Paolo Zentilin - Giustini: 12 Sonatas, Op. 1 (2020) [Hi-Res]

• Title: Giustini: 12 Sonatas, Op. 1
  
• Year Of Release: 2020
  
• Label: Brilliant Classics
  
• Genre: Classical
  
• Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
  
• Total Time: 02:38:53
  
• Total Size: 532 mb / 2.5 gb
  
• WebSite: Album Preview
  

Tracklist

01. Sonata No. 1 in G Minor, Op. 1: I. Balletto. Spiritoso, Ma Non Presto
02. Sonata No. 1 in G Minor, Op. 1: II. Corrente. Allegro
03. Sonata No. 1 in G Minor, Op. 1: III. Sarabanda. Grave
04. Sonata No. 1 in G Minor, Op. 1: IV. Giga. Presto
05. Sonata No. 1 in G Minor, Op. 1: V. Minuet. Affettuoso
06. Sonata No. 2 in C Minor, Op. 1: I. Grave
07. Sonata No. 2 in C Minor, Op. 1: II. Corrente. Allegro
08. Sonata No. 2 in C Minor, Op. 1: III. Giga. Grave
09. Sonata No. 2 in C Minor, Op. 1: IV. Giga. Presto
10. Sonata No. 2 in C Minor, Op. 1: V. Minuet
11. Sonata No. 3 in F Major, Op. 1: I. Siciliana. Affettuoso
12. Sonata No. 3 in F Major, Op. 1: II. Canzone
13. Sonata No. 3 in F Major, Op. 1: III. Andante, Ma Non Presto
14. Sonata No. 3 in F Major, Op. 1: IV. Giga. Presto
15. Sonata No. 4 in E Minor, Op. 1: I. Preludia. Largo
16. Sonata No. 4 in E Minor, Op. 1: II. Presto
17. Sonata No. 4 in E Minor, Op. 1: III. Sarabanda. Largo
18. Sonata No. 4 in E Minor, Op. 1: IV. Giga. Allegro
19. Sonata No. 5 in D Major, Op. 1: I. Preludio. Adagio E Arpeggiato Nell'acciaccature
20. Sonata No. 5 in D Major, Op. 1: II. Allegro
21. Sonata No. 5 in D Major, Op. 1: III. Affettuoso
22. Sonata No. 5 in D Major, Op. 1: IV. Corrente. Allegro
23. Sonata No. 5 in D Major, Op. 1: V. Tempo di Gavotte
24. Sonata No. 6 in B-Flat Major, Op. 1: I. Preludio. Grave
25. Sonata No. 6 in B-Flat Major, Op. 1: II. Allegro Assai
26. Sonata No. 6 in B-Flat Major, Op. 1: III. Dolce
27. Sonata No. 6 in B-Flat Major, Op. 1: IV. Giga. Allegro
28. Sonata No. 7 in G Major, Op. 1: I. Allemanda. Andante
29. Sonata No. 7 in G Major, Op. 1: II. Corrente. Presto Assai
30. Sonata No. 7 in G Major, Op. 1: III. Siciliana. Affettuoso
31. Sonata No. 7 in G Major, Op. 1: IV. Gavotta. Presto
32. Sonata No. 8 in A Major, Op. 1: I. Sarabanda. Affettuoso
33. Sonata No. 8 in A Major, Op. 1: II. Allegro
34. Sonata No. 8 in A Major, Op. 1: III. Rondò. Affettuoso
35. Sonata No. 8 in A Major, Op. 1: IV. Giga. Prestissimo
36. Sonata No. 9 in C Major, Op. 1: I. Sarabanda. Andante
37. Sonata No. 9 in C Major, Op. 1: II. Allemanda. Allegro
38. Sonata No. 9 in C Major, Op. 1: III. Rondò. Affettuoso
39. Sonata No. 9 in C Major, Op. 1: IV. Gavotta. Allegro
40. Sonata No. 10 in F Minor, Op. 1: I. Allemanda. Affettuoso
41. Sonata No. 10 in F Minor, Op. 1: II. Canzone. Tempo di Gavotte
42. Sonata No. 10 in F Minor, Op. 1: III. Allemanda. Grave E Affettuoso
43. Sonata No. 10 in F Minor, Op. 1: IV. Corrente. Allegro Assai
44. Sonata No. 11 in E Major, Op. 1: I. Allemanda. Allegro Ma Non Presto
45. Sonata No. 11 in E Major, Op. 1: II. Dolce
46. Sonata No. 11 in E Major, Op. 1: III. Gavotta
47. Sonata No. 11 in E Major, Op. 1: IV. Rondò. Affettuoso
48. Sonata No. 11 in E Major, Op. 1: V. Giga. Allegro Assai
49. Sonata No. 12 in G Major, Op. 1: I. Sarabanda. Largo
50. Sonata No. 12 in G Major, Op. 1: II. Canzone
51. Sonata No. 12 in G Major, Op. 1: III. Siciliana. Affettuoso
52. Sonata No. 12 in G Major, Op. 1: IV. Giga. Presto Assai
53. Sonata No. 12 in G Major, Op. 1: V. Minuet. Allegro

The very first-ever set of ‘piano sonatas’ in a new and highly imaginative recording.

Following Andrea Coen’s 2010 recording (94021) Brilliant Classics is the only label with two complete versions of Giustini’s sonatas on the market, showing its commitment to significant but under-recorded turning points in musical history. Lodovico Giustini (1685-1743) seldom left his native Pistoia, where he worked as organist of the Congregazione dello Spirito Santo. Published in nearby Florence in 1732, this set of 12 elegant sonatas is, in keeping with Scarlattian practice, dominated by movements in binary form, featuring dances and contrapuntal excursions, and displaying hints of the emerging galant style, which replaced busy Baroque continuo textures with a singing, more natural approach. Giustini enjoys high contrasts, soft and loud, and teases out of the new fortepiano technology everything it had to offer.

However, the extant scores are not free of errors, and they leave a good deal up to the performer. Paolo Zentilin makes the most of Giustini’s writing. He has corrected the obvious errors, and he exhibits taste and technical mastery in his playing of a modern, beautifully conditioned Fazioli piano. Exploiting the instrument’s tonal resources while remaining respectful of a Baroque sensibility, his playing is consistently passionate but never overblown, with an attractive full-bodied tone, and an exquisite sense of dynamic control. Extremely soft passages are executed with no loss of rhythmic vitality. Ornaments are rendered with delicate crispness. The music’s character —whether a regal dance or a study in tenderness—is always projected with sincerity and authenticity. No matter how intricate the counterpoint, the result remains genuinely heartfelt, never mechanical.

‘I tried to be clear in my articulation,’ remarks Zentilin in the booklet note, ‘as if I were using an historical instrument, but also to play with a pianistic approach—a wide sound palette and big contrasts, and the use of the pedals. I also improvised some of the ornamentation.’

Lodovico Giustini was born in 1685 (the annus mirabilis in which also Bach, Handel and Scarlatti were born..) in Pistoia, Italy, into a musical family, his father was organist. Upon his father’s death Lodovico succeeded him as organist, and spent his life thus at the Pistoia cathedral, writing sacred liturgical works and keyboard music. Giustini's main fame rests on his work 12 Sonate da cimbalo di piano e forte detto volgarmente di martelletti, Op.1, published in Florence in 1732, which is the earliest music in any genre written specifically for the piano. These pieces, which are Sonate da Chiesa with alternating fast and slow sections (four or five movements per sonata), predate all other music specifically written for the piano by about 30 years. Giustini used all the expressive capabilities of the instrument, such as wide dynamic contrast: expressive possibilities which were not available on other keyboard instruments of the time. Harmonically the pieces are transitional between late Baroque and early Classical period practice, and include innovations such as augmented sixth chords and modulations to remote keys. Played by Paolo Zentilin on a modern piano, making full yet retrained use of the instrument’s possibilities, in a refined and delicate way.

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Year 2020 | Classical | FLAC / APE | HD & Vinyl

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