Paola Camponovo, Alfredo Blessano, Vansìsiem Lied Duo - Malipiero: Complete Songs for Soprano and Piano (2021) [Hi-Res]
![Paola Camponovo, Alfredo Blessano, Vansìsiem Lied Duo - Malipiero: Complete Songs for Soprano and Piano (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2023-07/1688368720_vansisiem-lied-duo-malipiero-complete-songs-for-soprano-and-piano-2021.jpg)
BAND/ARTIST: Paola Camponovo, Alfredo Blessano, Vansìsiem Lied Duo
- Title: Malipiero: Complete Songs for Soprano and Piano
- Year Of Release: 2021
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 44.1kHz +Booklet
- Total Time: 02:34:12
- Total Size: 636 mb / 1.27 gb
- WebSite: Album Preview
Tracklist
01. I Sonetti Delle Fate: I. Eliana
02. I Sonetti Delle Fate: II. Mirinda
03. I Sonetti Delle Fate: III. Melusina
04. I Sonetti Delle Fate: IV. Grasinda
05. I Sonetti Delle Fate: V. Morgana
06. I Sonetti Delle Fate: VI. Oriana - Oriana Infedele
07. Cinq Melodies: I. Chanson Morave
08. Cinq Melodies: II. Les Yeux Couleur Du Temps
09. Cinq Melodies: III. Pégase
10. Cinq Melodies: IV. Ariette
11. Cinq Melodies: V. L'archet
12. Keepsake: I. Light
13. Keepsake: II. Song
14. Keepsake: III. Stream
15. Tre Poesie Del Poliziano: I. Inno a Maria Nostra Donna
16. Tre Poesie Del Poliziano: II. L'eco
17. Tre Poesie Del Poliziano: III. Ballata
18. Quattro Sonetti Del Burchiello: I. Cacio Stillato
19. Quattro Sonetti Del Burchiello: II. Va' in Mercato, Giorgin
20. Quattro Sonetti Del Burchiello: III. Andando a Uccellare
21. Quattro Sonetti Del Burchiello: IV. Rose Spinose
22. Due Sonetti Del Berni: I. Chiome D'argento Fine
23. Due Sonetti Del Berni: II. Cancheri E Beccafichi
24. Due Romanze di Domenico Gnoli: I. Fuga D'ale
25. Due Romanze di Domenico Gnoli: II. Onomasticon
26. La Cavalcata Della Morte
27. Vocalizzo Per Voce Acuta
28. Le Stagioni Italiche: I. Lauda Per Un Morto
29. Le Stagioni Italiche: II. Canto Della Neve
30. Le Stagioni Italiche: III. Capriccio
31. Le Stagioni Italiche: IV. Ditirambo III
32. Tre Canti di Filomela: I. Canto Fortuna Tutto Può Che Dà Il Potere
33. Tre Canti di Filomela: II. Canto Se Tu M'ami, Se Sospiri
34. Tre Canti di Filomela: III. Canto Amore, Amore, Che Sì M'hai Ferita
35. Le Sette Allegrezze D'amore
36. Mondi Celesti
37. Sette Canzonette Veneziane: I. Fa Nana Fantolin De La Madona
38. Sette Canzonette Veneziane: II. Povero Bernardon Tuto Impiagao
39. Sette Canzonette Veneziane: III. Soto Quel Sotoportego, Marieta
40. Sette Canzonette Veneziane: IV. Come I Zingari Son Tre Dì Per Liogo
41. Sette Canzonette Veneziane: V. Voi Sul Ponte Dei Pugni Darghe Un Pugno
42. Sette Canzonette Veneziane: VI. Cara, Ti Ti Xe Proprio Una Bissona
43. Sette Canzonette Veneziane: VII. Roma Xe Granda, E Xe Venezia Bela
![Paola Camponovo, Alfredo Blessano, Vansìsiem Lied Duo - Malipiero: Complete Songs for Soprano and Piano (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2023-07/1688368711_vansisiem-lied-duo-malipiero-complete-songs-for-soprano-and-piano-2021-back.jpg)
Belonging to the generation of Respighi but dying several decades later, Gian Francesco Malipiero (1882-1973) is a far more varied composer than listeners to his post-Romantic chamber and orchestral music would guess. This album is both the most comprehensive publication ever issued of his song output on record, and a valuable opportunity to reappraise an often under-rated 20th-century composer.
Malipiero wrote songs throughout his career, and in his late 20s found an affinity with the visionary and influential poet Gabriele d’Annunzio. Their artistic partnership began in 1909 with I sonetti delle fate, full of Wagnerian yearning in the spirit of Debussy’s incidental music to d’Annunzio’s St Sebastian play. The composer’s literary leanings and gifted word setting soon produced equally idiomatic settings of French poetry in a set of Cinq mélodies and an elliptical cycle of three poems (titled in English) by Georges Jean-Aubry, Keepsake.
With Le stagioni italiche, however, Malipiero shows himself up to date and in sympathy with the latest developments in expressionist song writing from the pens of Mahler, Schoenberg and Webern, and with an ambition to match: a 40-minute cycle of four varied texts ranging from the 15th century to Malipiero’s own day. Like much else here, the cycle has previously been recorded but never in the context of Malipiero’s other songs which help us to understand the composer’s stylistic evolution. Three years later, there followed a through-composed drama based on the ancient legend of Philomel (immortalised by Ovid in the Metamorphoses) from which Malipiero extracted a cycle of three songs. He continued to refresh his style and innovate with Le sette allegrezze d’amore from 1945, but little in his music prepares the listener for the pointilliste precision of the Sette canzonette veneziane from 1960.
Anyone with a passion for art song will want to acquaint themselves with this marvellously varied body of work, especially in the hands of the ‘Vansìsiem Lied Duo’, consisting of soprano Paola Camponovo and pianist Alfredo Blessano. Previous albums have shown them to be acutely sensitive interpreters of Rossini, Debussy and Lili Boulanger, and the French-Italian axis of Malipiero’s songs plays to their particular talents.
Gian Francesco Malipiero (1882-1973) was born in Venice on 18 March 1882 into a family of musicians. From 1898 to 1899 Malipiero studied briefly at the Vienna Conservatory; from 1899 to 1902 he studied counterpoint with Marco Enrico Bossi at the Venice Liceo Musicale e Società Benedetto Marcello and in 1908 he attended Max Bruch's classes in Berlin. Experiences which exerted a lasting influence on his creative personality were his encounter with early Italian music (Monteverdi, Frescobaldi, Merulo and others) and his stay in Paris in 1913, including his friendship with Alfredo Casella and his attendance of the première of Stravinsky’s Rite of Spring which, as he later said, woke him "from a long and dangerous lethargy."
While Malipiero's early works still manifest strong evidence of Debussy's influence, later on his harmonies move unmistakably in the direction of atonality. Malipiero's goal was giving a new direction to Italian music by fusing the traditions of Gregorian chant, Renaissance, and Baroque music with the expressive means of contemporary musical thought.
Malipiero was a member of the so-called “Generazione dell’Ottanta” composers, together with Pizzetti, Respighi, Casella and Alfano it was their intention to free Italy from the sentimentality of Tosti’s romances and the songs of Puccini and Mascagni, and draw inspiration from great poets such as D’Annunzio, developing the intellectual project of a “niche” art song that could compete with the German Lied and French Mélodie.
These 3 CDs present the complete songs for soprano and piano by Malipiero, sung by the Vansìsiem Lied Duo: Paola Camponovo (soprano) and Alfred Blessano (piano). The Duo is specialised in the performance of the Italian repertoire, in particular of the Generazione dell’Ottanta. The Duo obtained many international awards, including the First Prize at Concorso Internazionale Else Respighi in Verona,¬ devoted to the Italian art song from the end of the 19th and the beginning of the 20th century.
01. I Sonetti Delle Fate: I. Eliana
02. I Sonetti Delle Fate: II. Mirinda
03. I Sonetti Delle Fate: III. Melusina
04. I Sonetti Delle Fate: IV. Grasinda
05. I Sonetti Delle Fate: V. Morgana
06. I Sonetti Delle Fate: VI. Oriana - Oriana Infedele
07. Cinq Melodies: I. Chanson Morave
08. Cinq Melodies: II. Les Yeux Couleur Du Temps
09. Cinq Melodies: III. Pégase
10. Cinq Melodies: IV. Ariette
11. Cinq Melodies: V. L'archet
12. Keepsake: I. Light
13. Keepsake: II. Song
14. Keepsake: III. Stream
15. Tre Poesie Del Poliziano: I. Inno a Maria Nostra Donna
16. Tre Poesie Del Poliziano: II. L'eco
17. Tre Poesie Del Poliziano: III. Ballata
18. Quattro Sonetti Del Burchiello: I. Cacio Stillato
19. Quattro Sonetti Del Burchiello: II. Va' in Mercato, Giorgin
20. Quattro Sonetti Del Burchiello: III. Andando a Uccellare
21. Quattro Sonetti Del Burchiello: IV. Rose Spinose
22. Due Sonetti Del Berni: I. Chiome D'argento Fine
23. Due Sonetti Del Berni: II. Cancheri E Beccafichi
24. Due Romanze di Domenico Gnoli: I. Fuga D'ale
25. Due Romanze di Domenico Gnoli: II. Onomasticon
26. La Cavalcata Della Morte
27. Vocalizzo Per Voce Acuta
28. Le Stagioni Italiche: I. Lauda Per Un Morto
29. Le Stagioni Italiche: II. Canto Della Neve
30. Le Stagioni Italiche: III. Capriccio
31. Le Stagioni Italiche: IV. Ditirambo III
32. Tre Canti di Filomela: I. Canto Fortuna Tutto Può Che Dà Il Potere
33. Tre Canti di Filomela: II. Canto Se Tu M'ami, Se Sospiri
34. Tre Canti di Filomela: III. Canto Amore, Amore, Che Sì M'hai Ferita
35. Le Sette Allegrezze D'amore
36. Mondi Celesti
37. Sette Canzonette Veneziane: I. Fa Nana Fantolin De La Madona
38. Sette Canzonette Veneziane: II. Povero Bernardon Tuto Impiagao
39. Sette Canzonette Veneziane: III. Soto Quel Sotoportego, Marieta
40. Sette Canzonette Veneziane: IV. Come I Zingari Son Tre Dì Per Liogo
41. Sette Canzonette Veneziane: V. Voi Sul Ponte Dei Pugni Darghe Un Pugno
42. Sette Canzonette Veneziane: VI. Cara, Ti Ti Xe Proprio Una Bissona
43. Sette Canzonette Veneziane: VII. Roma Xe Granda, E Xe Venezia Bela
Belonging to the generation of Respighi but dying several decades later, Gian Francesco Malipiero (1882-1973) is a far more varied composer than listeners to his post-Romantic chamber and orchestral music would guess. This album is both the most comprehensive publication ever issued of his song output on record, and a valuable opportunity to reappraise an often under-rated 20th-century composer.
Malipiero wrote songs throughout his career, and in his late 20s found an affinity with the visionary and influential poet Gabriele d’Annunzio. Their artistic partnership began in 1909 with I sonetti delle fate, full of Wagnerian yearning in the spirit of Debussy’s incidental music to d’Annunzio’s St Sebastian play. The composer’s literary leanings and gifted word setting soon produced equally idiomatic settings of French poetry in a set of Cinq mélodies and an elliptical cycle of three poems (titled in English) by Georges Jean-Aubry, Keepsake.
With Le stagioni italiche, however, Malipiero shows himself up to date and in sympathy with the latest developments in expressionist song writing from the pens of Mahler, Schoenberg and Webern, and with an ambition to match: a 40-minute cycle of four varied texts ranging from the 15th century to Malipiero’s own day. Like much else here, the cycle has previously been recorded but never in the context of Malipiero’s other songs which help us to understand the composer’s stylistic evolution. Three years later, there followed a through-composed drama based on the ancient legend of Philomel (immortalised by Ovid in the Metamorphoses) from which Malipiero extracted a cycle of three songs. He continued to refresh his style and innovate with Le sette allegrezze d’amore from 1945, but little in his music prepares the listener for the pointilliste precision of the Sette canzonette veneziane from 1960.
Anyone with a passion for art song will want to acquaint themselves with this marvellously varied body of work, especially in the hands of the ‘Vansìsiem Lied Duo’, consisting of soprano Paola Camponovo and pianist Alfredo Blessano. Previous albums have shown them to be acutely sensitive interpreters of Rossini, Debussy and Lili Boulanger, and the French-Italian axis of Malipiero’s songs plays to their particular talents.
Gian Francesco Malipiero (1882-1973) was born in Venice on 18 March 1882 into a family of musicians. From 1898 to 1899 Malipiero studied briefly at the Vienna Conservatory; from 1899 to 1902 he studied counterpoint with Marco Enrico Bossi at the Venice Liceo Musicale e Società Benedetto Marcello and in 1908 he attended Max Bruch's classes in Berlin. Experiences which exerted a lasting influence on his creative personality were his encounter with early Italian music (Monteverdi, Frescobaldi, Merulo and others) and his stay in Paris in 1913, including his friendship with Alfredo Casella and his attendance of the première of Stravinsky’s Rite of Spring which, as he later said, woke him "from a long and dangerous lethargy."
While Malipiero's early works still manifest strong evidence of Debussy's influence, later on his harmonies move unmistakably in the direction of atonality. Malipiero's goal was giving a new direction to Italian music by fusing the traditions of Gregorian chant, Renaissance, and Baroque music with the expressive means of contemporary musical thought.
Malipiero was a member of the so-called “Generazione dell’Ottanta” composers, together with Pizzetti, Respighi, Casella and Alfano it was their intention to free Italy from the sentimentality of Tosti’s romances and the songs of Puccini and Mascagni, and draw inspiration from great poets such as D’Annunzio, developing the intellectual project of a “niche” art song that could compete with the German Lied and French Mélodie.
These 3 CDs present the complete songs for soprano and piano by Malipiero, sung by the Vansìsiem Lied Duo: Paola Camponovo (soprano) and Alfred Blessano (piano). The Duo is specialised in the performance of the Italian repertoire, in particular of the Generazione dell’Ottanta. The Duo obtained many international awards, including the First Prize at Concorso Internazionale Else Respighi in Verona,¬ devoted to the Italian art song from the end of the 19th and the beginning of the 20th century.
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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