A l s o ava i l a b l e A selection of Piano Classics titles
ALKAN
Chanson de la folle au bord de la mer
For the full listing please visit www.piano-classics.com
Song of the madwoman on the seashore
A collection of eccentric piano works PCL0038
PCL0056
AmericanRomantics Ƭhe Boston Scene
Ƒoote ❊ Whiting ❊ Paine Chadwicƙ ❊ Ɲevin ❊ Ruthven Lang
PCL0061
Rachmaninoff Piano Concerto 2 Cello Sonata
SCHUMANN
ANNA FEDOROVA
Piano Sonata Op. 14 Romanzen Op. 28 Humoreske Op. 20
Nordwestdeutsche Philharmonie, Laércio Diniz
Benedict Kloeckner, cello
ARTEM BELOGUROV Chickering Piano 1873
PCL0074
PCL0080
PCL0081
Vincenzo Maltempo, Érard 1899
In recent times, the philological execution (on period instruments and in accordance with a strict interpretation of the text) of ancient music is becoming increasingly popular. More or less disputed, it certainly is a valuable tool to return to some "original beauty", cleansed of the customisations and deviations that have inevitably accumulated after years or centuries of interpretation. Yet when the words “philological execution” are pronounced, it immediately brings to mind Bach or Vivaldi, rather than Chopin and Liszt. Today we have a large number of tools that can shed light on romantic music also, finally, on what was supposed to be the spirit of the music of that era. Why is it so important? Because it allows a more conscious reading of a passage written on a different piano (which is a Pleyel piano or a straight-string one in general) than a "modern" one. If Mozart wrote it that way and not in another, it is because his fortepiano allowed him to make certain phrases, to give a certain emphasis, to compose in a certain style; than when an interpreter brings all this on a Steinway he/she should know how to change those parameters keeping in mind the "original mould" with which they were conceived. But the same is true for composers of the Romantic era, despite their pianos seeming very similar, if not the same for most people
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as ours. Yet "our" crossed-string pianos, with cast iron frame in a single casting, born in 1859 with Steinway, albeit quite similar to an Erard – for example – had very different characteristics. A powerful and rough sound, uneven registers that gave to the different parts of the keyboard different tones and colours, while the strings being parallel to one another kept the sound clear in the central area, leaving the portion of the "tenor" (but in general all registers) free to sing and ring. Today we are accustomed to the homogeneous and often too "polite" sound of a Steinway D, and recordings of great purity of sound. But I am convinced that music like that of Alkan rings with an with unexpected power and is indeed much more effective on an instrument such as Erard than on a modern one. The evocation of a "drum roll like” in the bass, the violence of certain chords in fortissimo, the severe lyricism and melancholy, all of which are characteristics of an Erard (Alkan's favourite instrument) stand out better. The works on this CD were specifically chosen as those that can best bring out the personality of this instrument (so well renovated and cared for by Marco Barletta) that sound so special and different from any other modern ones. In 1857 Alkan published a series of important works (the Sonata for Cello and
Piano, the Etude Op. 39, the first two books of "Chants"), including the Trois petites fantaisies Op. Alkan 41. Alkan often gives the impression of being a composer if 'not in time', certainly not of his time! In these three small pieces everything presages what would have been the style of a Prokofiev. The first fantasy has a theme that might seem almost grotesque in its coldness, which alternates with incessant rhythms of march. But the ending is surprising: a thematic recall takes impressionistic colours and timbres; that "almost vibration" marked on the chords surprises by its modernity. In the second Fantasy we are faced with a tune that, once chosen, determines the quality of the entire piece, a very common theme with Alkan. In this case a dotted rhythm and a theme that
evokes almost a children's song. The third fantasy is instead a piece of stubborn power, developed almost in a single breath, with a violence of a Bartók: the tiny thematic cell which it is built releases a nervous earthtremors-like energy! The Minuetto alla tedesca Op. 46 moves on the same degree of energy of the last Fantasia Op. 41, putting together in a way that is absolutely characteristic an esprit that somehow recalls the elegant and gallant style of the Minuetto, but with a violence and heaviness that seem almost to see an elephant dance on the tips... The two Caprices Op. 50 and 50bis are pieces in which Alkan disproves with his usual sharp irony the romantic myth of military glory and patriotism, in a France committed in 1859 (the year of their publication) on the front in the II Italian War of Independence. The first piece is a mix of conflicting feelings and moods, from a grotesque military march to mournful interludes, rides and fanfare until the appearance of the Hero, which in this case is ironically apostrophed as a "Quasiconqueror"... The second piece, instead, Le Tambour bat aux champs, described by B. van Dieren as "a concentrate of tragedy miraculously expressed in a form so brief," presents itself as an rhythmic obsession dear
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to Alkan and highly hypnotic, almost an anticipation of those atmospheres and that use of military rhythm typical of Mahler. The melodic interludes are too strict and are pervaded by a sense of melancholy that does not fail even in one line of the piece. From the same atmosphere comes the Marche Funèbre (followed by Marche Triomphale), published in 1846 but composed a few years ago and played very often by Alkan in his youth concerts. La Marche Funebre is one of his early masterpieces, a piece of extreme severity in which the effect of drums produced by the left hand (so incredibly realistic) accompanies a simple song in long notes; parts where the song becomes more heartfelt and paves without pity the way to this funeral procession, which advances slowly and heavily. Only an episode in “Major” (with constant resonating bells) gives a glimpse of a little light, but the overall atmosphere of the piece is hopeless. The Marche Triomphale, however, is an absolutely bright and sparkling virtuoso piece, where there is not even the shadow of the dark atmosphere that burdened the previous march! Two small pieces enrich the collection
presented on the disc; a small prelude for organ (here simply adapted to the piano) taken from the collection of "Petits préludes sur les 8 gammes du plain-chant", published in 1859 (the 6th, "Poco lento") gives us an idea of how incredibly Alkan’s compositions could range from large to small (actually tiny) forms giving them character and individuality that render them unique (although, from this point of view, the "Esquisses" remain the cornerstone collection, along with the books of "Chants" which are nevertheless miniatures but a bit more substantial...). A piece in Lydian mode in which the hypnotic accompaniment and a simple chant convey a feeling of great simplicity and stasis. One finds a completely different atmosphere in the Eighth of the 25 Preludes Op. 31, subtitled very originally and impressively "Le chanson de la folle au bord de la mer". Here is an absolutely mesmerizing and incredibly evocative piece: the waves of the sea in a background buzz and a fixed and haunting song that at the end hangs on his lips, it shatters into pieces as the mind of the "mad", apparently... Vincenzo Maltempo
Le Palazzetto Bru Zane – Centre de musique romantique française a pour vocation de favoriser la redécouverte du patrimoine musical français du grand XIXe siècle (1780-1920), en lui assurant le rayonnement qu’il mérite et qui lui fait encore défaut. Situé à Venise, dans un palais de 1695 restauré spécifiquement pour l’abriter, le Palazzetto Bru Zane – Centre de musique romantique française est une réalisation de la Fondation Bru. Alliant ambition artistique et exigence scientifique, le Centre reflète l’esprit humaniste qui guide les actions de cette fondation. Recherche et édition, programmation et diffusion de concerts à l’international, et soutien à l’enregistrement discographique, sont les principales activités du Palazzetto Bru Zane qui a ouvert ses portes en 2009. The vocation of the Palazzetto Bru Zane – Centre de musique romantique française is to favour the rediscovery of the French musical heritage of the years 1780 to 1920, and to obtain for that repertoire the international recognition it deserves. Housed in Venice, in a palazzo dating from 1695,specially restored for the purpose, the Palazzetto Bru Zane – Centre de musique romantique française is one of the achievements of the Fondation Bru. Combining artistic ambition with high scientific standards, the Centre reflects the humanist spirit that guides the actions of that foundation. Research and publishing, the organisation and international distribution of concerts, and support for CD recordings are the main activities of the Palazzetto Bru Zane, which opened in 2009. Il Palazzetto Bru Zane – Centre de musique romantique française ha come vocazione di favorire la riscoperta del patrimonio musicale francese del grande Ottocento (1780-1920), offrendogli quell’irradiamento che merita e che ancora gli fa difetto. Ospitato a Venezia in un palazzo del 1695 appositamente restaurato a tal fine, il Palazzetto Bru Zane – Centre de musique romantique française è una realizzazione della Fondation Bru. Coniugando ambizione artistica ed esigenza scientifica, il Centre rispecchia lo spirito umanistico che guida le azioni di questa fondazione. Ricerca ed editoria, programmazione e diffusione di concerti in ambito internazionale, sostegno alla registrazione discografica, queste le principali attività del Palazzetto Bru Zane, il quale ha aperto le sue porte nel 2009. bru-zane.com
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Vincenzo Maltempo Considered “one of the most interesting pianists of his generation (La Stampa)” Vincenzo Maltempo was born in 1985 and completed his musical studies under the guidance of Salvatore Orlando (disciple of the pianist Sergio Fiorentino) graduating with highest honors from the Conservatory "S. Cecilia" in Rome - and after follows the courses of Riccardo Risaliti at the International Piano Academy "Incontri col Maestro" in Imola. In 2006 he won the prestigious piano competition "Premio Venezia", held at the theater "La Fenice", in Venice, received with great favour by audiences and critics. Following this success he has undertaken a series of concerts in Europe, Asia, USA. He played in for the most importat music festival and Theaters in his own Coutry. He dedicated his first CD recorded in 2008 for the Austrian label “Gramola” to the music of Franz Liszt. After the success of this release, he began – in 2012 – a collaboration with the English record label "PianoClassics"; his 3 CD dedicated
to the French Romantic composer Ch. V. Alkan have raised great enthusiasm getting the coveted five stars in such magazines like "Diapason", "Gramophone" and “The Guardian”. Maltempo also recorded for Toccata Classic a CD with the complete piano transcriptions by Josè Vianna Da Motta on Alkan music, a first world recording. Vincenzo Maltempo is considered today one of the most remarkable Alkan interpreters and in Japan, in November 2013, he played the complete set of the Alkan’s 12 Etudes Op 39: one of the very few times in history that an interpreter play them all in a single recital. In 2014 Maltempo’s debut in the "Miami Piano Festival" in Florida (USA) has recieved a big acclaim both from audience and critic, so he will a guest of next editions of the Festival. Vincenzo Maltempo is among the founders and piano teacher of the "Imola Piano Academy – Talent development Eindhoven" in The Netherlands.
Complete bio at: www.vincenzomaltempo.com
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