Josef Edoardo Mossali - Marco Nodari: Il Carillon, Piano Music (2025) [Hi-Res]
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BAND/ARTIST: Josef Edoardo Mossali
- Title: Marco Nodari: Il Carillon, Piano Music
- Year Of Release: 2025
- Label: Da Vinci Classics
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 00:56:01
- Total Size: 207 / 917 mb
- WebSite: Album Preview
Tracklist
01. 12 Studi: No. 1, Vivace, giocoso
02. 12 Studi: No. 2, Leggero
03. 12 Studi: No. 3, Per la mano sinistra
04. 12 Studi: No. 4, Del ritmo
05. 12 Studi: No. 5, Tranquillo
06. 12 Studi: No. 6, Agile
07. 12 Studi: No. 7, Con espressione
08. 12 Studi: No. 8, Un poco scherzando
09. 12 Studi: No. 9, Trilli misurati
10. 12 Studi: No. 10, Arpeggi staccati e legati
11. 12 Studi: No. 11, Adagio espressivo
12. 12 Studi: No. 12, Appassionato
13. La bottega dell'antiquario: No. 1, Il carillon
14. La bottega dell'antiquario: No. 2, Una vecchia cartolina
15. La bottega dell'antiquario: No. 3, La sedia a dondolo
16. Appunti di viaggio, suite No. 3: No. 1, Preludietto
17. Appunti di viaggio, suite No. 2: No. 1, Grazioso
18. Appunti di viaggio, suite No. 2: No. 2, Melodia
19. Appunti di viaggio, suite No. 1: No. 1, Scherzo - studio sul ritmo e l’articolazione
The reference to historical forms or past styles, even when reinterpreted from a personal perspective, is not intended to convey a conservative stance. I simply believe that compositional technique and language are expressive tools, rather than ends in themselves. The main aim of my musical work is not to propose a new system; rather, through my pieces, I endeavour to tell musical stories in the most compelling and engaging manner possible, which generally entails characters (the themes) and plot development (motivic-thematic elaboration). Communication is essential, and for it to succeed, comprehensibility is crucial. At times, a composer’s focus may lean towards innovation, while on other occasions it may centre on further exploring existing ideas. Historical forms—and the harmonic languages they embrace—are, in my view, archetypes from which it is difficult to detach oneself fully, without risking incomprehensibility.
Harmony, as it typically appears in my pieces, is in constant pursuit of points of arrival and rest; yet, these prove ultimately elusive, more a state of yearning than a tangible reality. Some might argue that while in classical harmony the tonal centre is almost always plainly evident (the tonic), and in twelve-tone harmony the series dictates all pitches—thus partly suppressing the individuality of each sound—within the harmonic sphere that I favour, sounds continually exchange roles and centrality in a more ‘democratic’ manner: to draw an analogy with political systems, one might speak of democracy versus monocracy or totalitarian rule.
Melody, one of the fundamental parameters of music (alongside harmony, timbre, rhythm, and textural writing), has often been neglected—or nearly overlooked—across much of the music composed in the second half of the twentieth century. Nevertheless, I view it as a vital element; I seek it out and nurture it. In my opinion, it remains pivotal to music (though naturally not in every single piece). Consider, for instance, when a composer seeks to express strong emotion or sorrow: in such a case, song and melody—both of which have served as spontaneous manifestations of human feeling since antiquity—offer the most direct and, quite possibly, most authentic channel for articulating one’s inner sentiments, flowing straight from the depths of the soul.
I appreciate roots, continuity, and dialogue with the great composers of the past more than rupture, which all too often conceals a profound narcissism (incidentally, I have also begun composing works inspired by Greek myths). I find the so-called ‘international style’—in both architecture and music—rather depressing, when buildings and compositions present themselves identically the world over. If my music were ever deemed too melodic, I would consider that high praise. For someone who loves Vivaldi and Verdi, it would be a mark of honour. I follow my own path; if it proves appealing, I shall be delighted; if not, I shall at least have remained true to myself.
01. 12 Studi: No. 1, Vivace, giocoso
02. 12 Studi: No. 2, Leggero
03. 12 Studi: No. 3, Per la mano sinistra
04. 12 Studi: No. 4, Del ritmo
05. 12 Studi: No. 5, Tranquillo
06. 12 Studi: No. 6, Agile
07. 12 Studi: No. 7, Con espressione
08. 12 Studi: No. 8, Un poco scherzando
09. 12 Studi: No. 9, Trilli misurati
10. 12 Studi: No. 10, Arpeggi staccati e legati
11. 12 Studi: No. 11, Adagio espressivo
12. 12 Studi: No. 12, Appassionato
13. La bottega dell'antiquario: No. 1, Il carillon
14. La bottega dell'antiquario: No. 2, Una vecchia cartolina
15. La bottega dell'antiquario: No. 3, La sedia a dondolo
16. Appunti di viaggio, suite No. 3: No. 1, Preludietto
17. Appunti di viaggio, suite No. 2: No. 1, Grazioso
18. Appunti di viaggio, suite No. 2: No. 2, Melodia
19. Appunti di viaggio, suite No. 1: No. 1, Scherzo - studio sul ritmo e l’articolazione
The reference to historical forms or past styles, even when reinterpreted from a personal perspective, is not intended to convey a conservative stance. I simply believe that compositional technique and language are expressive tools, rather than ends in themselves. The main aim of my musical work is not to propose a new system; rather, through my pieces, I endeavour to tell musical stories in the most compelling and engaging manner possible, which generally entails characters (the themes) and plot development (motivic-thematic elaboration). Communication is essential, and for it to succeed, comprehensibility is crucial. At times, a composer’s focus may lean towards innovation, while on other occasions it may centre on further exploring existing ideas. Historical forms—and the harmonic languages they embrace—are, in my view, archetypes from which it is difficult to detach oneself fully, without risking incomprehensibility.
Harmony, as it typically appears in my pieces, is in constant pursuit of points of arrival and rest; yet, these prove ultimately elusive, more a state of yearning than a tangible reality. Some might argue that while in classical harmony the tonal centre is almost always plainly evident (the tonic), and in twelve-tone harmony the series dictates all pitches—thus partly suppressing the individuality of each sound—within the harmonic sphere that I favour, sounds continually exchange roles and centrality in a more ‘democratic’ manner: to draw an analogy with political systems, one might speak of democracy versus monocracy or totalitarian rule.
Melody, one of the fundamental parameters of music (alongside harmony, timbre, rhythm, and textural writing), has often been neglected—or nearly overlooked—across much of the music composed in the second half of the twentieth century. Nevertheless, I view it as a vital element; I seek it out and nurture it. In my opinion, it remains pivotal to music (though naturally not in every single piece). Consider, for instance, when a composer seeks to express strong emotion or sorrow: in such a case, song and melody—both of which have served as spontaneous manifestations of human feeling since antiquity—offer the most direct and, quite possibly, most authentic channel for articulating one’s inner sentiments, flowing straight from the depths of the soul.
I appreciate roots, continuity, and dialogue with the great composers of the past more than rupture, which all too often conceals a profound narcissism (incidentally, I have also begun composing works inspired by Greek myths). I find the so-called ‘international style’—in both architecture and music—rather depressing, when buildings and compositions present themselves identically the world over. If my music were ever deemed too melodic, I would consider that high praise. For someone who loves Vivaldi and Verdi, it would be a mark of honour. I follow my own path; if it proves appealing, I shall be delighted; if not, I shall at least have remained true to myself.
| Classical | FLAC / APE | HD & Vinyl
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