Andrea Dieci, Piercarlo Sacco - Rebay: Complete Music for Violin and Guitar (2023) [Hi-Res]
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BAND/ARTIST: Andrea Dieci, Piercarlo Sacco
- Title: Rebay: Complete Music for Violin and Guitar
- Year Of Release: 2023
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 02:33:58
- Total Size: 773 mb / 2.49 gb
- WebSite: Album Preview
Tracklist
01. Variationen über Schuberts "Heidenröslein"
02. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: I. Ruhig
03. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: II. Gleichmäßig Bewegt
04. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: III. A la Scherzo
05. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: IV. Ruhig und zart (Wie ein Schlummerliedchen)
06. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: V. Innig (Wie ein Volkslied)
07. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: VI. Mäßiges Walzertempo
08. Neue kleine Vortragsstücke, Teil II. Volkslieder: I. Das zerbrochene Ringlein
09. Neue kleine Vortragsstücke, Teil II. Volkslieder: II. Sandmännchen
10. Neue kleine Vortragsstücke, Teil II. Volkslieder: III. Von Leid und Lust
11. Neue kleine Vortragsstücke, Teil II. Volkslieder: IV. Treue Liebe
12. Neue kleine Vortragsstücke, Teil II. Volkslieder: V. Brüderlein Fein
13. Neue kleine Vortragsstücke, Teil II. Volkslieder: VI. Es ist ein Reis Entsprungen
14. Variationen über "Maria durch ein Dornwald Ging"
15. Lieder ohne Worte No. 1 in A Major
16. Lieder ohne Worte No. 2 in G Major
17. Variationen über das alte deutsche Volkslied "In meines Buhlen Gärtelein…"
18. Bolero
19. Variationen über das alte Weihnachtslied "Es ist ein Ros' Entsprungen"
20. Walzer
21. Variationen über das Erzherzog-Johann-Lied (Eine alte steirische Weise)
22. Sonate in C Minor: I. Mäßiges Marschtempo
23. Sonate in C Minor: II. Variationen über das volkstümliche Lied "Und der Hans schleicht Umher…"
24. Sonate in C Minor: III. Scherzo
25. Sonate in C Minor: IV. Ein fröhliches "perpetuum mobile" in Webers Manier
26. Kleine Suite: I. Sarabande
27. Kleine Suite: II. Variante der Sarabande
28. Kleine Suite: III. Gavotte - Musette -Gavotte da Capo
29. Kleine Suite: IV. Menuett
30. Sonate in E Minor: I. Allegro, ma non Troppo
31. Sonate in E Minor: II. Variationen über das Kärntner Volkslied. "I tua wohl als wann nie nix Wär…"
32. Sonate in E Minor: III. Menuett
33. Sonate in E Minor: IV. Rondo (Finale)
34. 12 Deutsche Tänze: I. Festlich Bewegt
35. 12 Deutsche Tänze: II.
36. 12 Deutsche Tänze: III.
37. 12 Deutsche Tänze: IV. Grazioso (Giocoso)
38. 12 Deutsche Tänze: V.
39. 12 Deutsche Tänze: VI.
40. 12 Deutsche Tänze: VII. Allegro
41. 12 Deutsche Tänze: VII.
42. 12 Deutsche Tänze: IX.
43. 12 Deutsche Tänze: X. Allegro
44. 12 Deutsche Tänze: XI.
45. 12 Deutsche Tänze: XII.
46. Andante aus dem Italienischen Konzert
47. Menuett
48. Gavotte
49. Scherzo
50. Präludium in E aus dem Wohltemperierten Klavier (I. Teil)
51. Tema con Variazioni aus, Op. 12 No. 1
It was Jakob Ortner, one of the composer’s colleagues at the academy in Vienna, who piqued Rebay’s interest in the guitar. The enthusiasm and skill Ortner and his pupils displayed convinced Rebay that the guitar could handle any harmonic construction thrown at it, far beyond the clichéd writing for the instrument of the late 19th century.
The 12 Deutsche Tänze von Beethoven (1939, from the WoO8 cycle) and the Tema con Variazioni aus Op.12 No.1 von L. van Beethoven (1952) display a great passion for the German composer; Rebay also arranged Beethoven’s Sonatas Op.79 and Op.90 for ensembles including a guitar.
Rebay often opted for a simple style to make his arrangements accessible to a wide range of performers. This is true of certain (unfortunately undated) transcriptions for violin and guitar: a gavotte in D minor by Jean-Baptiste Lully; a minuet in F major by George Frideric Handel; the Andante from the Italian Concerto BWV971 and the prelude in E major from the first book of The Well-Tempered Clavier by Johann Sebastian Bach. This probably indicates a revision of the violin part, and shows the esteem the composer enjoyed on the Viennese music scene.
Rebay returned to the violin and guitar pairing on multiple occasions for a favourite genre of his: the theme and variations. The writing here is more demanding and stands out for the equal weighting given to the two instruments and the use of keys unrelated to the theme for the individual variations, producing a concertato effect with numerous subtle expressive twists. All the cycles of variations on this recording are based on folk themes, with the exception of those based on “Heidenröslein” (1953, from the Lied of the same name by Franz Schubert) and “Und der Hans schleicht umher” (undated), which some scholars, contrary to Rebay’s title, attribute to Franz von Woyna.
Finally, Rebay wrote two sonatas for violin and guitar, both in 1942, in which he put his innovative concept of the guitar as a fully versatile harmonic instrument through its paces. They follow a similar expressive journey: a sombre yet assertive first movement leads to vibrant, lyrical playing in the theme and variations, before the tone gradually lightens over the course of the final two movements.
Now that the guitar’s status is fully established, Rebay’s refined and dignified voice has made itself heard, thanks to the music’s solid craftsmanship but above all its sincerity. Its rediscovery dispels many clichés and reassures us that humble yet beautiful music is not necessarily destined to be unjustly forgotten.
01. Variationen über Schuberts "Heidenröslein"
02. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: I. Ruhig
03. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: II. Gleichmäßig Bewegt
04. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: III. A la Scherzo
05. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: IV. Ruhig und zart (Wie ein Schlummerliedchen)
06. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: V. Innig (Wie ein Volkslied)
07. Neue kleine Vortragsstücke, Teil I. 6 Original-Kompositionen: VI. Mäßiges Walzertempo
08. Neue kleine Vortragsstücke, Teil II. Volkslieder: I. Das zerbrochene Ringlein
09. Neue kleine Vortragsstücke, Teil II. Volkslieder: II. Sandmännchen
10. Neue kleine Vortragsstücke, Teil II. Volkslieder: III. Von Leid und Lust
11. Neue kleine Vortragsstücke, Teil II. Volkslieder: IV. Treue Liebe
12. Neue kleine Vortragsstücke, Teil II. Volkslieder: V. Brüderlein Fein
13. Neue kleine Vortragsstücke, Teil II. Volkslieder: VI. Es ist ein Reis Entsprungen
14. Variationen über "Maria durch ein Dornwald Ging"
15. Lieder ohne Worte No. 1 in A Major
16. Lieder ohne Worte No. 2 in G Major
17. Variationen über das alte deutsche Volkslied "In meines Buhlen Gärtelein…"
18. Bolero
19. Variationen über das alte Weihnachtslied "Es ist ein Ros' Entsprungen"
20. Walzer
21. Variationen über das Erzherzog-Johann-Lied (Eine alte steirische Weise)
22. Sonate in C Minor: I. Mäßiges Marschtempo
23. Sonate in C Minor: II. Variationen über das volkstümliche Lied "Und der Hans schleicht Umher…"
24. Sonate in C Minor: III. Scherzo
25. Sonate in C Minor: IV. Ein fröhliches "perpetuum mobile" in Webers Manier
26. Kleine Suite: I. Sarabande
27. Kleine Suite: II. Variante der Sarabande
28. Kleine Suite: III. Gavotte - Musette -Gavotte da Capo
29. Kleine Suite: IV. Menuett
30. Sonate in E Minor: I. Allegro, ma non Troppo
31. Sonate in E Minor: II. Variationen über das Kärntner Volkslied. "I tua wohl als wann nie nix Wär…"
32. Sonate in E Minor: III. Menuett
33. Sonate in E Minor: IV. Rondo (Finale)
34. 12 Deutsche Tänze: I. Festlich Bewegt
35. 12 Deutsche Tänze: II.
36. 12 Deutsche Tänze: III.
37. 12 Deutsche Tänze: IV. Grazioso (Giocoso)
38. 12 Deutsche Tänze: V.
39. 12 Deutsche Tänze: VI.
40. 12 Deutsche Tänze: VII. Allegro
41. 12 Deutsche Tänze: VII.
42. 12 Deutsche Tänze: IX.
43. 12 Deutsche Tänze: X. Allegro
44. 12 Deutsche Tänze: XI.
45. 12 Deutsche Tänze: XII.
46. Andante aus dem Italienischen Konzert
47. Menuett
48. Gavotte
49. Scherzo
50. Präludium in E aus dem Wohltemperierten Klavier (I. Teil)
51. Tema con Variazioni aus, Op. 12 No. 1
It was Jakob Ortner, one of the composer’s colleagues at the academy in Vienna, who piqued Rebay’s interest in the guitar. The enthusiasm and skill Ortner and his pupils displayed convinced Rebay that the guitar could handle any harmonic construction thrown at it, far beyond the clichéd writing for the instrument of the late 19th century.
The 12 Deutsche Tänze von Beethoven (1939, from the WoO8 cycle) and the Tema con Variazioni aus Op.12 No.1 von L. van Beethoven (1952) display a great passion for the German composer; Rebay also arranged Beethoven’s Sonatas Op.79 and Op.90 for ensembles including a guitar.
Rebay often opted for a simple style to make his arrangements accessible to a wide range of performers. This is true of certain (unfortunately undated) transcriptions for violin and guitar: a gavotte in D minor by Jean-Baptiste Lully; a minuet in F major by George Frideric Handel; the Andante from the Italian Concerto BWV971 and the prelude in E major from the first book of The Well-Tempered Clavier by Johann Sebastian Bach. This probably indicates a revision of the violin part, and shows the esteem the composer enjoyed on the Viennese music scene.
Rebay returned to the violin and guitar pairing on multiple occasions for a favourite genre of his: the theme and variations. The writing here is more demanding and stands out for the equal weighting given to the two instruments and the use of keys unrelated to the theme for the individual variations, producing a concertato effect with numerous subtle expressive twists. All the cycles of variations on this recording are based on folk themes, with the exception of those based on “Heidenröslein” (1953, from the Lied of the same name by Franz Schubert) and “Und der Hans schleicht umher” (undated), which some scholars, contrary to Rebay’s title, attribute to Franz von Woyna.
Finally, Rebay wrote two sonatas for violin and guitar, both in 1942, in which he put his innovative concept of the guitar as a fully versatile harmonic instrument through its paces. They follow a similar expressive journey: a sombre yet assertive first movement leads to vibrant, lyrical playing in the theme and variations, before the tone gradually lightens over the course of the final two movements.
Now that the guitar’s status is fully established, Rebay’s refined and dignified voice has made itself heard, thanks to the music’s solid craftsmanship but above all its sincerity. Its rediscovery dispels many clichés and reassures us that humble yet beautiful music is not necessarily destined to be unjustly forgotten.
Year 2023 | Classical | FLAC / APE
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