Michele d'Ambrosio - Alfredo Casella: Complete Piano Music (2014)

Tracklist

01. Pavane, Op. 1
02. Variations sur une chaconne, Op. 3
03. Toccata, Op. 6
04. Sarabande, Op. 10
05. Notturnino
06. Berceuse triste, Op. 14
07. Barcarola, Op. 15
08. À la manière de…, Op. 17: I. Richard Wagner. Einleitung des 3. Aufzuges
09. À la manière de…, Op. 17: II. Gabriel Fauré. Romance sans paroles
10. À la manière de…, Op. 17: III. Johannes Brahms. Intermezzo
11. À la manière de…, Op. 17: IV. Claude Debussy. Entr'acte pour un drame en préparation
12. À la manière de…, Op. 17: V. Richard Strauss. Symphonia molestica
13. À la manière de…, Op. 17: VI. César Franck. Aria
14. À la manière de…, Op. 17Bis: I. Vincent D'Indy. Prélude à l'après-midi d'un Ascète
15. À la manière de…, Op. 17Bis: II. Maurice Ravel. Almanzor ou le mariage d'Adelaïde
16. 9 pezzi, Op. 24: I. In modo funebre
17. 9 pezzi, Op. 24: II. In modo barbaro
18. 9 pezzi, Op. 24: III. In modo elegiaco
19. 9 pezzi, Op. 24: IV. In modo burlesco
20. 9 pezzi, Op. 24: V. In modo esotico
21. 9 pezzi, Op. 24: VI. In modo di nenia
22. 9 pezzi, Op. 24: VII. In modo di minuetto
23. 9 Pezzi, Op. 24: VIII. In Modo Di Tango
24. 9 pezzi, Op. 24: IX. In modo rustico
25. Sonatina, Op. 28: I. Allegro con spirito
26. Sonatina, Op. 28: II. Minuetto
27. Sonatina, Op. 28: III. Finale
28. A Notte alta, Op. 30
29. 2 Contrastes, Op. 31: I. Grazioso
30. 2 Contrastes, Op. 31: II. Antigrazioso
31. Inezie, Op. 32: I. Preludio
32. Inezie, Op. 32: II. Serenata
33. Inezie, Op. 32: III. Berceuse
34. Cocktail's Dance, Op. 33Bis
35. Pezzi infantili, Op. 35: I. Preludio
36. Pezzi infantili, Op. 35: II. Valse diatonique
37. Pezzi infantili, Op. 35: III. Canone
38. Pezzi infantili, Op. 35: IV. Bolero
39. Pezzi infantili, Op. 35: V. Omaggio a Clementi
40. Pezzi infantili, Op. 35: VI. Siciliana
41. Pezzi infantili, Op. 35: VII. Giga
42. Pezzi Infantili, Op. 35: VIII. Minuetto
43. Pezzi infantili, Op. 35: IX. Carillon
44. Pezzi infantili, Op. 35: X. Berceuse
45. Pezzi infantili, Op. 35: XI. Galop final
46. 2 Canzoni popolari italiane, Op. 47: I. Canzone a ballo (Abruzzo)
47. 2 Canzoni popolari italiane, Op. 47: II. Ninna nanna (Sardegna)
48. 2 Ricercari sul nome B-A-C-H, Op. 52: I. Funebre
49. 2 Ricercari sul nome B-A-C-H, Op. 52: II. Ostinato
50. Sinfonia, Arioso e toccata, Op. 59: I. Sinfonia
51. Sinfonia, Arioso e toccata, Op. 59: II. Arioso
52. Sinfonia, Arioso e toccata, Op. 59: III. Toccata
53. Ricercare sul nome "Guido M. Gatti"
54. 6 Studi, Op. 70: I. Sulle terze maggiori
55. 6 Studi, Op. 70: II. Sulle settime maggiori e minori
56. 6 Studi, Op. 70: III. Di Legato sulle quarte
57. 6 Studi, Op. 70: IV. Sulle note ribattute
58. 6 Studi, Op. 70: V. Sulle quinte
59. 6 Studi, Op. 70: VI. Toccata. Perpetuum mobile



Alfredo Casella is considered to be the leading representative of the generazione dell’ottanta (generation of the ‘80s): a group of Italian composers born around 1880, including Ottorino Respighi, Ildebrando Pizzetti, Gian Francesco Malipiero, Giorgio Gedini and Franco Alfano, who sought to prove that there was far more to Italian music than opera and concentrated primarily on orchestral, chamber and instrumental music. Casella was a controversial and often misunderstood figure – much has been made of his connections with fascism and his decision to remain in Italy under Mussolini – but he was probably just a staunch Italian nationalist who passionately believed in bringing his country’s glorious musical heritage to the fore (he was largely responsible for the rediscovery of Vivaldi’s music in the 20th century).

This 3CD set brings together Casella’s complete works for solo piano. Spanning a period of over 40 years, the collection charts the development of Casella’s musical language, aesthetic views and pianism (he was also an accomplished pianist and conductor). He entered the Paris Conservatoire in 1896 and studied under Fauré, and his early works reflect the influence of his teacher and that of Debussy, whom Casella greatly admired. Works from his middle period – such as the Op.24 Pezzi and the Op.28 Sonatina and the atmospheric and, for Casella, unusually romantic musical poem A notte alta show the composer in much more daring mode, experimenting with form, harmony and all kinds of pianistic techniques. Eventually, in later works such as the Pezzi infantili and Sinfonia, arioso e toccata, Casella reached what he called ‘a more creative stage that is well-defined and clear’, deftly assimilating aspects of the Italian Baroque music that he loved so much in order to find a unique, contemporary voice.

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