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Luigi Dallapiccola 1904–1975 21 22 23 24
Complete music for solo piano & violin and piano
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Tre episodi from Marsia, for piano No.1 Angoscioso No.2 Ostinato No.3 Sereno
4’52 4’17 5’31
4 5 6 7
Sonatina canonica after Caprices by Nicolò Paganini, for piano I. Allegretto comodo II. Largo III. Andante sostenuto IV. Alla marcia: Moderato
3’37 2’21 2’53 2’29
8 9
Due studi for violin and piano No.1 Sarabanda No.2 Fanfara e fuga
5’22 4’36
10 11 12 13 14 15 16 17 18 19 20
Quaderno musicale di Annalibera for piano No.1 Simbolo No.2 Accenti No.3 Contrapunctus primus No.4 Linee No.5 Contrapunctus secundus No.6 Fregi No.7 Andantino amoroso e Contrapunctus tertius No.8 Ritmi No.9 Colore No.10 Ombre No.11 Quartina
3’18 0’32 1’26 0’53 0’27 1’30 1’23 1’08 1’32 2’12 2’02
Tartiniana seconda Divertimento for violin and piano I. Pastorale II. Tempo di Bourrée III. Presto; leggerissimo IV. Variazioni: a) Decisamente – b) Maestoso – c) Tranquillo – d) Doloroso (Canon per augmentationem, contrario motu) – e) Alla sarabanda (Canon cancrizans) – f) Deciso; duramente (Canon ad hypodiapason) – g) Con gagliardìa
2’12 1’34 1’51 5’47
Maria Clementi piano Luca Fanfoni violin
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Luigi Dallapiccola: Complete music for solo piano & violin and piano For Luigi Dallapiccola, writing music was in some ways a method of fulfilling his civic duty; namely, reflecting on the world and arguing why and how it could be different. In his ballet Marsia [Marsyas] (1942–3; transcribed for piano in 1949), the musical contest between Marsyas and Apollo is reinterpreted, making the former not an arrogant satyr (and therefore rightly punished) but a victim of violence. The way to prevent violence is logic; and what is more logical in music than the canon form (where one single phrase, variously replicated, is fleshed out into an entire piece)? Sonatina canonica, composed in 1943, is based on Nicolò Paganini’s 24 Caprices for solo violin; here, the famous music is multiplied with the use of a mirroring effect. Composed some years later, Due studi (1946–7) for violin and piano was inspired by the Renaissance painter Piero della Francesca and more generally by Italy’s great cultural heritage (another necessary barrier to madness and violence). The second study ends with a fugue that, like the canon and other similar forms, is a synonym for constructive logic. The Quaderno musicale di Annalibera was written in 1952 and dedicated to the composer’s daughter, to whom, following the liberation of Florence in 1944, Dallapiccola gave the extraordinary name ‘Annalibera’ or ‘Free Anna’. It features three separate canonical movements, while in the other movements it is the 12-tone structure that guarantees the desired strictness. Tartiniana seconda (1956) contains extensive passages of canonical music where the composer applies contrapuntal techniques to tonal material rather than dodecaphonic writing. Dallapiccola’s research took many forms, yet it was always dominated by strictness and unity of purpose, and directed towards two guiding lights: truth and freedom. 훿 Alfonso Alberti
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Luigi Dallapiccola: Musica completa per pianoforte solo & violino e pianoforte Per Luigi Dallapiccola scrivere musica fu la stessa cosa che manifestare il proprio impegno civile: riflettere sul mondo e dire perché e come esso potrebbe essere diverso. Nel balletto Marsia (1942–3; trascritto per il pianoforte nel 1949) la sfida musicale fra Marsia e Apollo viene riletta facendo del primo non un satiro arrogante (e perciò giustamente punito), bensì la vittima di una violenza. Argine alla violenza è la logica; ed ecco, cosa vi è di più logico in musica della forma del canone (in cui da un unico oggetto si deduce – replicandolo in varie forme – un intero brano)? La Sonatina canonica, scritta nel 1943, è basata ‘su capricci per violino solo di Nicolò Paganini’, dove le celebri pagine per violino si moltiplicano in un gioco di specchi. Qualche anno dopo i Due studi (1946–7) per violino e pianoforte, ispirati a Piero della Francesca e al grande passato artistico italiano (altro necessario argine alla follia e alla violenza) terminano con una fuga, quella forma che, insieme al canone e ad esso affine, è da sempre sinonimo di logica costruttiva. Nel Quaderno musicale di Annalibera (1952, dedicato alla figlia a cui Dallapiccola nel 1944, all’indomani della liberazione di Firenze, pose questo straordinario nome) tre sono i canoni, mentre agli altri brani del ciclo è la struttura dodecafonica ad assicurare il desiderato rigore. Ampiamente canonica è infine la Tartiniana seconda (1956), dove gli artifici contrappuntistici non sono applicati a materiale dodecafonico, bensì tonale. Una ricerca dal carattere multiforme, e nel contempo dominata da rigore e unità d’intenti: sempre orientata verso due fari luminosi – verità e libertà. 훿 Alfonso Alberti
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Maria Clementi Recognised as one of the finest and most interesting performers of Baroque, Classical and contemporary repertoire, Maria Clementi has given recitals at major venues across Europe, including the Mozarteum in Salzburg (Wiener Saal and Großer Saal), Leipzig’s Gewandhaus and the Sala Grande of the ‘Giuseppe Verdi’ Conservatoire in Milan. She has also performed at various festivals, including the Teatro Grande in Brescia and the Teatro Donizetti in Bergamo as part of the International Piano Festival ‘Arturo Benedetti Michelangeli’ during the Mozart anniversary celebrations, the Maggio Musicale Fiorentino and the Tiroler Festspiele in Erl. Born in Milan, Maria studied with Piero Rattalino at the ‘Giuseppe Verdi’ Conservatoire in Milan, graduating summa cum laude. Thereafter she continued her studies at the International Piano Academy ‘Incontri col Maestro’ in Imola under Lazar Berman, Boris Petrushansky and Alexander Lonquich. Meeting Rosalyn Tureck, considered one of the most important Bach interpreters of the 20th century, also had a large impact on her artistic development. Maria has performed in Italy (‘C. Pollini’ Auditorium in Padua, Teatro Civico in Vercelli as part of the Società del Quartetto, Teatro Comunale in Treviso, 6
Sala Accademia in Rome’s ‘Santa Cecilia’ Conservatoire (Uto Ughi per Roma festival), Teatro Fraschini in Pavia, Mantua’s Teatro Bibiena, Auditorium of the ‘Dall’Abaco’ Conservatoire in Verona, Bergamo’s Società del Quartetto, Fondazione La Società dei Concerti in Milan, Amiata Piano Festival, Gioventù Musicale d’Italia), as well as in Austria, Germany, France, The Netherlands and Japan. She was a prizewinner at various piano competitions from an early age; accolades include first prize at the International Piano and Orchestra Competition in Cantù, Italy; third prize at the International Music Competition ‘G.B. Viotti’ in Vercelli, at the age of 16; and second prize at the 38th National Piano Competition ‘Premio Città di Treviso’. She has collaborated as a soloist with various ensembles, including the Orchestra I Pomeriggi Musicali, Rai Symphony Orchestra, Orchestra di Padova e del Veneto, Filarmonica ‘Arturo Toscanini’, ‘Mihail Jora’ Bacau Philharmonic, Filarmonica de Stat ‘Transilvania’ and the Orchestra Sinfonica di Milano ‘Giuseppe Verdi’. She has played under such renowned conductors as Peter Maag, Gianandrea Noseda, Ovidiu Balan and Enrique Mazzola, and her chamber music performances have been broadcast live on radio and television.
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Luca Fanfoni ‘Luca Fanfoni demonstrates great intent throughout ... it is all very vivid.’ The Strad, January 2003 ‘An excellent violinist; he plays everything faultlessly.’ Repertoire, May 2005 ‘Brilliant bowing and evident musical intelligence, above all in the Caprices where he plays with stamina and composure.’ Le Monde de la Musique, April 2003 ‘A distinguished virtuoso; fluid bowing, refined playing in the fast passages, notable dexterity in the left hand and beautiful quality of sound.’ Diapason, August 2003 ‘Luca Fanfoni deserves credit for having released this brave and highly commendable first complete recording of Antonio Lolli’s Violin Concertos ... It should be considered a turning point for a new appreciation of this fascinating music.’ Amadeus, 2008
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Born in Parma, Luca Fanfoni studied at the ‘Giuseppe Verdi’ Conservatoire in Milan, where he graduated with honours after studying under Gigino Maestri. At a very young age he won first prize at the International Youth Music Competition of Stresa, first prize at the National Competition of Pescara and first prize at the National Competition of Vittorio Veneto. Studying at the Accademia Musicale Chigiana in Siena with violinists of international reputation, such as Leonid Kogan, Augustin Dumay, Dora Schwarzberg and Franco Gulli, proved decisive for his musical formation. On completing his studies he was granted both the Diploma of Merit and the Diploma of Honour. He spent five years studying under Salvatore Accardo at the Fondazione ‘W. Stauffer’ in Cremona and, during this final period of training, he participated in numerous competitions; accolades include first prize at the ‘Città di Brescia’ International Violin Competition in 1988, first prize at the ‘Gian Battisti Viotti’ International Music Competition in Vercelli in 1987, and the ‘Enrico Costa’ prize at the Paganini Competition in Genoa in 1989. He has played in some of the most prestigious concert halls worldwide, garnering acclaim from audiences and critics alike; thanks to this, Fanfoni is considered one of today’s most outstanding Italian violinists. In 2000 he recorded a CD for Phoenix featuring works by Grieg, Paganini-Milstein, Ravel and Piazzolla. In 2001, 100 years after the composer’s death, he released a CD for Dynamic of fantasias on Verdi arias, entitled Omaggio a Verdi: Fantasie brillanti. February 2002 saw Fanfoni’s debut in New York at Carnegie Hall, and he returned in 2003, marking the start of a tour of the United States. In the same year, he released a recording of Pietro Antonio Locatelli’s 12 Violin Concertos Op.3 for Dynamic, recorded in collaboration with the Reale Concerto ensemble, with Fanfoni as director and soloist. In 2004 the prestigious Italian classical music magazine Amadeus released an album featuring Fanfoni playing Eugène Ysaÿe’s Six Sonatas for Solo Violin Op.27. In May 2005 he gave a concert with pianist Massimo Guidetti in the Quirinal Palace in Rome, which was broadcast by Rai Radio 3. 9
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In 2006 he directed and performed Nicolò Paganini’s Concerto No.6 in E minor with the Orchestra Sinfonica della Repubblica di San Marino; in October the following year he recorded Antonio Lolli’s complete Violin Concertos for Dynamic, with Fanfoni as soloist and conductor of the Reale Concerto ensemble. Following this success, he went on to record Lolli’s complete Sonatas for Violin and Basso Continuo for Dynamic, released in July 2010. In December 2011 he undertook a prestigious tour of Guatemala, performing as soloist with the Orquesta Sinfónica Juvenil Municipal. The tour was in support of the Muni-Joven project, in collaboration with the Italian not-for-profit foundation Enel Cuore and with the Orchestra of Los Altos in Xela. Fanfoni has also played in Nicaragua, performing with the Orquesta Nacional de Nicaragua as both conductor and soloist. In 2012 he embarked on a tour of Japan with the Reale Concerto ensemble as both conductor and soloist, performing in major concert halls in Nagoya, Fukuoka, Sapporo, Kanazawa, Shizuoka and Okayama. Fanfoni’s concert at Toppan Hall in Tokyo was broadcast live on television by NHK, Japan’s national broadcaster. In September 2012 Amadeus released a recording of Ferruccio Busoni’s Violin Sonatas Nos. 1 and 2, featuring Fanfoni in collaboration with the pianist Luca Ballerini. In 2013 he recorded J.S. Bach’s Sonatas and Partitas for Solo Violin BWV1001–6 for Dynamic. The release earned the following review in Amadeus: ‘… a refreshing interpretation, winning in its inventiveness, preciously enriched with a touch of authentic poetry.’ Continuing his fruitful collaboration with Ballerini, in December of 2013 he released Streghe, demoni e violinisti (‘Witches, demons and violinists’) on the Amadeus label, featuring music by Tartini, Paganini and Locatelli. In 2014 he took part in anniversary celebrations for the composer Pietro Antonio Locatelli, as part of the Bergamo Musica Festival, where he performed with the Reale Concerto ensemble. Luca Fanfoni is currently Professor of Violin at the ‘Arrigo Boito’ Conservatoire in Parma. He plays a 1690 violin by Goffredo Cappa. www.lucafanfoni.it 10
Recording: 13–16 April 2014, Bartók Studio, Bernareggio, Milan, Italy Recording producer & engineer: Raffaele Cacciola Editing & mastering: Federico Caldara & Biagio Laponte Artist photo: 훿 Matteo Serratoni (Clementi); Roberto Ricci (Fanfoni) & 훿 2015 Brilliant Classics
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