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Subsequent movements alternate between hyper-expressionist vignettes—the thorny 'Accenti'; the broad 'Fregi' ('Friezes'), marked dolcissimo, ma intenso—and ephemeral displays of contrapuntal ingenuity, given names redolent of Bach’s Die Kunst der Fuge: 'Contapunctus primus', 'Contrapunctus secondus', 'Contrapunctus tertius' (the last of these a canon cancrizans, in which the main theme is taken up by a second voice in reverse).
Upon cursory listening, the Quaderno musicale di Annalibera appears severe in character, yet time spent within its pages reveals lyricism and tenderness beneath its macho veneer. Moreover, as with Bach’s music, the Quaderno musicale makes a virtue of marrying technical rigor with expressive depth. In this, Dallapiccola has fashioned a work as reverent of his artistic ancestry as it is affectionate towards his own progeny.
from notes by Patrick Castillo © 2020