Francesco Mazzonetto - Italian Piano Works (2017)

A discourse on the subject of Italian instrumental music would not be effective without mentioning two crucial issues: the constant temptation of the lyricism and “singability” of an operatic nature on one hand; and keeping the distance from that same temptation, on the other. The Kammer-Fantasie über Bizets Carmen, “chamberfantasy” by Ferruccio Busoni, immediately launch us into this duplicity.

The world of Domenico Cimarosa is steeped in the Mediterranean style as his apparently elementary music provides a rare freshness and tasteful inventiveness.

Baldassarre Galuppi’s sonata form universe is pervaded by a strong “singable” cantabile melodic line that also contains a wealth of expressive contrasts

Muzio Clementi, branded with terms such as “charlatan” and “mechanicus” by Mozart, perhaps rather irritated by the brilliant musical skill of his rival, was in reality, much more than a mere keyboard virtuoso. The composer, who was born in Rome yet settled in London, is often remembered for the innovations he brought to piano techniques (the use of the double thirds, sixths or robust octaves, that influenced Beethoven), but often his extreme sensitivity being able to “recitar suonando” (perform while playing) is overlooked. In 1964, the year after having composed the music for The Leopard by Visconti and 8 ½ by Federico Fellini, Nino Rota wrote the fifteen Preludes for piano. In the years predominantly characterised by his attendance at the Darmstadt academy, Rota used the traditional tonal language, however with an entirely personalised harmony that makes the most of the wide range of possibilities provided by the string of triads.

To bring this excursus on Italian piano music to an end, the Melody from by Gluck arranged by Giovanni Sgambati: the multi-dimensionality given by its arrangement written on three staves, apart from creating a sound that is both soft and rich at the same time, forces the pianist to perform arpeggios and rests that make the sweetness of the original piece even more languishing.