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Track(s) taken from CDA67869

Tre canti

composer
Ildebrando Pizzetti (1880-1968)
1924; for cello and piano; transcribed for violin and piano by the composer

Hagai Shaham (violin), Arnon Erez (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: June 2010
Jerusalem Music Centre, Israel
Produced by Eric Wen
Engineered by Zvi Hirshler
Release date: May 2014
Total duration: 12 minutes 8 seconds

Cover artwork: Caryatid (1911) by Amedeo Modigliani (1884-1920)
Musée d'Art moderne de la Ville de Paris / Giraudon / Bridgeman Images
 

Reviews

‘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, 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’ (The Guardian)» More

Pizzetti’s Tre canti were written in 1924, originally for cello and piano, then transcribed by the composer for violin. This is much less ambitious music, conceived on a smaller scale and at a lower emotional temperature than the Violin Sonata, but exuding considerable charm in the first two pieces, and becoming more dramatic in the third.

from notes by Nigel Simeone © 2014

Pizzetti rédigea ses Tre canti pour violoncelle et piano en 1924, avant de les transcrire pour violon. Comparé à la Sonate, ils sont bien moins ambitieux, conçus à moindre échelle et avec moins de fièvre émotionnelle, mais exsudent énormément de charme dans les deux premiers morceaux, le troisième prenant un tour plus dramatique.

extrait des notes rédigées par Nigel Simeone © 2014
Français: Hypérion

Pizzettis Tre canti wurden 1924 zuerst für Cello und Klavier geschrieben und danach vom Komponisten für Violine transkribiert. Diese Musik ist weit weniger anspruchsvoll, kürzer und weniger emotional als die Violinsonate, verströmt aber beträchtlichen Charme in den ersten beiden Stücken, und wird im dritten zunehmend dramatisch.

aus dem Begleittext von Nigel Simeone © 2014
Deutsch: Christiane Frobenius

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