Roberto Prosseda, Nir Kabaretti, London Philharmonic Orchestra - War Silence - Rare Italian Piano Concertos (2025) [Hi-Res] [Dolby Atmos]
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BAND/ARTIST: Roberto Prosseda, Nir Kabaretti, London Philharmonic Orchestra
- Title: War Silence - Rare Italian Piano Concertos
- Year Of Release: 2025
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:16:35
- Total Size: 422 / 297 mb / 1.3 gb
- WebSite: Album Preview
Tracklist
01. Andante e Allegro con fuoco: I. Andante –
02. Andante e Allegro con fuoco: II. Allegro con fuoco
03. Piccolo Concerto per Muriel Couvreux: I. Pastorale. Andantino, un poco flessibile
04. Piccolo Concerto per Muriel Couvreux: II. Girotondo. Allegro ma non tanto, molto ritmato –
05. Piccolo Concerto per Muriel Couvreux: III. Ripresa. Moderato, con poesia
06. Piccolo Concerto per Muriel Couvreux: IV. Candeza. Allegro, molto sostenuto –
07. Piccolo Concerto per Muriel Couvreux: V. Notturno. Lentamente
08. Piccolo Concerto per Muriel Couvreux: VI. Finale. Allegro non troppo, marcato e sostenuto
09. Concerto per pianoforte e orchestra: I. Allegro
10. Concerto per pianoforte e orchestra: II. Andante maestoso
11. Concerto per pianoforte e orchestra: III. Allegro
12. War Silence: I. Trenches
13. War Silence: II. Solitudes
14. War Silence: III. Fruts
This album encompasses four piano concertos by four Italian composers, two of which are first recordings. The music, featured here in chronological order, spans an extended period of time, from 1900 to 2015. The intention of the project is clear: to propose a trajectory that through this repertoire, not so frequent among Italian composers, allows discoveries, re-discoveries and new reflections on historic works.
Guido Alberto Fano (1875-1961) belongs to the so-called ‘Generazione dell’Ottanta’ (‘Generation of the Eighties’): a group of composers including Alfredo Casella, Giorgio Federico Ghedini, Gian Francesco Malipiero, Ildebrando Pizzetti and Ottorino Respighi. They are successors of the tenacious composer Giovanni Sgambati, who had the peculiar historical merit of recovering and renewing the tradition of Italian instrumental, chamber and symphonic music, which had been stifled for over a century. Starting in the second half of the eighteenth century, the prevalence of the widespread and productive melodrama industry, together with the distancing of Italian intellectuals and musicians from the radically innovative reflections that characterized Central European philosophy (Kant’s moral absolute, German idealism that found its most accomplished synthesis in Hegel), created an ever-deeper furrow. A sense of energy and fresh creative stimuli were lacking. Not a single Italian quartet, sonata or concerto from the nineteenth century bears favourable artistic comparison with the many similar European works of that period. It is essential to recognize this difference in quality in order to better understand the value of the feat accomplished by the Generazione dell’Ottanta.
A pianist and composer, a tireless musical organizer from a young age (and one curious about the European experiences of that fertile period), director of two conservatoires (Palermo and Parma), piano teacher, and pedagogue active in the renewal of didactics and in the then-pioneering study of Italian Renaissance and Baroque music, Fano suffered the horror of racial laws—more correctly defined as ‘racist’—promulgated in 1938 by the fascist regime. Today the Venetian Archivio Fano bears witness to and promotes the memory, both musical and social, of this protagonist of twentieth-century Italy.
Fano’s Andante e Allegro con fuoco, composed in 1900, tells us much about its author, from its melodic lyricism (a recognizable Italian trait) to the ‘fire’ that characterizes Alexander Scriabin’s piano writing. Fano develops a clear musical dramaturgy; after the evocative beginning, a Mahlerian soundworld in which nature itself seems to rise from the orchestra, the soloist arrives with music that is transparent and delicate, insisting on the brightest octaves and initiating a shared dialogue with the orchestra, whose varied and ductile timbre generates an atmosphere one might define as pastoral. The tension in the dialogue between orchestra and soloist slowly and progressively thickens, marking the seamless transition between the work’s first and second frames. The tempo accelerates and the dynamics grow in intensity as the woodwinds gain prominence before a bright, virtuosic section emerges in the final piano cadenza, which features a cascade of arpeggios. Thereafter the orchestra re-joins the action for the work’s dramatic denouement...
01. Andante e Allegro con fuoco: I. Andante –
02. Andante e Allegro con fuoco: II. Allegro con fuoco
03. Piccolo Concerto per Muriel Couvreux: I. Pastorale. Andantino, un poco flessibile
04. Piccolo Concerto per Muriel Couvreux: II. Girotondo. Allegro ma non tanto, molto ritmato –
05. Piccolo Concerto per Muriel Couvreux: III. Ripresa. Moderato, con poesia
06. Piccolo Concerto per Muriel Couvreux: IV. Candeza. Allegro, molto sostenuto –
07. Piccolo Concerto per Muriel Couvreux: V. Notturno. Lentamente
08. Piccolo Concerto per Muriel Couvreux: VI. Finale. Allegro non troppo, marcato e sostenuto
09. Concerto per pianoforte e orchestra: I. Allegro
10. Concerto per pianoforte e orchestra: II. Andante maestoso
11. Concerto per pianoforte e orchestra: III. Allegro
12. War Silence: I. Trenches
13. War Silence: II. Solitudes
14. War Silence: III. Fruts
This album encompasses four piano concertos by four Italian composers, two of which are first recordings. The music, featured here in chronological order, spans an extended period of time, from 1900 to 2015. The intention of the project is clear: to propose a trajectory that through this repertoire, not so frequent among Italian composers, allows discoveries, re-discoveries and new reflections on historic works.
Guido Alberto Fano (1875-1961) belongs to the so-called ‘Generazione dell’Ottanta’ (‘Generation of the Eighties’): a group of composers including Alfredo Casella, Giorgio Federico Ghedini, Gian Francesco Malipiero, Ildebrando Pizzetti and Ottorino Respighi. They are successors of the tenacious composer Giovanni Sgambati, who had the peculiar historical merit of recovering and renewing the tradition of Italian instrumental, chamber and symphonic music, which had been stifled for over a century. Starting in the second half of the eighteenth century, the prevalence of the widespread and productive melodrama industry, together with the distancing of Italian intellectuals and musicians from the radically innovative reflections that characterized Central European philosophy (Kant’s moral absolute, German idealism that found its most accomplished synthesis in Hegel), created an ever-deeper furrow. A sense of energy and fresh creative stimuli were lacking. Not a single Italian quartet, sonata or concerto from the nineteenth century bears favourable artistic comparison with the many similar European works of that period. It is essential to recognize this difference in quality in order to better understand the value of the feat accomplished by the Generazione dell’Ottanta.
A pianist and composer, a tireless musical organizer from a young age (and one curious about the European experiences of that fertile period), director of two conservatoires (Palermo and Parma), piano teacher, and pedagogue active in the renewal of didactics and in the then-pioneering study of Italian Renaissance and Baroque music, Fano suffered the horror of racial laws—more correctly defined as ‘racist’—promulgated in 1938 by the fascist regime. Today the Venetian Archivio Fano bears witness to and promotes the memory, both musical and social, of this protagonist of twentieth-century Italy.
Fano’s Andante e Allegro con fuoco, composed in 1900, tells us much about its author, from its melodic lyricism (a recognizable Italian trait) to the ‘fire’ that characterizes Alexander Scriabin’s piano writing. Fano develops a clear musical dramaturgy; after the evocative beginning, a Mahlerian soundworld in which nature itself seems to rise from the orchestra, the soloist arrives with music that is transparent and delicate, insisting on the brightest octaves and initiating a shared dialogue with the orchestra, whose varied and ductile timbre generates an atmosphere one might define as pastoral. The tension in the dialogue between orchestra and soloist slowly and progressively thickens, marking the seamless transition between the work’s first and second frames. The tempo accelerates and the dynamics grow in intensity as the woodwinds gain prominence before a bright, virtuosic section emerges in the final piano cadenza, which features a cascade of arpeggios. Thereafter the orchestra re-joins the action for the work’s dramatic denouement...
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