Antonio Dambra, Alessandra Stallone - Dell'amore e del mare: Myths, Legends and Tales for Flute and Piano (2025)
BAND/ARTIST: Antonio Dambra, Alessandra Stallone
- Title: Dell'amore e del mare: Myths, Legends and Tales for Flute and Piano
- Year Of Release: 2025
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:52:07
- Total Size: 256 mb
- WebSite: Album Preview
Tracklist
01. Madonnina del Mare
02. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 1, Introduzione. Andante
03. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 1, Tema. Andantino
04. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D.802: No. 1, Variazione
05. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 2, Variazione
06. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 3, Variazione
07. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 4, Variazione
08. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 5, Variazione
09. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 6, Variazione
10. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 7, Variazione, Allegro
11. Sonata "Undine" in E Minor, Op. 167: I. Allegro
12. Sonata "Undine" in B Minor, Op. 167: II. Intermezzo. Allegretto vivace
13. Sonata "Undine" in G Major: III. Andante tranquillo - Molto vivace
14. Sonata "Undine" in E Minor, Op. 167: IV. Sonata “Undine”
15. Fantasia eclettica "Zancle"
Uniting in a single recital pieces drawn from three centuries—and therefore separated by profound historical and aesthetic differences—is anything but straightforward. Schubert (1797–1828), Reinecke (1824–1910), and the young Apulian composers Massimo De Lillo (b. 1974) and Luigi Capuano (b. 1984) each reflect distinct musical eras and compositional mindsets. Yet they are brought together here to form a cohesive listening experience—one that calls for acute attention rather than casual absorption, for all four composers ultimately pursue the same goal: to portray, in music, the enduring link between Love and the Sea.
The works chosen belong to the genre of the instrumental duo, with the piano supporting a soloist who, in this context, is the flautist. Thanks to the flute’s characteristically ‘liquid’ sonority, it lends itself superbly to evocations of the sea, while the piano, particularly in Carl Reinecke’s Undine Sonata, emerges as a full-fledged protagonist in its own right.
Central to this programme is Schubert’s Introduction and Variations on “Trockne Blumen” for piano and flute, D.802, based on the eighteenth Lied from his celebrated cycle Die Schöne Müllerin, composed in 1823. The melody, introduced by the flute in a murmured register with sparse piano chords, depicts the miller, driven to despair, contemplating the flowers once given to him by his beloved—flowers destined to follow him to the grave. The second section assumes a march-like rhythm tinged with a ghostly quality, which Schubert associates with the miller’s vision of his beloved, passing his tomb as the flowers revive with the arrival of spring.
Schubert’s profound affinity for the Lied—he wrote over six hundred songs, having studied under Antonio Salieri (the so-called “rival” of Mozart)—permeates every note of this work. The flute’s lyrical line evokes the miller’s longing for his beloved, for friends, and for the comforts of home, poignantly capturing the depth of human suffering. Schubert composed the Lied in January 1824 for a flautist friend, yet no evidence survives of any public performance of the Variations in his lifetime. Even so, it was quickly recognised as a “popular Lied,” tracing out in its introduction and gently propulsive rhythms the many ways music can capture the gravity and mystery of the poetic text.
The tradition of Lisztian programme music underpins Reinecke’s Undine Sonata, first performed in January 1884 at the Leipzig Gewandhaus, with the composer at the piano and the renowned flautist Amédée de Vroye. Reinecke’s fascination with the flute endured throughout his career; like the violin among the stringed instruments, the flute is capable of both lyrical warmth and brilliant virtuosity. Moreover, Reinecke had a lifelong passion for the fairy tales and legends of his native land, making Undine a natural choice for his imagination. In the early nineteenth century, various successful dramatic and epic works catered to the Romantic sensibilities of the time, and Undine (1811) by Friedrich de la Motte-Fouqué was widely regarded as a model fairy tale.
Published in 1882, the Undine Sonata, Op. 167, differs markedly from Reinecke’s other flute compositions: it is a true unicum in his output. Its subtitle signals a genuine programme, reflecting the vogue for narrative music championed by Liszt. The flute and piano adopt a thoroughly collaborative role, requiring both technical skill and refined stylistic poise. Through irregular structural forms, the cyclical reprise of themes, and the rich Romantic language—especially evident in the piano’s evocative writing—Reinecke brings the myth of Undine vividly to life. The work’s textures are intricate yet always lucid, and the flautist must combine considerable virtuosity with expressive subtlety, supported by a pianist who ensures the flute line is not submerged in the piano’s full sonority.
Structurally, the sonata follows the four-movement design typical of the late-Romantic tradition, with its final movement proving the most ambitious and engaging. As such, it occupies a small but noteworthy corner of the chamber repertoire. The legend behind Undine (1811) soon spread beyond Germany’s borders, narrating the story of a water spirit who acquires a human soul by marrying a mortal man. Yet with that soul comes the burden of human suffering, and when her husband’s infidelity breaks her heart, she is bound by the laws of her kind to end his life, despite her own newly found humanity.
This theme of myth-making continues in the contemporary arena with Massimo De Lillo’s Madonnina del mare (2023) for flute and piano. De Lillo hails from Bari and is the son of Ottavio De Lillo, a respected Apulian composer and teacher praised by Nino Rota himself. The younger De Lillo is among the most promising composers of his generation, as evidenced by his success in the “Atlanta Philharmonic Orchestra Composition” competition, which provides emerging creators with performance opportunities on that orchestra’s stage. Madonnina del mare takes its cue from a Marian hymn of the same name and from popular devotion in the Salentine town of Castro, where the ‘Little Madonna’ is believed to protect sailors and their families.
Finally, Luigi Capuano’s eclectic fantasy Zancle draws on folklore from the city of Messina—its ancient Greek name meaning “scythe,” evoking the curved shoreline uniting the Ionian and Tyrrhenian Seas amid the whirlpools of Scylla and Charybdis. Capuano skilfully manoeuvres the flute–piano duo through passages of dazzling brilliance and moments of emotional repose alike.
01. Madonnina del Mare
02. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 1, Introduzione. Andante
03. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 1, Tema. Andantino
04. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D.802: No. 1, Variazione
05. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 2, Variazione
06. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 3, Variazione
07. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 4, Variazione
08. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 5, Variazione
09. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 6, Variazione
10. Introduzione e variazioni on the theme "Trockne Blumen", Op. 160, D. 802: No. 7, Variazione, Allegro
11. Sonata "Undine" in E Minor, Op. 167: I. Allegro
12. Sonata "Undine" in B Minor, Op. 167: II. Intermezzo. Allegretto vivace
13. Sonata "Undine" in G Major: III. Andante tranquillo - Molto vivace
14. Sonata "Undine" in E Minor, Op. 167: IV. Sonata “Undine”
15. Fantasia eclettica "Zancle"
Uniting in a single recital pieces drawn from three centuries—and therefore separated by profound historical and aesthetic differences—is anything but straightforward. Schubert (1797–1828), Reinecke (1824–1910), and the young Apulian composers Massimo De Lillo (b. 1974) and Luigi Capuano (b. 1984) each reflect distinct musical eras and compositional mindsets. Yet they are brought together here to form a cohesive listening experience—one that calls for acute attention rather than casual absorption, for all four composers ultimately pursue the same goal: to portray, in music, the enduring link between Love and the Sea.
The works chosen belong to the genre of the instrumental duo, with the piano supporting a soloist who, in this context, is the flautist. Thanks to the flute’s characteristically ‘liquid’ sonority, it lends itself superbly to evocations of the sea, while the piano, particularly in Carl Reinecke’s Undine Sonata, emerges as a full-fledged protagonist in its own right.
Central to this programme is Schubert’s Introduction and Variations on “Trockne Blumen” for piano and flute, D.802, based on the eighteenth Lied from his celebrated cycle Die Schöne Müllerin, composed in 1823. The melody, introduced by the flute in a murmured register with sparse piano chords, depicts the miller, driven to despair, contemplating the flowers once given to him by his beloved—flowers destined to follow him to the grave. The second section assumes a march-like rhythm tinged with a ghostly quality, which Schubert associates with the miller’s vision of his beloved, passing his tomb as the flowers revive with the arrival of spring.
Schubert’s profound affinity for the Lied—he wrote over six hundred songs, having studied under Antonio Salieri (the so-called “rival” of Mozart)—permeates every note of this work. The flute’s lyrical line evokes the miller’s longing for his beloved, for friends, and for the comforts of home, poignantly capturing the depth of human suffering. Schubert composed the Lied in January 1824 for a flautist friend, yet no evidence survives of any public performance of the Variations in his lifetime. Even so, it was quickly recognised as a “popular Lied,” tracing out in its introduction and gently propulsive rhythms the many ways music can capture the gravity and mystery of the poetic text.
The tradition of Lisztian programme music underpins Reinecke’s Undine Sonata, first performed in January 1884 at the Leipzig Gewandhaus, with the composer at the piano and the renowned flautist Amédée de Vroye. Reinecke’s fascination with the flute endured throughout his career; like the violin among the stringed instruments, the flute is capable of both lyrical warmth and brilliant virtuosity. Moreover, Reinecke had a lifelong passion for the fairy tales and legends of his native land, making Undine a natural choice for his imagination. In the early nineteenth century, various successful dramatic and epic works catered to the Romantic sensibilities of the time, and Undine (1811) by Friedrich de la Motte-Fouqué was widely regarded as a model fairy tale.
Published in 1882, the Undine Sonata, Op. 167, differs markedly from Reinecke’s other flute compositions: it is a true unicum in his output. Its subtitle signals a genuine programme, reflecting the vogue for narrative music championed by Liszt. The flute and piano adopt a thoroughly collaborative role, requiring both technical skill and refined stylistic poise. Through irregular structural forms, the cyclical reprise of themes, and the rich Romantic language—especially evident in the piano’s evocative writing—Reinecke brings the myth of Undine vividly to life. The work’s textures are intricate yet always lucid, and the flautist must combine considerable virtuosity with expressive subtlety, supported by a pianist who ensures the flute line is not submerged in the piano’s full sonority.
Structurally, the sonata follows the four-movement design typical of the late-Romantic tradition, with its final movement proving the most ambitious and engaging. As such, it occupies a small but noteworthy corner of the chamber repertoire. The legend behind Undine (1811) soon spread beyond Germany’s borders, narrating the story of a water spirit who acquires a human soul by marrying a mortal man. Yet with that soul comes the burden of human suffering, and when her husband’s infidelity breaks her heart, she is bound by the laws of her kind to end his life, despite her own newly found humanity.
This theme of myth-making continues in the contemporary arena with Massimo De Lillo’s Madonnina del mare (2023) for flute and piano. De Lillo hails from Bari and is the son of Ottavio De Lillo, a respected Apulian composer and teacher praised by Nino Rota himself. The younger De Lillo is among the most promising composers of his generation, as evidenced by his success in the “Atlanta Philharmonic Orchestra Composition” competition, which provides emerging creators with performance opportunities on that orchestra’s stage. Madonnina del mare takes its cue from a Marian hymn of the same name and from popular devotion in the Salentine town of Castro, where the ‘Little Madonna’ is believed to protect sailors and their families.
Finally, Luigi Capuano’s eclectic fantasy Zancle draws on folklore from the city of Messina—its ancient Greek name meaning “scythe,” evoking the curved shoreline uniting the Ionian and Tyrrhenian Seas amid the whirlpools of Scylla and Charybdis. Capuano skilfully manoeuvres the flute–piano duo through passages of dazzling brilliance and moments of emotional repose alike.
| Classical | FLAC / APE
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