Marco Sollini - Marco Sollini: 24 Piano Works - Opp. 1 - 27 (2022)
BAND/ARTIST: Marco Sollini
- Title: Marco Sollini: 24 Piano Works - Opp. 1 - 27
- Year Of Release: 2022
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:08:56
- Total Size: 270 mb
- WebSite: Album Preview
Tracklist
01. Valzer triste, Op. 1
02. Ninna nanna nordica, Op. 2
03. Notturno, Op. 3
04. Elegia, Op. 4
05. Carillon, Op. 5
06. Notte (Alla Luna...), Op. 6
07. Cake-walk (Il Maggiolone), Op. 7
08. Pensiero, Op. 8
09. Serenata, Op. 9
10. Mistero, Op. 10
11. Passeggiata, Op. 11
12. Natale, Op. 13
13. Studio inquieto, Op. 14
14. Berceuse (Nuit d'été), Op. 15
15. Sogno greco, Op. 16
16. Moonlight Waltz, Op. 17
17. Studio, Op. 18
18. Étude de Noël, Op. 19
19. Vol-au-vent, Op. 20
20. Souvenir de Bali, Op. 21
21. Incantesimo, Op. 23
22. Rêverie, Op. 25
23. Cantilena, Op. 26
24. Impromptu, Op. 27
After years and years spent playing solo and chamber music of all kinds, and touching the greatest composers (among whom Bach, Mozart, Chopin, Schumann, Liszt, Brahms, Rachmaninov) as well as instrumental rarities by Puccini, Leoncavallo, Mascagni, Rossini, Offenbach, the occasion arises for recovering some short piano pages of my own. They had been created on the spur of the moment, frequently connected with particular occasions and emotions provoked by events, places, encounters… They are almost in the style of the “Péchés de Vieillesse”, to whom – as happened to my great compatriot Gioachino Rossini – the most intimate confidences are secretly entrusted. They also express my wish to let something personal and deep surface, something ripened thanks to my assiduous dedication to their great repertoire. Their references are at times obvious and not hidden, but also filtered through the sensitivity of a pianist-performer who writes, after all, for an audience of friends, recounting his life to them.
My 24 Piano Works are short pieces composed between 2001 and 2007. They open with the dark Valzer triste op. 1, written in August 2001. It is followed by a tender Ninna nanna nordica op. 2, a lullaby born from a melodic idea which came to me during a journey between Copenhagen and Kiel. The Notturno op. 3 has a “Brahmsian” imprint, as witnessed by its writing which employs frequently thirds and sixths, similar to the Elegia op. 4, whose melodic line is founded on deep resonances. This latter piece lets a low B-flat ostinato, punctuating it with profound and meditative tolls. The small and very short Carillon op. 5 follows, playing for a few seconds on a fleeting chromaticism, whilst the piece Notte (Alla luna…) op. 6 is an evident homage to poet Giacomo Leopardi and to his “infinite gaze”. Another voyage to Germany inspired the Cake-Walk op. 7: in the city of Wolfsburg, in fact, is based the famous automobile industry which launched the funny and slightly clumsy Beetle, recounted here through the notes and joyful syncopations. In Pensiero op. 8, Serenata op. 9, Mistero op. 10 with a Schumannesque taste, as well as in Passeggiata op. 11, the musical itinerary sees similar melodic ideas and somatic traits. The same applies to Natale op. 13, a piece created precisely on the occasion of Christmas 2003, and revealing its entire tender and fairy affect. The Studio inquieto op. 14, in the A-B-A form, is more convoluted and elaborated; it follows by a few days the composition of the preceding piece, and dives into more complex rhythms and passionate melodic movements. The Chopinesque Berceuse (Nuit d’été) op. 15 fills a harmonically static situation with embellishments and melodic elan; all is played on suspended sonorities and particular, dissonant timbral effects. Sogno greco op. 16 is once more a homage to a land I particularly cherish; among lyricism and passion, for a few seconds a citation from the most famous of the Sirtakis surfaces. The Moonlight Waltz op. 17 is slightly panting and skipping; indeed, in its central section, it opens itself to more declaimed and agitated passions. The Studio op. 18 is very stylized and concise, with a piano writing encompassing the entire range of the keyboard.
On another Christmas, that of 2004, the Étude de Noël op. 19 took life. It fuses together two famous Christmas carols, in parallel with an ostinato pattern of double notes typical for an Etude; the effect of the final superimposition of quotes from Jingle Bells and White Christmas assumes decidedly dramatic and tenebrous tones. Vol-au-vent op. 20 is a slightly bizarre and barefaced piece, contrasting, in Rossini’s style, the lightness of the harsh initial dissonances with the following short mazurka movement and a meditation with a deeper cantabile style, found at its heart, before the joking return of the initial idea.
Eastern sounds reminiscent of the typical gamelan are once more the memory of a journey to Bali and of its aural enchantments in Souvenir de Bali op. 21. Incantesimo op. 23 and Rêverie op. 25 reach out, with their delicate sounds, in quest of fantastic and poetic atmospheres, which are dreamy and vibrant at the same time. Similarly, Cantilena op. 26 presents itself as an amiable tune, interrupted only by a powerful central March, before the melodic reprise.
Closing the series of 24 piano pieces gathered together here – almost all of them are real miniatures – there is the virtuosic Impromptu op. 27. With its rapid waterfall of notes it still leaves space for a vein of singing and for a pianistic game whose challenges are accepted by the composer.
I hope that only one thing will reach those who will begin listening to these pieces: the sincerity of inspiration, the immediacy and the careful pianistic, poetic and timbral research. For many years, prior to the birth of these short compositions, these were the object of my study on pages written by others. This is therefore my personal diary, with these pages with a narrative character. I wish that everybody can find themselves mirrored here, and also find something deep of their life, their past, their experience, their childhood, their interiority and spirituality. Once more, “Rossini-like”, and after more than one century, I wrote this with no fear of seeming “outside of my time”.
01. Valzer triste, Op. 1
02. Ninna nanna nordica, Op. 2
03. Notturno, Op. 3
04. Elegia, Op. 4
05. Carillon, Op. 5
06. Notte (Alla Luna...), Op. 6
07. Cake-walk (Il Maggiolone), Op. 7
08. Pensiero, Op. 8
09. Serenata, Op. 9
10. Mistero, Op. 10
11. Passeggiata, Op. 11
12. Natale, Op. 13
13. Studio inquieto, Op. 14
14. Berceuse (Nuit d'été), Op. 15
15. Sogno greco, Op. 16
16. Moonlight Waltz, Op. 17
17. Studio, Op. 18
18. Étude de Noël, Op. 19
19. Vol-au-vent, Op. 20
20. Souvenir de Bali, Op. 21
21. Incantesimo, Op. 23
22. Rêverie, Op. 25
23. Cantilena, Op. 26
24. Impromptu, Op. 27
After years and years spent playing solo and chamber music of all kinds, and touching the greatest composers (among whom Bach, Mozart, Chopin, Schumann, Liszt, Brahms, Rachmaninov) as well as instrumental rarities by Puccini, Leoncavallo, Mascagni, Rossini, Offenbach, the occasion arises for recovering some short piano pages of my own. They had been created on the spur of the moment, frequently connected with particular occasions and emotions provoked by events, places, encounters… They are almost in the style of the “Péchés de Vieillesse”, to whom – as happened to my great compatriot Gioachino Rossini – the most intimate confidences are secretly entrusted. They also express my wish to let something personal and deep surface, something ripened thanks to my assiduous dedication to their great repertoire. Their references are at times obvious and not hidden, but also filtered through the sensitivity of a pianist-performer who writes, after all, for an audience of friends, recounting his life to them.
My 24 Piano Works are short pieces composed between 2001 and 2007. They open with the dark Valzer triste op. 1, written in August 2001. It is followed by a tender Ninna nanna nordica op. 2, a lullaby born from a melodic idea which came to me during a journey between Copenhagen and Kiel. The Notturno op. 3 has a “Brahmsian” imprint, as witnessed by its writing which employs frequently thirds and sixths, similar to the Elegia op. 4, whose melodic line is founded on deep resonances. This latter piece lets a low B-flat ostinato, punctuating it with profound and meditative tolls. The small and very short Carillon op. 5 follows, playing for a few seconds on a fleeting chromaticism, whilst the piece Notte (Alla luna…) op. 6 is an evident homage to poet Giacomo Leopardi and to his “infinite gaze”. Another voyage to Germany inspired the Cake-Walk op. 7: in the city of Wolfsburg, in fact, is based the famous automobile industry which launched the funny and slightly clumsy Beetle, recounted here through the notes and joyful syncopations. In Pensiero op. 8, Serenata op. 9, Mistero op. 10 with a Schumannesque taste, as well as in Passeggiata op. 11, the musical itinerary sees similar melodic ideas and somatic traits. The same applies to Natale op. 13, a piece created precisely on the occasion of Christmas 2003, and revealing its entire tender and fairy affect. The Studio inquieto op. 14, in the A-B-A form, is more convoluted and elaborated; it follows by a few days the composition of the preceding piece, and dives into more complex rhythms and passionate melodic movements. The Chopinesque Berceuse (Nuit d’été) op. 15 fills a harmonically static situation with embellishments and melodic elan; all is played on suspended sonorities and particular, dissonant timbral effects. Sogno greco op. 16 is once more a homage to a land I particularly cherish; among lyricism and passion, for a few seconds a citation from the most famous of the Sirtakis surfaces. The Moonlight Waltz op. 17 is slightly panting and skipping; indeed, in its central section, it opens itself to more declaimed and agitated passions. The Studio op. 18 is very stylized and concise, with a piano writing encompassing the entire range of the keyboard.
On another Christmas, that of 2004, the Étude de Noël op. 19 took life. It fuses together two famous Christmas carols, in parallel with an ostinato pattern of double notes typical for an Etude; the effect of the final superimposition of quotes from Jingle Bells and White Christmas assumes decidedly dramatic and tenebrous tones. Vol-au-vent op. 20 is a slightly bizarre and barefaced piece, contrasting, in Rossini’s style, the lightness of the harsh initial dissonances with the following short mazurka movement and a meditation with a deeper cantabile style, found at its heart, before the joking return of the initial idea.
Eastern sounds reminiscent of the typical gamelan are once more the memory of a journey to Bali and of its aural enchantments in Souvenir de Bali op. 21. Incantesimo op. 23 and Rêverie op. 25 reach out, with their delicate sounds, in quest of fantastic and poetic atmospheres, which are dreamy and vibrant at the same time. Similarly, Cantilena op. 26 presents itself as an amiable tune, interrupted only by a powerful central March, before the melodic reprise.
Closing the series of 24 piano pieces gathered together here – almost all of them are real miniatures – there is the virtuosic Impromptu op. 27. With its rapid waterfall of notes it still leaves space for a vein of singing and for a pianistic game whose challenges are accepted by the composer.
I hope that only one thing will reach those who will begin listening to these pieces: the sincerity of inspiration, the immediacy and the careful pianistic, poetic and timbral research. For many years, prior to the birth of these short compositions, these were the object of my study on pages written by others. This is therefore my personal diary, with these pages with a narrative character. I wish that everybody can find themselves mirrored here, and also find something deep of their life, their past, their experience, their childhood, their interiority and spirituality. Once more, “Rossini-like”, and after more than one century, I wrote this with no fear of seeming “outside of my time”.
Year 2022 | Classical | FLAC / APE
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