Dallapiccola: Sonatina Canonica / Tartiniana Seconda

Prosseda:Ceccanti

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Cat No: 8557676

Release Date: 07 January 2005

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 747313267620

Genres: Classical

Composer/Series: DALLAPICCOLA

Description
Luigi Dallapiccola (1904-1975):Complete Works for Violin and Piano, and for PianoThe centenary of the birth of Luigi Dallapiccolaprompted something of a reassessment of the Italiancomposer whose reputation, in the three decades sincehis death, has been accorded passive respect rather thanactive promotion. The relatively limited extent of hisoutput, some four dozen works, is belied by its diversityof expression, though following such powerful wartimeworks as Canti di prigionia (1941) and the operaIl prigioniero (1948), Dallapiccola's music tends to thecontemplative and philosophic, qualities for which hismagnum opus, the opera Ulisse, was roundly criticizedat its Berlin premi?¿re in 1968. Yet his questing approachto composition meant that there are few, if any,unimportant or minor pieces, and, while his instrumentalworks are neither especially numerous nor large-scalein design or ambition, they do provide an illuminatingperspective on his musical thinking as a whole.Although his earliest extant compositions datefrom his eighteenth year, Dallapiccola was a relativelyslow developer who published nothing substantial untilthe Partita of 1932. Perhaps not surprisingly for acomposer from Southern Europe (his formative yearswere directly affected by being born in the disputedregion which, initially part of the Austrian Empire, wasabsorbed by Italy in 1918), vocal music dominated hiscreativity from the beginning. His earliest publishedinstrumental piece is the three-part cycle Inni, writtenin 1935. Subtitled 'Musica per tre pianoforti', whichindicates its highly unusual scoring (though moderntechnology allows the work, as here, to be recorded andthen multi-tracked by a single pianist), it opens withsomething akin to a stylized Baroque prelude such asRavel might have essayed, proceeding to a sombrepiece whose funereal manner is checked by a constantlyshifting rhythmic emphasis and a graduallyaccumulating momentum. The final movement pursuesan intensive if understated dialogue between the threeinstruments, culminating in a decisive final gesture.Dallapiccola did not essay a work for solo pianountil 1942-3, when he composed the Sonata canonicaafter solo violin Caprices by Nicol?? Paganini, therebypaying homage both to an earlier age of Italian music,and also the contrapuntal techniques of the Renaissanceand Baroque eras which exerted a profound influenceon his later compositions. The first movement begins asa gently intricate study, before a livelier music emergesin contrast, with the initial material briefly returning asbefore. The second movement frames a dance-like ideawith overtly rhetorical flourishes, while the third is apensive and harmonically subtle treatment of one ofPaganini's most winsome melodies. The march-likefourth movement then rounds off the work in a goodhumouredand appropriately capricious fashion.At the same time he composed the above work,Dallapiccola was also engaged on a ballet score forVenice. Marsia, to a scenario by Aurel Miloss, d
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