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Ildebrando Pizzetti - Mario Castelnuovo-Tedesco

3.5 étoiles sur 5 2 commentaires client

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Détails sur le produit

  • Interprète: Violon - Arnon Erez, Piano Hagai Shaham
  • CD (24 avril 2014)
  • Nombre de disques: 1
  • Label: Hyperion
  • ASIN : B00ITYHCBO
  • Autres versions : CD
  • Moyenne des commentaires client : 3.5 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 341.300 en CD & Vinyles (Voir les 100 premiers en CD & Vinyles)
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Liste des titres

Disque : 1

  1. I. tempestoso
  2. II. preghiera per gl'innocenti: molto largo
  3. III. vivo e fresco
  4. No. 1. affettuoso
  5. II. quasi grave e commosso
  6. III. appassionato
  7. I. prologo: moderato e pensoso
  8. II. intermezzo: vivace e danzante
  9. III. epilogo: calmo
  10. I. andantino (pan ed éco)
  11. II. molto calmo e malinconico (come una nenia marinaresca)
  12. III. tempo di fox trot: ironico e tagliente (american music)

Description du produit

Description du produit

Repertoireerkundung

Hagai Shaham und Arnon Erez setzen ihre Erkundung des Violinrepertoires des frühen 20. Jahrhunderts fort und wenden sich diesmal Italien zu. Beide Musiker sind bekannt für ihre glutvollen Interpretationen und können sich hier ganz dem opernhaften Ton der Musik hingeben. Mit Ildebrando Pizzetti und Mario Castelnuovo-Tedesco setzen sie sich zudem für zwei vernachlässigte musikalische Größen Italiens ein.

Hagai Shaham and Arnon Erez continue their exploration of the early twentieth-century violin repertoire, turning this time to Italy. These musicians are noted for their full-blooded performances: here they revel exuberantly in the music's operatic passion. Pizzetti was at the height of his fame at a time when Italian music was all the rage; his pupil Castelnuovo-Tedesco eventually fled Italian anti-Semitism to embark on a successful career in Hollywood.

Pizzetti's Violin Sonata in A major was described by the late John C G Waterhouse, Britain's leading authority on twentieth-century Italian music, as 'much the most impressive sonata for violin and piano that has ever been written by an Italian'. His Tre canti were written in 1924, originally for cello and piano, then transcribed by the composer for violin. Castelnuovo-Tedesco's Sonata quasi una fantasia, Op 56, was composed in 1929, with a dedication to the Hungarian violinist Adila Fachiri (also the dedicatee of Bartók's two violin sonatas). The Tre vocalizzi were originally written in 1928 as vocalises for wordless voice and piano. They were subsequently arranged for violin and piano by Mario Corti, who saw the potential in these pieces for transcriptions that used violin techniques to imaginative effect, with extensive use of double-stopping and harmonics, as well as a greatly expanded compass, using octave transpositions to exploit the instrument's entire range.

Critique

The latest instalment of Hagai Shaham and Arnon Erez's exploration of the 20th-century violin and piano repertory focuses on two figures from inter-war Italy. Ildebrando Pizzetti (1880-1968) was regarded in the 1920s and 30s as his country's greatest composer, though his support for fascism during the second world war tarnished his subsequent reputation. Meanwhile, Mario Castelnuovo-Tedesco (1895-1968), Pizzetti's talented Jewish pupil, fled to Hollywood in the late 1930s, where he scored more than 200 films. You understand exactly why Pizzetti was deemed so important when you hear his Sonata in A (1919): one of the great works in the form and an austere meditation on the first world war One, that uses plainchant-inflected themes in a demand for spiritual continuity in the aftermath of political trauma. Castelnuovo-Tedesco's Sonata Quasi Una Fantasia (1929) is an eclectic, sexy mix of impressionism and jazz. The Pizzetti demands something other than beauty in performance, and Shaham and Erez are uncompromising and abrasive with it. The Castelnuovo-Tedesco sounds gorgeous from start to finish. **** --Guardian, 8/5/14

Vivid, dramatic performances. --IRR, July / Aug'14

There is more to the propriety of Hagai Shaham as an interpreter of this music than meets the ear. His warmth of tone, expressivity and instinctive feel for melody, time and pace all suit this music beautifully and create a performance that arguably even has more depth and appeal than it strictly deserves. --Gramophone, July'14


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