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Francesco Attesti - Virtuoso Sentimento

Francesco Attesti - Virtuoso Sentimento

Francesco Attesti - Virtuoso Sentimento 0
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Base SKU: 226574120504
UPC: 226574120504

Francesco Attesti - Virtuoso Sentimento (CD NEW)


Label: Cd Baby.Com/Indys
Format: CD
Release Date: 19 Dec 2012
No. of Discs: 1

All our items are brand new. Our customer service is multilingual for your convenience and we offer Royal Mail Freepost Service available for qualifying returns.

Album Tracks

1. Suite Per Orchestra No. 3 In D Major, Bvw 1068: II. Aria
2. Allegretto In C Major
3. Impromptu Op. 90, No. 2 In E-Flat Major, D 899
4. Sonata Op. 2, No. 3 In C Major: I. Allegro Con Brio
5. Sonata Op. 2, No. 3 In C Major: II. Adagio
6. Sonata Op. 2, No. 3 In C Major: III. Scherzo - Allegro
7. Sonata Op. 2, No. 3 In C Major: IV. Allegro Assai
8. Valzer In F Major
9. Gnossienne No. 1
10. Invierno Porteño
11. Verano Porteño
12. Virtuoso Sentimento Shake

Sound engineer: Anthony Lai Recorded at: H. Ford College, Dearborn Heights, (MI - USA) on June, 27th 2012 Mastered by Maurizio Bozzi at Drycastle studios Were the content of this album by Francesco Attesti the program for a recital, one could say that it offers a "robust" proposal at it's central position (the Beethoven sonata), two 18th century entrTes followed by a stupendous page of Schubert and, finally, some encores freely extending between the 19th and 20th, to conclude with the pianist's personal homage to the audience. This is definitely what every interpreter has always pursued: searching for his own audience, whether composed of experts, enthusiasts, concert hall spectators, or potential (and in many ways mysterious) recording listeners. So, our recital CD opens with the very famous Aria from the third Overture (or Suite) for orchestra by Johann Sebastian Bach, classified as BWV 1068 in the official Bach catalog. As a whole, this work is an exuberant suite where the physical presence of trumpets and tympani leads us to think of a more than probable "outdoor" destination for this music. Nevertheless, in it's second movement of our Aria, winds and tympani fall silent, giving way to solo strings in one of the most seductive melodies invented by Bach, of a simultaneously meditative, intimate, and noble nature. Precisely for these characteristics, the Aria has ended up by detaching itself from the suite to live a life of it's own, made up of innumerable arrangements and adaptations that, beyond any changes in timbre, unfailingly reveal each time Bach's prodigious composing engine, his unparalleled balance between the spirits of geometry and finesse. The piano version that Attesti presents here almost denudes the piece of it's 18th-century references, restoring it's sense of a beauty beyond time. On the contrary, the graceful harpsichord Allegretto by Venetian Giovanni Battista Pescetti, whose grandfather and father were organists at the San Marco Basilica, takes us back to the fullness of the 18th century. A composer with an international career, as often happened to the best Italian musicians, Pescetti was active not only in his native city but also in Rome, London, where nine of his sonatas were published in print, Florence, Prague, and probably Dresden, where the manuscripts of six of his harpsichord sonatas exist, important evidence of the transition between the Baroque era and the new gallant style. Let's turn the page now and prepare ourselves for a decisive atmospheric change. Franz Schubert's Op. 90 was published one year before the composer's death and includes four "improvisations" probably written slightly earlier, but not before 1826. This is therefore the "final" Schubert, although using such an adjective for a man between 25 and 30 years old and at the height of his creative happiness, makes an impression. Impromptu Op. 90 n. 2 in E-flat major has a tripartite A-B-A structure, in which the two external sections, made up of rapid triplets, move along in moto perpetuo, while the central section offers, in the distant key of B minor, a singable theme sustained by an unstoppable flow of arpeggios. The A' reprise, finally, contains a return of the B theme in a play of harmonic modulations that bear the signature of Schubert's unmistakable genius. In March of 1796, the Viennese publisher Artaria printed, as Op. 2, three sonatas for piano by Ludwig van Beethoven. Although dedicated to Joseph Haydn, who was for a brief time Beethoven's listless and disputed teacher, in reality these three sonatas constitute a decisive step by Beethoven toward maturing an absolutely original style. The formal structures inherited from Haydn and Mozart are filled here with a new substance of literally unheard of musical thoughts and overflow with an exuberance, above all in the final movements, that not infrequently deforms their old casing. The changes in form and style introduced by Beethoven in his Op. 2 are many: the number of movements, which passes from three to four; the initial movement in sonata form that precisely here

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Company Name AllYourMusic
Shop Name AllYourMusic
Shop Address CD LISTENING BAR INC, 17822 GILLETTE AVE, IRVINE, CA 92614
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