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CASTELNUOVO- SHAKESPEARE SONNETS OP.125 AND DUETS OP.97 TEDESCO Valentina Coladonato soprano · Mirko Guadagnini tenor · Filippo Bettoschi baritone Genova Vocal Ensemble & Sibi Consoni Accademia Vocale di Genova Roberta Paraninfo conductor Claudio Proietti piano Mario Castelnuovo-Tedesco 1895-1968 6. CXXIX. Th’expense of spirit in a waste of shame 2’47 Shakespeare Sonnets Op.125 (first complete recording) 7. CXLVI. Poor soul, the centre of my sinful earth 3’35 8. CLIV. The little Love-God, lying once asleep 2’21 CD1 50’08 9. XXVII. Weary with toil, I haste me to my bed 2’48 1. VIII. Music to hear, why hearst thou music sadly? 2’24 10. XXXV. No more be grieved at that which thou hast done 2’45 2. XVIII. Shall I compare thee to a summer's day? 2’34 11. XL. Take all my loves, my love, yea take them all 3’11 3. XXIX. When in disgrace with Fortune and men’s eyes 2’26 12. LXXI. No longer mourn for me when I am dead 3’26 4. XXX. When to the sessions of sweet silent thought 2’19 13. XLVII. Betwixt mine eye and heart a league is took 2’43 5. XXXI. Thy bosom is endeared with all hearts 2’20 6. XXXII. If thou survive my well-contented day 3’00 3 Shakespeare Duets Op.97 (premiere recording) 7. LIII. What is your substance whereof are you made 3’10 14. I. Romeo and Juliet (Pavane) 3’23 8. LVII. Being your slave, what should I do but tend 2’58 15. II. Lorenzo and Jessica (Nocturne) 4’08 9. LX. Like as the waves make towards the pebbled shore 1’48 16. III. Katherine and Petruchio (Burlesque) 3’54 10. LXIV. When I have seen by Time’s fell hand defaced 3’16 11. LXV. Since brass, nor stone, nor earth, nor boundless sea 2’45 Valentina Coladonato soprano* * Sonnets 29, 31, 57, 73, 90, 98, 12. LXXIII. That time of year thou mayst in me behold 2’11 Mirko Guadagnini tenor ** 104, 116, 35, 40, 71, 47; Duets 1, 13. LXXXVII. Farewell! thou art too dear for my possessing 3’10 Filippo Bettoschi baritone *** 2, 3 14. XC. Then hate me when thou wilt; if ever, now 1’57 ** Sonnets 53, 87, 97, 102, 105, 106, Genova Vocal Ensemble & Sibi Consoni 15. XCIV. They that have power to hurt, and will do none 2’43 109, 128; Duets 1, 2, 3 Accademia Vocale di Genova 16. XCVII. How like a winter hath my absence been 3’03 *** Sonnets 8, 18, 30, 32, 60, 64, 65, conducted by Roberta Paraninfo **** 17. XCVIII. From you have I been absent in the spring 1’56 146, 27 18. CII. My love is strengthen’d, though more weak in seeming 2’49 Claudio Proietti piano **** Sonnets 94, 129, 154 19. CIV. To me, fair friend, you never can be old 2’33

CD2 50’35 Genova Vocal Ensemble & Sibi Consoni Accademia Vocale di Genova 1. CV. Let not my love be called idolatry 2’57 Manuela Allemano, Luca Arrigo, Chiara Ciurlo, Lucrezia Crovo, Davide D’Ali’, 2. CVI. When in the chronicle of wasted time 2’47 Alessandra D’Ancona, Giulia Filippi, Giulia Ghiorzi, Chris Iuliano, Andrea 3. CIX. O never say that I was false of heart 3’01 Lagomarsino, Arianna Lazzari, Anna de Luca di Pietralata, Barbara Maiulli, 4. CXVI. Let me not to the marriage of true minds 3’07 Lysia Malarby, Marco Mensi, Giorgia de Palma, Alessandro Papini, Elena Papini, 5. CXXVIII. How oft, when thou, my music, music play’st 3’02 Marta Pesci, Jarianni Reinoso, Alice Quario Rondo, Simone Perotto, Emanuele Rapisarda, Anna Rocca, Greta Rossi, Laura Schintu, Gloria Sgrò, Andrea di 2 Spigno, Elena Torrini, Tomaso Valseri 3 Shakespeare Sonnets Op.125 & 3 Shakespeare compositions. Yet Castelnuovo-Tedesco also wrote for other eminent instrumentalists, Duets Op.97 including Gieseking, Heifetz, Piatigorsky and Toscanini. by Mario Castelnuovo-Tedesco (1895-1968) Given his family background and the circles among which he grew up in Florence in the early years of the 20th century, Castelnuovo-Tedesco was naturally inclined In 1938 Italy’s Fascist government passed to be open-minded, polyglot and cosmopolitan. From the outset, he was particularly anti-Semitic racial laws, and the following year drawn by vocal music, furthering this interest during the years he studied with Jewish-born Mario Castelnuovo-Tedesco, along Pizzetti and later devoting considerable creative energy to the composition of songs with his wife Clara and their sons Pietro and based on verses by poets such as Horace, Dante, Petrarch, Cervantes, Lorca, Heine, Lorenzo, opted to emigrate to the United States. Byron, Wordsworth and Whitman. It was for Shakespeare, however, that he nurtured On this imperative journey the composer also his foremost passion, writing music for all the Songs in his plays. Published in 12 took with him a few close friends with whom volumes, these works are models of purity and elegance: totally in keeping with the he had long been in earnest conversation, poetic subtlety and linguistic versatility of the texts, they perfectly mirror the rhythms including, first and foremost, William and accents of the English language. Shakespeare. Castelnuovo-Tedesco had already Over twenty years later, “isolated and proud” in the bitter-sweet exile of Beverly written The Passionate Pilgrim. 33 Shakespeare Hills, Castelnuovo-Tedesco wrote the cycle of the Shakespeare Sonnets, the first Songs (1921-1925), the orchestral overtures La four of which were quietly presented in July 1944. These were Sonnets XXX (a bisbetica domata (The Taming of the Shrew), La dodicesima notte (Twelfth Night), birthday gift for his friend Aldo Bruzzichelli), CIV, VIII and XVIII. Sonnet XXI was Il mercante di Venezia (The Merchant of Venice), Giulio Cesare (Julius Caesar), Il set to music in January 1945, to be followed between 17 August and 13 October racconto d’inverno (A Winter’s Tale) composed between 1930 and 1934, and the by an astounding succession of 21 Sonnets, by which time, as the composer himself 3 Shakespeare Duets of 1937. It was thus only natural that Shakespeare should declared, “the form came easily to me and the ‘problem’ seemed to be resolved”. It continue to be his faithful companion during his American exile. was indeed a remarkable creative achievement, even for a musician of his calibre, who Castelnuovo-Tedesco was an extremely prolific composer. His oeuvre comprises seemed to compose effortlessly. By 17 April 1947, Sonnet XXVII was also ready. 210 opus numbers, including oratorios, concertos, symphonic and choral works, At this point the composer copied the entire collection out by hand in what was operas, chamber and vocal music, plus pieces for the piano and the organ. To add to become their definitive order. Then 16 years later (between 13 and 19 October to which there are a further 60 uncatalogued compositions, as well as various 1963), he added a further batch of four sonnets (XXXV, XL, LXXI, XLVII) at the transcriptions and over 200 film scores. It is thus strange that today, half a century end of the manuscript score; songs that were more intensely expressive and dramatic. since his death, he should largely be remembered for his works for the guitar. Thus the total of sonnets he set to music was ultimately 32, out of the 154 written by Granted, the repertoire for the instrument is closely connected with the name Shakespeare, and of these three were for vocal ensembles. and fame of Andrés Segovia, who commissioned and performed many of these The Shakespeare Sonnets spent most of the next fifty years slumbering in the

4 5 Library of Congress in Washington, occasionally awakened for the odd performance, in Castelnuovo-Tedesco’s handling of the Sonnets. Rather than an established formal cited from time to time in learned publications, including catalogues, and described as solution, he opts for a variety of highly-charged forms that leave no space for repetition a very special unicum in the composer’s autobiography Una vita in musica (Cadmo, of motifs or words. Each sonnet is unique because the form and figures are shaped by Fiesole, 2005). These songs, which have engaged the musicians involved in the present the underlying verse, in its turn made up of words that are also sounds, meanings and recording since 2008, are totally unknown to audiences at large. inner vibrations. The only recurring element is a coda in the piano that seems to act In 2016 Edizioni Curci printed the entire collection as part of a commendable like the unconditional resolutions that conclude each poem. Musical convention is rare, project involving all Castelnuovo-Tedesco’s unpublished works. Nevertheless, various and when it does surface is handled with irony, such that what prevails is a sense of inaccuracies in the edition suggested that we should stick to the original manuscript freedom and audacity that remains within the sphere of the Italian vocal tradition, yet version for our performance, because it promised greater verisimilitude as regards is not afraid to absorb elements from European music of the early 1900s or echoes of both the musical and the literary texts, and the order in which the individual songs the lighter, popular music that was evolving in those years in America. Castelnuovo- should be presented. Tedesco was able to assimilate these influences so that they became ingredients of his What exactly underlay Castelnuovo-Tedesco’s great love of Shakespeare? own creativity. Quite remarkable and somewhat mysterious are the 3 Sonnets he wrote Apart from the poet’s absolute greatness, he believed that the Shakespearean texts for chorus (XCIV, CXXVIII and CLIV, the last two for an ‘a cappella’ vocal ensemble) “asked for musical collaboration as a necessary element for completing the poetic in which the voice of the poet is multiplied and expanded so that it becomes choral, expression”, noting how Shakespeare’s English “is a perfectly musical language: I harmonic, on occasions contradictory, and unfailingly direct and disquieting. dare say (from my experience with it) that it unites the spiritual subtlety of English As for the piano, it is rarely a mere accompaniment. Sometimes it sings, expressing with the sonorous splendour of Italian”. In particular, “the Sonnets are one of the what the human voice cannot or will not enounce, or pursuing a different motif to most miraculous products of the poetry of all times! Whether or not the Sonnets are that of the voice. At other moments, it acts as a restless, elusive background that autobiographical is beside the point. What counts is the fact that Shakespeare acts like reflects the poet’s soul more clearly that the words themselves. a mirror of humanity, expressing sentiments that are both his and universal. […] Nor Little wonder that the Sonnets occupied a special place in the composer’s heart: does it really matter what the relationship was between the Poet and the unnamed each poem is a miniature drama, a theatrical play, an event that takes place in definite “friend” […]; it is as though the feelings expressed in the Sonnets (love or friendship) time and space, an episode that embodies life itself, transcending mere introspection. were in a purified state (to the extent that they are practically asexual, be they Written in 1937 and still unpublished, the 3 Shakespeare Duets speak eloquently addressed to the ‘friend’ or the ‘dark lady’): they are absolute and eternal, expressed for the composer’s flowing, melodic vein, his skill in handling the voice and his by means of an extraordinary, perfect wealth of images”. Considerations of this sort, mastery of the timbre of the piano. They also reveal witting echoes of some of the along with the nature of the vocal tessitura of each individual sonnet, persuaded us to most refined European music of the period, especially Ravel’sPavane , which is alternate female and male voices in our performance. evident in the second duet. That said, however, the Duets are unquestionably a far cry In this manner the three different voices help accentuate the intrinsic ambiguity from the poetic, aesthetic and even symbolic significance of the Sonnets. and layered meanings of the amorous relationship, and the way these are mirrored © Claudio Proietti Translation by Kate Singleton 6 7 Shakespeare Sonnets Op.125 & 3 Shakespeare Duets Op.97 l’autore - «isolato ed orgoglioso, il ciclo (o piuttosto il gruppo) degli Shakespeare di Mario Castelnuovo-Tedesco (1895 – 1968) Sonnets». I primi quattro apparvero quasi timidamente nel luglio 1944. Erano i Quando nel 1939 Mario Castelnuovo-Tedesco, di religione ebraica, dovette emigrare Sonetti XXX (dono di compleanno all’amico Aldo Bruzzichelli), CIV, VIII, XVIII. Il negli Stati Uniti per le leggi razziali del governo fascista, portò con sé la propria Sonetto XXI fu invece musicato nel gennaio 1945 e poi, fra il 17 agosto e il 13 ottobre, famiglia (la moglie Clara, i figli Pietro e Lorenzo) e alcuni amici inseparabili con cui sgorgò una mirabile successione di 21 Sonetti, quando - sempre secondo le parole di aveva condiviso tante ore di intimità profonda e di colloqui appassionati. Fra essi il Castelnuovo-Tedesco - «la vena era ormai facile e il “problema”, direi, risolto». Una posto d’onore spettava certamente a William Shakespeare al quale aveva già dedicato prova creativa straordinaria anche per un musicista come lui che componeva senza The Passionate Pilgrim. 33 Shakespeare Songs (1921-1925), le ouverture orchestrali alcuno sforzo apparente. Il 17 aprile 1947 si aggiunse il Sonetto XXVII. La bisbetica domata, La dodicesima notte, Il mercante di Venezia, Giulio Cesare, Il A questo punto il compositore copiò a mano tutta la raccolta dandole una veste racconto d’inverno (1930-1934), i 3 Shakespeare Duets (1937). E Shakespeare gli definitiva, anche dal punto di vista editoriale. 16 anni dopo (fra il 13 e il 19 ottobre rimase compagno fedele e costante anche nell’esilio americano. 1963) si aggiunse un ultimo gruppo di quattro sonetti (XXXV, XL, LXXI, XLVII) che Castelnuovo-Tedesco ha lasciato una produzione vastissima: 210 numeri d’opera furono collocati in tale ordine in fondo al manoscritto quasi connotandosi come un (oratori, concerti, pagine sinfoniche e corali, opere, musica da camera, pianistica, breve ciclo dall’espressività più tesa e drammatica. Il totale dei Sonetti musicati arriva organistica, vocale), oltre 60 titoli non catalogati, varie trascrizioni e più di 200 dunque a 32 (su 154 del canone shakespeariano) di cui 3 destinati al coro. composizioni per il cinema. Oggi però, a mezzo secolo dalla morte, è conosciuto quasi E così gli Shakespeare Sonnets sono rimasti per 50 anni: custoditi nella esclusivamente per il repertorio chitarristico cui è legato il nome di Andrés Segovia, Library of Congress di Washington; ricordati in sporadiche e isolate esecuzioni o suo grande committente ed esecutore, come dimenticando che per i rispettivi strumenti pubblicazioni da concertisti e musicologi (fra cui, dal 2008, anche gli interpreti di altrettanto lo furono personaggi quali Gieseking, Heifetz, Piatigorsky, Toscanini. questa registrazione); citati nei cataloghi e, indicati come unicum specialissimo, Figura di statura e relazioni internazionali quindi, così come aperta, cosmopolita nell’autobiografia del compositore Una( vita di musica, Cadmo, Fiesole, 2005); e poliglotta fu la sua formazione fiorentina all’avvio del secolo. Questa risorsa, unita totalmente ignoti al pubblico. a una naturale inclinazione alla vocalità, egregiamente raffinata durante gli studi con Finalmente nel 2016 l’intera raccolta è stata stampata dalle Edizioni Curci in un Pizzetti, lo orientò subito verso la lirica da camera e non solo in lingua italiana. Fra meritorio progetto di pubblicazione degli inediti di Castelnuovo-Tedesco. i tantissimi poeti da lui visitati spiccano Orazio, Dante, Petrarca, Cervantes, Lorca, E’ necessario però precisare che la nostra esecuzione si basa, per tutti i particolari Heine, Byron, Wordsworth, Whitman, ma il prediletto, come detto, fu certamente relativi al testo (sia musicale che letterario) e per l’ordine di presentazione dei brani, Shakespeare del quale musicò tutti i Songs dei drammi, raccolti e pubblicati in 12 sul manoscritto originale e non sull’edizione a stampa, caratterizzata da molti errori e volumi: modelli di purezza ed eleganza, collocati in ambienti perfettamente aderenti scelte editoriali opinabili. al clima poetico dei testi, duttili e versatili nel linguaggio, il canto naturalmente Perché tanto amore per Shakespeare? Oltre che per la vertiginosa altezza universale plasmato sui ritmi e accenti della lingua inglese. del poeta, il compositore afferma che i suoi testi «richiedevano una collaborazione Più di 20 anni dopo, nell’esilio dolce-amaro di Beverly Hills, nacque - come scrisse musicale come elemento necessario a completare l’espressione poetica» e nota

8 9 anche come «il suo inglese è una lingua assolutamente musicale: oserei dire (per la E poi il pianoforte, che raramente accompagna. A volte canta, forse quello che la mia esperienza) che in esso si uniscono la sottigliezza spirituale dell’inglese con lo voce non può o non vuole cantare, a volte “contro” canta, a volte è sfondo irrequieto splendore sonoro dell’italiano.» In particolare, «i Sonetti sono uno dei più miracolosi e incostante - quasi inafferrabile - della parola e sembra specchiare l’animo inquieto prodotti della poesia di ogni tempo! Poco importa se i Sonetti siano autobiografici: il del poeta più che non la parola stessa. fatto rimane che Shakespeare, questo specchio dell’umanità, vi ha espresso sentimenti Ecco allora perché i Sonnets hanno un posto privilegiato nel cuore del compositore: che sono allo stesso tempo suoi e di tutti. […] Poco importa, anche, quali siano stati perché ogni sonetto è una piccola drammaturgia, ha una propria costruzione teatrale, i rapporti fra il Poeta e l’ignoto “amico” […]; i sentimenti espressi nei Sonetti (amore costituisce un evento collocato nel tempo e nello spazio in cui accade qualcosa di od amicizia) sono ormai allo stato puro (e, quasi direi asessuali, sia che si rivolgano perfettamente definito, un evento che ha tutte le proprietà della vita e non solo quelle all’ “amico” o alla “dama bruna”): sono assoluti ed eterni, ed espressi attraverso una della riflessione su sé stessi e i propri sentimenti. ricchezza di immagini prodigiosa e perfetta.» Proprio considerazioni di questo tipo, I 3 Shakespeare Duets furono scritti nel 1937 e sono tuttora inediti. Costituiscono unite alle caratteristiche della tessitura vocale di ogni singolo sonetto, sono alla base un bell’esempio della generosa ispirazione melodica castelnuoviana e del suo della scelta di alternare voci femminili e maschili nella nostra esecuzione. sapientissimo artigianato compositivo che si svela soprattutto nel fluido trattamento Tre voci diverse, dunque, per sottolineare l’ambiguità e la molteplicità di senso insita delle voci, nella sottile gestione della timbrica pianistica, nella presenza palpabile di nel rapporto amoroso, ma anche nella sostanza linguistica e stilistica dei Sonnets di atmosfere ed echi delle più raffinate esperienze europee dell’epoca (la più evidente Castelnuovo-Tedesco. Non esiste infatti un’unica idea formale, ma piuttosto decine di consiste nella citazione della Pavane di Ravel nel secondo duetto). E tuttavia nel soluzioni diverse; forme nervose e sintetiche che non lasciano spazio alla ripetizione, né confronto ravvicinato la distanza poetica ed estetica che separa le due opere, anche sul di motivi, né di parole. Ogni sonetto è unico perché forma e figure sono determinate piano simbolico, risulterà quasi stridente: la pur squisita fattura dei Duets non vale a dal verso e dalla parola che è suono, senso, vibrazioni interiori. Sola ricorrenza raggiungere la totale pregnanza di senso di Sonnets. frequente è una coda pianistica che sembra assumere la medesima funzione di gesto © Claudio Proietti perentorio e risolutivo che nei versi hanno i distici conclusivi. Nessuna concessione a strumenti classici o aulici (che semmai vengono utilizzati in senso ironico), ma piuttosto un’idea di libertà e di arditezza che, pur nel segno della civiltà vocale italiana, non ha paura di assorbire dall’esperienza novecentesca europea e anche da quella americana più “leggera” e popolare. Influenze fatte proprie e profondamente assimilate e quindi confluite nella penna del compositore come naturali strumenti della sua arte. Straordinari e un po’ misteriosi sono i 3 Sonnets destinati al coro (XCIV, CXXVIII e CLIV, gli ultimi due “a cappella”) in cui la voce del poeta diventa voce collettiva, si moltiplica, si sfaccetta, si amplia, a tratti contraddice sé stessa, in un quadro armonico forse mai così inquieto e crudo.

10 11 Valentina Coladonato, soprano, achieved first class degrees in languages and singing Filippo Bettoschi, baritone, made his debut in 1996 in the role of Bardolfo in Salieri’s and has won various international competitions. Her repertoire ranges from the Falstaff, which was followed by the principal roles in the Mozart operas (Guglielmo, Baroque to contemporary music. Don Giovanni, Almaviva, Papageno). As a concert performer he has worked with She works closely with specialists who focus on the performance of early music, various orchestras and chamber ensembles in a repertoire comprising Die schöne while her interest in more recent music has led her to interpret the works of Berio, Müllerin (Schubert), Dichterliebe (Schumann), Vier Ernste Gesänge (Brahms), Corghi, Sciarrino, Fedele and Aperghis, often in premiere performances. She has also Shakespeare Sonnets (Castelnuovo-Tedesco), Bach’s Johannes-Passion, Easter developed great expertise in the repertoire of the early 1900s. Oratorio, the B minor Mass and the Cantata 82 Ich habe genug. She has sung with important institutions such as the Teatro alla Scala, Opéra de He has also sung Figaro in Rossini’s Barbiere di Siviglia, the role of Harlekin in Paris, Salzburger Festspiele, Musikverein, Concertgebouw, De Singel, Saint Petersburg Strauss’s Ariadne auf Naxos, Donner in Wagner’s Rheingold, Ping in Puccini’s Philharmonic, Southbank Centre, Frick Collection, Cité de la Musique, Radio France, Turandot, Ford in Verdi’s Falstaff, Enrico in Donzetti’s Lucia di Lammermoor, WDR, Enescu Festival, Ravenna Festival, MiTo, Rai and La Biennale. Dandini in Rossini’s Cenerentola, Onegin in Tchaikovsky’s Eugene Onegin, Posa in She has worked with directors such as Abbado, Scaparro, Lievi, Znaniecki, Micheli, Verdi’s Don Carlo and Valentin in Gounod’s Faust. and with conductors who include Muti, Abbado, Robertson, Shambadal, Eötvos, In 2013 he moved to Bremerhaven in Germany, and in 2016 became a member of the Axelrod, Rundel, Panni, Pretto and Scimone. Münster Ensemble.

Mirko Guadagnini, tenor, is a singer whose versatility allows him to range from The Genova Vocal Ensemble was founded in 1995 as a children’s choir and has since the Baroque repertoire to Lieder and contemporary compositions. He has worked developed to become the city’s foremost female-register vocal ensemble. Today it also with conductors of international fame such as Muti, Mehta, Campanella, Abbado, includes countertenors, and many of its members have been singing together since Whun Chung, Renzetti, Pidò and Gardiner, and with numerous important orchestras, childhood. This unique shared experience and the ensuing musical knowledge and including those of the Teatro alla Scala, Radio France, Freiburger, Mozarteum, Santa awareness account for the tangibly harmonious quality of the choir, which has won Cecilia, Les Arts Florissants, La Venexiana, Maggio Fiorentino, Pomeriggi musicali, widespread acclaim in national and international competitions and events. and Verdi in Milan. He has performed at the following theatres and opera houses: Sibi Consoni was founded in 2005 as a children’s choir and is now a mixed- La Scala, Châtelet, Prague National Theatre, Regio in Turin, Cuvilliés in Munich, voice youth choir involving young people from the ages of 17 to 25. It is part of the La Fenice, Concertgebouw, Comunale di Bologna, Verdi and Comunale in Florence, Accademia Vocale di Genova. Grand Théâtre in Geneva, Seattle Theater, Madrid Auditorium, Opera di Roma, Lyons Opera, Seul, Montecarlo and Montpellier operas.

12 13 Roberta Paraninfo, conductor, trained as a pianist, conductor and teacher, and has founded various choral ensembles. At present she conducts the choirs of the Accademia Vocale di Genova: the children’s choir “I Piccoli Cantori”, the same- voice youth choir “Giovani Cantori”, the mixed-voice youth choir “Sibi Consoni”, the “Genova Vocal Ensemble” (all of which have won numerous national and international awards), and the “Good News!” women’s choir. She also conducts the choirs of the Steffani Conservatoire in Castelfranco Veneto. She is involved in the development and direction of projects regarding musical education and choral experience for the primary schools of Genoa, and training courses in various Italian regions. She teaches at the Castelfranco Veneto Conservatoire. Together with Gary Graden she has directed and conducted the Italian Youth Choir. She has been voted “Best Conductor” five times in different national and international choral competitions.

Claudio Proietti, piano, has developed a busy career as a soloist and accompanist for singers, as well as playing in chamber ensembles. His focus is largely the modern and contemporary repertoire. In 1989 he founded E.C.O. Ensemble per l’Esperienza Contemporanea, with which he has taken part in many important festivals and concert seasons in Italy, Europe and Recording: 10-15 February 2017, Tenuta Spinola – Banna (Torino), Italy South America. The Ensemble played without a conductor, and their core repertoire Sound engineer and producer: Luca Ricci revolved around the masterpieces of the early 1900s, outstanding works by the main Pianoforte: Steinway & Sons mod.D modern composers, and works by living composers, often in premiere performances. Tuner: Federico Romerio Cover image: Mario Castelnuovo-Tedesco, Larchmont, N.Y., autumn 1939. From the Mario Castelnuovo-Tedesco Proietti has recorded works by Liszt, Bartók and Schoenberg. He has also published Papers, The Library of Congress Music Division, Washington, D.C.; reproduced by permission. various books, including two studies of Ivan Fedele and an analysis of Bartók’s Photo page 4: Mario Castelnuovo-Tedesco, Los Angeles, 1960s Mikrokosmos. Back of inlay: Shakespeare Sonnets, Op.125, Index Page; holograph manuscript – From the Mario Castelnuovo- He has taught at and directed the Niccolò Paganini Conservatoire in Genoa, and Tedesco Papers, The Library of Congress Music Division, Washington, D.C.; reproduced by permission. Photo under the CD: by Roberto Martini also acted as artistic director of the Teatro Verdi in Pisa. Photos of singers and pianist: Guido Suardi Photos of Choir: Luca Ricci 14 p & © 2017 Brilliant Classics 15