Dallapiccola
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557676bk EU/USA 13/7/05 8:46 pm Page 8 Sonatina canonica su capricci di Paganini (1943) 9:44 1 Allegretto comodo 3:48 2 Largo – vivacissimo – tempo primo 1:28 Luigi 3 Andante sostenuto 2:02 4 Alla marcia: moderato 2:26 Tre episodi dal balletto Marsia (1949) 13:29 DALLAPICCOLA 5 Angoscioso 4:23 6 Ostinato 3:55 7 Sereno 5:11 Sonatina canonica • Tartiniana seconda Quaderno musicale di Annalibera (1951-52) 15:14 Due Studi • Quaderno musicale di Annalibera 8 Simbolo 3:06 9 Accenti 0:32 0 Contrapunctus primus 1:10 Duccio Ceccanti, Violin • Roberto Prosseda, Piano ! Linee 0:54 @ Contrapunctus secondus 0:27 # Fregi 1:20 $ Andantino amoroso e Contrapunctus tertius 1:20 % Ritmi 1:10 ^ Colore 1:19 & Ombre 2:03 * Quartina 1:54 Inni – musica per tre pianoforti (1935) 11:13 ( Allegro molto sostenuto 2:49 ) Un poco adagio: funebre 5:12 ¡ Allegramente, ma solenne 3:12 Due studi, for violin and piano (1946-47) 9:50 ™ Sarabanda 5:26 £ Fanfara e fuga 4:24 Tartiniana seconda, for violin and piano (1956) 11:31 ¢ Pastorale 2:25 ∞ Tempo di Bourrée 1:43 § Presto: leggerissimo 1:47 ¶ Variazioni 5:37 8.557676 8 557676bk EU/USA 13/7/05 8:46 pm Page 2 Luigi Dallapiccola (1904-1975): keine Imitationen gibt: Dallapiccola ging es nicht um vor allen anderen Teilen (als Improvisation nach Tar- Complete Works for Violin and Piano, and for Piano die Beschwörung einer vergangenen Zeit, sondern um tini). Sie bestehen aus einer Folge kontrastierender die Bedeutung dieser Musik für die Gegenwart. Das Veränderungen über das eindrucksvolle Thema, das am The centenary of the birth of Luigi Dallapiccola Dallapiccola did not essay a work for solo piano Werk beginnt mit einer herrlich expressiven, von gra- Anfang vorgestellt wird. prompted something of a reassessment of the Italian until 1942-3, when he composed the Sonata canonica ziöser Sehnsucht erfüllten Pastorale, auf die ein composer whose reputation, in the three decades since after solo violin Caprices by Nicolò Paganini, thereby rhythmisch kraftvolles Tempo di Bourrée und ein luftig Richard Whitehouse his death, has been accorded passive respect rather than paying homage both to an earlier age of Italian music, virtuoses Presto leggerissimo folgen. Die abschließen- Deutsche Fassung: Cris Posslac active promotion. The relatively limited extent of his and also the contrapuntal techniques of the Renaissance den Variazioni, der längste Satz des Werkes, entstanden output, some four dozen works, is belied by its diversity and Baroque eras which exerted a profound influence of expression, though following such powerful war- on his later compositions. The first movement begins as time works as Canti di prigionia (1941) and the opera a gently intricate study, before a livelier music emerges Il prigioniero (1948), Dallapiccola’s music tends to the in contrast, with the initial material briefly returning as contemplative and philosophic, qualities for which his before. The second movement frames a dance-like idea magnum opus, the opera Ulisse, was roundly criticized with overtly rhetorical flourishes, while the third is a at its Berlin première in 1968. Yet his questing approach pensive and harmonically subtle treatment of one of to composition meant that there are few, if any, Paganini’s most winsome melodies. The march-like unimportant or minor pieces, and, while his instrumental fourth movement then rounds off the work in a good- works are neither especially numerous nor large-scale humoured and appropriately capricious fashion. in design or ambition, they do provide an illuminating At the same time he composed the above work, perspective on his musical thinking as a whole. Dallapiccola was also engaged on a ballet score for Although his earliest extant compositions date Venice. Marsia, to a scenario by Aurel Miloss, draws from his eighteenth year, Dallapiccola was a relatively on the Greek legend in which the satyr and flautist slow developer who published nothing substantial until Marsyas challenges Apollo to a contest of skill. He is the Partita of 1932. Perhaps not surprisingly for a outwitted then flayed alive by the god, while the tears composer from Southern Europe (his formative years of the mourners become a river bearing Marsyas’s were directly affected by being born in the disputed name. The success of its first performance at La Fenice region which, initially part of the Austrian Empire, was in September 1948 prompted the composer to arrange absorbed by Italy in 1918), vocal music dominated his portions of the ballet for concert use – hence the creativity from the beginning. His earliest published Frammenti sinfonici for orchestra of 1948, and the Tre instrumental piece is the three-part cycle Inni, written episodi for piano of 1949. The latter is so compiled as in 1935. Subtitled ‘Musica per tre pianoforti’, which to make an effective slow-fast-slow format away from indicates its highly unusual scoring (though modern the ballet’s directly descriptive concerns. It begins with technology allows the work, as here, to be recorded and Angoscioso, a moody study whose undemonstrative then multi-tracked by a single pianist), it opens with virtuosity infers the more impressionist piano writing of something akin to a stylized Baroque prelude such as Debussy and Ravel, building to a brief but strident Ravel might have essayed, proceeding to a sombre climax before the sombre close. Ostinato, dominated by piece whose funereal manner is checked by a constantly rapid repeated-note sequences, suggests early shifting rhythmic emphasis and a gradually Prokofiev in its scintillating brilliance and dynamic accumulating momentum. The final movement pursues range. Sereno, by turns stark and lyrical, and shot an intensive if understated dialogue between the three through with an acute poignancy, brings the sequence instruments, culminating in a decisive final gesture. to a quiet though not necessarily calm conclusion. 8.557676 2 7 8.557676 557676bk EU/USA 13/7/05 8:46 pm Page 6 wurde 1948 uraufgeführt und war so erfolgreich, dass später unter dem Titel Variazioni orchestrierte Stück The protracted composition of Il prigioniero gave primus, then the limpid melodic flow of Linee similarly der Komponist sich veranlasst sah, Teile der Musik zum hat der Komponist seiner Tochter zum achten Geburts- rise to several smaller works, not the least of which is precedes the playful Contrapunctus secundus. Fregi has Konzertgebrauch einzurichten. So entstanden 1948 die tag gewidmet: Sie verdankte ihren Namen der Tatsache, Due studi for violin and piano. Its genesis lies in music the feel of a nocturne, while Andantino amoroso e Frammenti sinfonici und 1949 die Tre episodi für dass sie geboren wurde, nachdem Florenz von der deut- for a documentary by Luigi Magnani on the life of Piero Contrapunctus tertius has a melodic line played Klavier. Die letzteren sind so zusammengestellt, dass schen Besatzung befreit worden war. Die entspannte, della Francesca which never materialised, and which forwards as well as backwards. The playful Ritmi is sie ein wirkungsvolles langsam-schnell-langsam-For- faszinierende Musik steht im Widerspruch zu ihrem Dallapiccola then reworked directly to fulfil a followed by the sensuous Colore, then the stark Ombre, mat bilden, das mit den direkt deskriptiven Aufgaben strengen technischen System, das nicht nur eine Hom- commission from the Basle branch of the International before Quartina rounds off the suite expressively much des Balletts nichts mehr zu tun hat. Die Episoden be- mage an Bach ist, sondern auch das serielle Zwölfton- Society for Contemporary Music in 1947 (the pieces as it began. ginnen mit Angoscioso, einer träumerischen Studie, de- denken repräsentiert, das der Komponist während der were themselves revised as Due pezzi for orchestra the The latest work here underlines Dallapiccola’s ren unaufdringliche Virtuosität den eher impression- zurückliegenden Dekade absorbiert hatte. Der Name same year). Not that the original subject-matter was involvement with the Italian baroque, specifically the istischen Klaviersatz von Debussy und Ravel voraus- Bachs erklingt in der bekannten Weise (B-A-C-H) zu discounted: the chaste and ruminative Sarabanda draws composer Giuseppe Tartini, with whom he shared a setzt und vor dem düsteren Schluss eine kurze, scharfe Beginn des ersten Satzes Simbolo, in dem serielle und on the white shadings dominant in the painting of the fascination for contrapuntal techniques such as the Klimax aufbaut. Das von raschen Tonwiederholungs- tonale Elemente sich zu einem von nachdenklicher Er- Queen of Sheba’s procession, while the fierce and present work brings out in full measure. Having sequenzen beherrschte Ostinato erinnert in seiner wartung erfüllten Präludium verbinden, in dem Dal- angular Fanfara e Fuga evokes the red colouring in the produced the divertissement Tartiniana, derived from funkelnden Brillanz und seinem dynamischen Spek- lapiccola dem sparsamen Spätstil Busonis am nächs- depiction of the death of Cosroe, King of Persia. movements of unpublished violin concertos, in 1951, trum an den frühen Prokofiew. Sereno ist mal kraftvoll, ten gekommen sein dürfte. Die brüsken Accenti führen In 1952 Dallapiccola wrote what is perhaps the Dallapiccola wrote a Tartiniana seconda during 1955-6. mal lyrisch, von einer heftigen Schärfe durchzogen und direkt zu dem eleganten Kanon des Contrapunctus most purely attractive of his instrumental works. First heard in violin and piano scoring, it was promptly bringt die Suite zu einem leisen, wenngleich nicht un- primus, worauf der durchsichtige