? Sometimes. Sardinia is a very fishing uh sea, as you can uh imagine, because the water is uh still very clean.

Presenter28:52

Oh, that that success

Presenter29:03

And you can cook?

Salvatore Accardo29:05

Well, this my wife can do it very well, so I leave it to her.

Presenter29:08

Yes, but she won't be there.

Salvatore Accardo29:10

Oh, you mean on the yes, you're right. You know, that's it's a pity. It feels a great pity. But the best way to eat fish is just to eat fish on the fire. So it's very easy to cook it. So you don't need to have oil, you don't need to have e anything else, just the fish and the fire.

Presenter29:11

Yes, you are right.

Presenter29:15

It says great video.

Salvatore Accardo29:30

Would

Presenter29:30

Who tried to do it?

Salvatore Accardo29:30

Do I

Presenter29:30

Where's Gotta?

Salvatore Accardo29:30

Right.

Salvatore Accardo29:31

Uh I don't know. I didn't think about it.

Salvatore Accardo29:36

Maybe not.

Salvatore Accardo29:37

If I could have something.

Presenter29:41

Well, you haven't got very much. You've got eight records, and I'm going to invite you to choo choose a book and a luxury in a minute. I haven't got a great deal.

Salvatore Accardo29:46

Right, but with the luxury maybe I could I could say

Presenter29:50

I see. Well, we'll hear about that in a minute. Let's have your last record.

Salvatore Accardo29:54

Well, last record is a record from a singer.

Salvatore Accardo29:58

Which I think all of us, all musicians, not only singers or violinists, all musicians should listen and learn a lot of his singing because of his incredible purity of style and phrasing. As uh Tito Skipa singing, que Farro sense ordice from Orfeo Ridicule by Gluke.

Presenter30:27

Titus Kiper singing K. Pharoah from Glux, Orpheus and Eurydice. If you could take just one disc out of the eight you play disc, which would it be?

Salvatore Accardo30:37

Well, you know, it's it's very difficult. But anyway, sometimes they ask you what is the value concert you prefer to play, what is the balling sonata, what is the and I always say the last one I'm playing.

Salvatore Accardo30:49

So I would say the last one we played.

Presenter30:51

Cape Farrow. Yeah. And one luxury to take to the island with you. Now, what's this game?

Salvatore Accardo30:56

This is

Presenter30:59

It's very obvious. I hope it's something we can allow. What is it?

Presenter31:04

It's a violin. A violin. Oh, of course, of course, of course.

Presenter31:08

So you'd better have two.

Salvatore Accardo31:08

Yeah.

Presenter31:13

Yeah.

Salvatore Accardo31:13

Yeah.

Presenter31:13

I will

Salvatore Accardo31:13

I was I was thinking about my wife, but I think it's not allowed. So, my mother.

Presenter31:16

But I'm afraid that's not allowed.

Presenter31:20

Yes, and some spare strings and and whatever. And one book apart from the Bible and Shakespeare and not a big encyclopedia of details.

Salvatore Accardo31:29

I would like to have the Odyssey.

Presenter31:33

Homer's Odyssey

Salvatore Accardo31:34

Odyssey by Omero, which is the most incredible book with the Divina Commedia.

Presenter31:36

Uh

Salvatore Accardo31:42

But since I I like very much also adventures, you know, mm, so I would choose the Homero's Odyssey because the story of Olis is in

Presenter31:48

Omero's Odyssey.

Salvatore Accardo31:52

Yeah.

Presenter31:52

Uh

Salvatore Accardo31:52

Uh

Presenter31:52

In Italian, of course.

Salvatore Accardo31:53

Well, when I was young I was reading it in uh in Greek, but I don't remember it now very well, so I would have it in Italian.

Presenter32:02

Right. And thank you, Salvatore Acardo, for letting us hear your Desert Island Disc.

Salvatore Accardo32:07

Thank you very much. It was very, very nice to be here with you and uh have the opportunity to well to choose some of my beloved records and musicians. Thank you. Goodbye everyone.