Sergio Bosi - 20th-Century Italian Clarinet Solos (2013)
BAND/ARTIST: Sergio Bosi
- Title: 20th-Century Italian Clarinet Solos
- Year Of Release: 2013
- Label: Naxos
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:02:21
- Total Size: 231 mb
- WebSite: Album Preview
Tracklist
01. Lied
02. Studio da concerto
03. Clarinet Concerto
04. Monodia
05. Fantasia Orientale
06. Improvviso: I. Andante lento
07. Improvviso: II. Andante calmo
08. Improvviso: III. Andante un poco mosso
09. Rhapsodie
10. Lo Spiritismo nella vecchia casa
11. Episodi: I. Adagio
12. Episodi: II. Mosso
13. Episodi: III. Molto calmo
14. Episodi: IV. Allegro vivace
15. Trittico: I. Ben ritmato e spiritoso
16. Trittico: II. Calmo
17. Trittico: III. Vivace
18. Jubilus I, Op. 30
Opera dominated Italian domestic music-making and eclipsed instrumental writing, which often had to draw on operatic models in the shape of virtuosic paraphrases. The renewal of Italian orchestral and chamber music in the twentieth century, however, led to vibrant native schools of composition, not least for the clarinet. Some composers, such as Giuseppe Ruggiero and Nino Rota, acted as bridges between the past and the present, while others invented new ‘effects’ and sounds, such as those of Bruno Bettinelli in his Studio da concerto. Berio’s Lied reworks and simplifies some of the technical innovations to be found in Sequenza IXa, also written for the clarinet (Naxos 8557661-63).
01. Lied
02. Studio da concerto
03. Clarinet Concerto
04. Monodia
05. Fantasia Orientale
06. Improvviso: I. Andante lento
07. Improvviso: II. Andante calmo
08. Improvviso: III. Andante un poco mosso
09. Rhapsodie
10. Lo Spiritismo nella vecchia casa
11. Episodi: I. Adagio
12. Episodi: II. Mosso
13. Episodi: III. Molto calmo
14. Episodi: IV. Allegro vivace
15. Trittico: I. Ben ritmato e spiritoso
16. Trittico: II. Calmo
17. Trittico: III. Vivace
18. Jubilus I, Op. 30
Opera dominated Italian domestic music-making and eclipsed instrumental writing, which often had to draw on operatic models in the shape of virtuosic paraphrases. The renewal of Italian orchestral and chamber music in the twentieth century, however, led to vibrant native schools of composition, not least for the clarinet. Some composers, such as Giuseppe Ruggiero and Nino Rota, acted as bridges between the past and the present, while others invented new ‘effects’ and sounds, such as those of Bruno Bettinelli in his Studio da concerto. Berio’s Lied reworks and simplifies some of the technical innovations to be found in Sequenza IXa, also written for the clarinet (Naxos 8557661-63).
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