Gaia Federica Caporiccio - Sgambati: Complete Piano Music, Vol. 1-2 (2022-2023)
BAND/ARTIST: Gaia Federica Caporiccio
- Title: Sgambati: Complete Piano Music, Vol. 1-2
- Year Of Release: 2022-2023
- Label: Piano Classics
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 88.2kHz +Booklet
- Total Time: 01:42:20 // 02:15:15
- Total Size: 410 mb / 1.64 gb // 444 mb
- WebSite: Album Preview
Tracklist
01. Prélude et fugue in E-Flat Minor, Op. 6: I. Prélude
02. Prélude et fugue in E-Flat Minor, Op. 6: II. Fugue
03. 2 Études de concert, Op. 10: I. Tranquillo
04. 2 Études de concert, Op. 10: II. Agitato
05. Étude triomphale in A Major
06. 6 Pièces lyriques, Op. 23: I. Rapelle-Toi!
07. 6 Pièces lyriques, Op. 23: II. Á la Fontaine
08. 6 Pièces lyriques, Op. 23: III. Vox Populi
09. 6 Pièces lyriques, Op. 23: IV. Do-Do
10. 6 Pièces lyriques, Op. 23: V. Ländler
11. 6 Pièces lyriques, Op. 23: VI. Gigue
12. Sérénade Valsée
13. 3 Nocturnes, Op. 20: No. 1 in B Minor
14. 3 Nocturnes, Op. 20: No. 2 in G Major
15. 3 Nocturnes, Op. 20: No. 3 in C Minor
16. Nocturne in B Major per l'album di Bellini
17. Nocturne in D-Flat Major, Op. 31
18. Nocturne in E Major, Op. 33
19. Nocturne in G Major
20. Impromptus: I. Allegretto in E-Flat Major
21. Impromptus: II. Allegro moderato in B-Flat Major
22. Impromptus: III. Allegretto grazioso in E-Flat Major
23. Impromptus: IV. Animato allegramente in E Major
24. Impromptus: V. Andantino in A Major
25. Impromptus: VI. Allegro appassionato ma non troppo mosso in F-Sharp Minor
26. Gavotte in A-Flat Minor, Op. 14
Piano Classics presents the first volume in a major new series which promises to become the most comprehensive recorded survey of a central but now little-known figure in 19th-century Italian music.
Born in Rome in 1841, Giovanni Sgambati cut an impressive but relatively familiar figure as a prodigious young virtuoso until, as a 21-year-old keyboard lion in the making, he was introduced to Franz Liszt. The encounter changed Sgambati’s life. Liszt, perhaps the single most influential figure in European musical life in the middle of the 19th century, took the young Sgambati under his wing, and his faith was richly repaid. Still in his 20s, Sgambati conducted the Italian premiere of the Dante Symphony and even the premiere of the first (lengthy) part of the Christus oratorio.
There is an irony that the single piece through which his name has travelled worldwide is a piano Melodie, a sensuously achieved transcription of the Dance of the Blessed Spirits from Gluck’s opera Orfeo ed Euridice. Guaranteed to hush a rapturous audience into silence, it became the much-loved encore piece for the late Nelson Freire, among others.
Too little of Sgambati’s music for his own instrument is known beyond the Melodie. This neglect is being redressed in style by the Italian pianist Gaia Federica Caporiccio, born in Florence in 1988. The first volume of a projected complete series of Sgambati’s piano works proceeds in mostly chronological fashion. Thus the curtain is drawn back with a flourish in the Gothic, Bachian arpeggios of the Prelude and Fugue Op. 6.
The two Etudes de concert Op. 10 already show Sgambati’s gift for sketching a tone-painting while focusing on a particular piece of technique. While Sgambati made considerable use of patterned keyboard figurations to seize an audience’s imagination, he was scarcely less adept than Schumann or Chopin at outlining a mood and then drawing a veil over it. Thus there are no sonatas or even long-form ballades here, but a series of evocative impromptus, lyric pieces and nocturnes, each of them memorable in their own right, adding up to an absorbing portrait of a young pianist-composer with Romantic-era Europe at his feet.
01. Mélodies poétiques, Op. 36: I. Praeludium
02. Mélodies poétiques, Op. 36: II. Canzonetta D'aprile
03. Mélodies poétiques, Op. 36: III. Rivelazione
04. Mélodies poétiques, Op. 36: IV. Sull'altalena
05. Mélodies poétiques, Op. 36: V. Preghiera Turbata
06. Mélodies poétiques, Op. 36: VI. Ansietà
07. Mélodies poétiques, Op. 36: VII. En Valsant
08. Mélodies poétiques, Op. 36: VIII. Dolci Confidenze
09. Mélodies poétiques, Op. 36: IX. Marche
10. Mélodies poétiques, Op. 36: X. Anima Appassionata
11. Mélodies poétiques, Op. 36: XI. Profonda Pena
12. Mélodies poétiques, Op. 36: XII. Cantico di Speranza
13. 3 Morceaux, Op. 42: I. Preludio
14. 3 Morceaux, Op. 42: II. Berceuse-Rêverie
15. 3 Morceaux, Op. 42: III. Melodia campestre (Impromptu)
16. Fogli volanti, Op. 12: I. Romanza
17. Fogli volanti, Op. 12: II. Canzonetta
18. Fogli volanti, Op. 12: III. Idillio
19. Fogli volanti, Op. 12: IV. Marcia
20. Fogli volanti, Op. 12: V. Vecchio Castello
21. Fogli volanti, Op. 12: VI. Épanouissement
22. Fogli volanti, Op. 12: VII. Combattimento
23. Fogli volanti, Op. 12: VIII. Campane a Festa
24. 4 Pezzi di seguito, Op. 18: I. Preludio
25. 4 Pezzi di seguito, Op. 18: II. Vecchio Minuetto
26. 4 Pezzi di seguito, Op. 18: III. Nenia
27. 4 Pezzi di seguito, Op. 18: IV. Toccata
28. Suite, Op. 21: I. Prélude
29. Suite, Op. 21: II. Valse
30. Suite, Op. 21: III. Air
31. Suite, Op. 21: IV. Intermezzo
32. Suite, Op. 21: V. Étude Mélodique
33. Valse Brillante
34. Scherzo in E Major
35. Toccata
36. Romanza in F Major
37. Romanza in A Major
38. Mestizia
39. Mélodie-Impromptu (Mestizia, II Versione)
40. Boîte à musique - Badinage
41. Serenatina in E Major
42. Presentimento
43. Preludio
44. Fantasie Alpestri: I. Scherzino
45. Fantasie Alpestri: II. Confidenze
46. Fantasie Alpestri: III. Fantasia per il Piffero
47. Fantasie Alpestri: IV. Serenatina Interrotta
48. Fantasie Alpestri: V. Diavoleria
49. Fantasie Alpestri: VI. Canto di Guerra
An Italian disciple of Liszt, Giovanni Sgambati (1841-1914) was once chiefly for his once-popular transcription of the Melodie from Gluck’s Orphée ed Euridice. His own music has only begun receiving sustained attention in the last couple of decades, and Gaia Federica Caporiccio’s projected complete survey is only the second such project to reach completion. The first volume of the survey (PCL10216) met with a warm critical welcome. According to Fanfare magazine, ‘Gaia Federica Caporiccio plays with a winsome freshness, offering some finely shaped melodies and some insightful rubato.’ Caporiccio now turns to some of the collections which most betray the influence of Schumann on Sgambati’s style, or at least they share the German composer’s capriciously divided personality. The eight pieces of Fogli Volanti (Flying Pages) Op.12 begin with a Romanza which could almost have strayed from the pages of Kinderszenen, but then Sgambati reveals his hand, and his Italian origins, in a gently swaying Canzonetta. The simplicity of the following Idyll is likewise Sgambati’s own, and a fine balance between German and Italian influences continues to mark the suite until the concluding festivities of its ‘Campane a festa’. On a miniature scale – the six movements lasting hardly more than a miniature each – the Fantasie Alpestri return to Sgambati’s origins, or at least an idealised, rural version of them. The ghostly presence of Schumann once more surges up between the semiquavers in the opening Prelude of the Quattro pezzi di seguito before a kind of commedia dell’arte spirit takes over in the ‘Vecchio menuetto’. The slow movement of the suite is supplied by ‘Nenia’, taking its name from an old Roman funeral song. The Mélodies poetiques are cast in a lighter vein, whereas the five-movement Suite Op.21 finds Sgambati at his most Lisztian, with rippling figuration to test out any virtuoso pianist. Gaia Federica Caporiccio’s pianism and dedication is restoring the name of Sgambati to a measure of wider renown; her own booklet essay completes a labour of love which will make essential listening for any piano collector.
01. Prélude et fugue in E-Flat Minor, Op. 6: I. Prélude
02. Prélude et fugue in E-Flat Minor, Op. 6: II. Fugue
03. 2 Études de concert, Op. 10: I. Tranquillo
04. 2 Études de concert, Op. 10: II. Agitato
05. Étude triomphale in A Major
06. 6 Pièces lyriques, Op. 23: I. Rapelle-Toi!
07. 6 Pièces lyriques, Op. 23: II. Á la Fontaine
08. 6 Pièces lyriques, Op. 23: III. Vox Populi
09. 6 Pièces lyriques, Op. 23: IV. Do-Do
10. 6 Pièces lyriques, Op. 23: V. Ländler
11. 6 Pièces lyriques, Op. 23: VI. Gigue
12. Sérénade Valsée
13. 3 Nocturnes, Op. 20: No. 1 in B Minor
14. 3 Nocturnes, Op. 20: No. 2 in G Major
15. 3 Nocturnes, Op. 20: No. 3 in C Minor
16. Nocturne in B Major per l'album di Bellini
17. Nocturne in D-Flat Major, Op. 31
18. Nocturne in E Major, Op. 33
19. Nocturne in G Major
20. Impromptus: I. Allegretto in E-Flat Major
21. Impromptus: II. Allegro moderato in B-Flat Major
22. Impromptus: III. Allegretto grazioso in E-Flat Major
23. Impromptus: IV. Animato allegramente in E Major
24. Impromptus: V. Andantino in A Major
25. Impromptus: VI. Allegro appassionato ma non troppo mosso in F-Sharp Minor
26. Gavotte in A-Flat Minor, Op. 14
Piano Classics presents the first volume in a major new series which promises to become the most comprehensive recorded survey of a central but now little-known figure in 19th-century Italian music.
Born in Rome in 1841, Giovanni Sgambati cut an impressive but relatively familiar figure as a prodigious young virtuoso until, as a 21-year-old keyboard lion in the making, he was introduced to Franz Liszt. The encounter changed Sgambati’s life. Liszt, perhaps the single most influential figure in European musical life in the middle of the 19th century, took the young Sgambati under his wing, and his faith was richly repaid. Still in his 20s, Sgambati conducted the Italian premiere of the Dante Symphony and even the premiere of the first (lengthy) part of the Christus oratorio.
There is an irony that the single piece through which his name has travelled worldwide is a piano Melodie, a sensuously achieved transcription of the Dance of the Blessed Spirits from Gluck’s opera Orfeo ed Euridice. Guaranteed to hush a rapturous audience into silence, it became the much-loved encore piece for the late Nelson Freire, among others.
Too little of Sgambati’s music for his own instrument is known beyond the Melodie. This neglect is being redressed in style by the Italian pianist Gaia Federica Caporiccio, born in Florence in 1988. The first volume of a projected complete series of Sgambati’s piano works proceeds in mostly chronological fashion. Thus the curtain is drawn back with a flourish in the Gothic, Bachian arpeggios of the Prelude and Fugue Op. 6.
The two Etudes de concert Op. 10 already show Sgambati’s gift for sketching a tone-painting while focusing on a particular piece of technique. While Sgambati made considerable use of patterned keyboard figurations to seize an audience’s imagination, he was scarcely less adept than Schumann or Chopin at outlining a mood and then drawing a veil over it. Thus there are no sonatas or even long-form ballades here, but a series of evocative impromptus, lyric pieces and nocturnes, each of them memorable in their own right, adding up to an absorbing portrait of a young pianist-composer with Romantic-era Europe at his feet.
01. Mélodies poétiques, Op. 36: I. Praeludium
02. Mélodies poétiques, Op. 36: II. Canzonetta D'aprile
03. Mélodies poétiques, Op. 36: III. Rivelazione
04. Mélodies poétiques, Op. 36: IV. Sull'altalena
05. Mélodies poétiques, Op. 36: V. Preghiera Turbata
06. Mélodies poétiques, Op. 36: VI. Ansietà
07. Mélodies poétiques, Op. 36: VII. En Valsant
08. Mélodies poétiques, Op. 36: VIII. Dolci Confidenze
09. Mélodies poétiques, Op. 36: IX. Marche
10. Mélodies poétiques, Op. 36: X. Anima Appassionata
11. Mélodies poétiques, Op. 36: XI. Profonda Pena
12. Mélodies poétiques, Op. 36: XII. Cantico di Speranza
13. 3 Morceaux, Op. 42: I. Preludio
14. 3 Morceaux, Op. 42: II. Berceuse-Rêverie
15. 3 Morceaux, Op. 42: III. Melodia campestre (Impromptu)
16. Fogli volanti, Op. 12: I. Romanza
17. Fogli volanti, Op. 12: II. Canzonetta
18. Fogli volanti, Op. 12: III. Idillio
19. Fogli volanti, Op. 12: IV. Marcia
20. Fogli volanti, Op. 12: V. Vecchio Castello
21. Fogli volanti, Op. 12: VI. Épanouissement
22. Fogli volanti, Op. 12: VII. Combattimento
23. Fogli volanti, Op. 12: VIII. Campane a Festa
24. 4 Pezzi di seguito, Op. 18: I. Preludio
25. 4 Pezzi di seguito, Op. 18: II. Vecchio Minuetto
26. 4 Pezzi di seguito, Op. 18: III. Nenia
27. 4 Pezzi di seguito, Op. 18: IV. Toccata
28. Suite, Op. 21: I. Prélude
29. Suite, Op. 21: II. Valse
30. Suite, Op. 21: III. Air
31. Suite, Op. 21: IV. Intermezzo
32. Suite, Op. 21: V. Étude Mélodique
33. Valse Brillante
34. Scherzo in E Major
35. Toccata
36. Romanza in F Major
37. Romanza in A Major
38. Mestizia
39. Mélodie-Impromptu (Mestizia, II Versione)
40. Boîte à musique - Badinage
41. Serenatina in E Major
42. Presentimento
43. Preludio
44. Fantasie Alpestri: I. Scherzino
45. Fantasie Alpestri: II. Confidenze
46. Fantasie Alpestri: III. Fantasia per il Piffero
47. Fantasie Alpestri: IV. Serenatina Interrotta
48. Fantasie Alpestri: V. Diavoleria
49. Fantasie Alpestri: VI. Canto di Guerra
An Italian disciple of Liszt, Giovanni Sgambati (1841-1914) was once chiefly for his once-popular transcription of the Melodie from Gluck’s Orphée ed Euridice. His own music has only begun receiving sustained attention in the last couple of decades, and Gaia Federica Caporiccio’s projected complete survey is only the second such project to reach completion. The first volume of the survey (PCL10216) met with a warm critical welcome. According to Fanfare magazine, ‘Gaia Federica Caporiccio plays with a winsome freshness, offering some finely shaped melodies and some insightful rubato.’ Caporiccio now turns to some of the collections which most betray the influence of Schumann on Sgambati’s style, or at least they share the German composer’s capriciously divided personality. The eight pieces of Fogli Volanti (Flying Pages) Op.12 begin with a Romanza which could almost have strayed from the pages of Kinderszenen, but then Sgambati reveals his hand, and his Italian origins, in a gently swaying Canzonetta. The simplicity of the following Idyll is likewise Sgambati’s own, and a fine balance between German and Italian influences continues to mark the suite until the concluding festivities of its ‘Campane a festa’. On a miniature scale – the six movements lasting hardly more than a miniature each – the Fantasie Alpestri return to Sgambati’s origins, or at least an idealised, rural version of them. The ghostly presence of Schumann once more surges up between the semiquavers in the opening Prelude of the Quattro pezzi di seguito before a kind of commedia dell’arte spirit takes over in the ‘Vecchio menuetto’. The slow movement of the suite is supplied by ‘Nenia’, taking its name from an old Roman funeral song. The Mélodies poetiques are cast in a lighter vein, whereas the five-movement Suite Op.21 finds Sgambati at his most Lisztian, with rippling figuration to test out any virtuoso pianist. Gaia Federica Caporiccio’s pianism and dedication is restoring the name of Sgambati to a measure of wider renown; her own booklet essay completes a labour of love which will make essential listening for any piano collector.
Year 2022 | Year 2023 | Classical | FLAC / APE | HD & Vinyl
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