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CHAN 10561
    4 Ratings
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CHAN 10561

Dallapiccola: Orchestral Works, Volume 2

The Classical Shop
release date: January 2010

Recorded in 24 Bit / 96Khz
album available as a Studio File
Originally recorded in 2009

Artists:

BBC Philharmonic


Gianandrea Noseda


Paul Watkins

cello

Gillian Keith

soprano

Venue:

Studio 7, New Broadcasting House, Manchester



Producer:

Brian Pidgeon


Mike George



Engineer:

Stephen Rinker


Michael Smith

(Assistant)

Record Label
Chandos

Genre:

Orchestral & Concertos




Total Time - 66:44
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LUIGI DALLAPICCOLA

(1904-1975)
   
premiere recording
 

Partita (1930-32)

29:01  
  for Orchestra  
  Alla memoria di Ernesto Consolo  
1 A Passacaglia. Molto solenne - 8:27
2 B Burlesca. Presto ma non troppo - Pochissimo meno - 4:48
3 C Recitativo e Fanfara. Violento - Calmo - Un poco mosso, ma sempre calmo - 5:18
4 D Naenia B.M.V. (con soprano solo). Molto tranquillo - 10:27
 Gillian Keith soprano
 

Dialoghi (1959-60)

18:57  
  for Cello and Orchestra  
  A Gaspar Cassadó  
5 I Minim=40 - 3:36
6 II Minim=80 (furioso) - Molto ritmico (Minim=80, sempre) - 4:06
7 III Minim=40 - Un poco più scorrevole (flessibile) - 3:16
8 IV Crotchet=120 - Crotchet=180; Minim=90 - 3:58
9 V Minim=40 - Quasi cadenza (rapido) - 3:59
 Paul Watkins cello
 

Quattro Liriche di Antonio Machado )1964)

5:50  
  Version for voice and chamber orchestra arranged by the composer from version for soprano and piano (1948)  
10 I Mosso; con vivacità (Crotchet=112 - 116) - 1:04
11 II Lento; flessibile (Crotchet=38 - 40) - Crotchet=34 - 36 - 1:44
12 III Sostenutissimo (Tempo I) Crotchet=54 - 1:09
13 IV Quasi adagio; con amarezza (Crotchet=44 - 46) - 1:52
 Gillian Keith soprano
 

Three Questions with Two Answers (1962-63)

13:02  
  for Orchestra  
14 1 Sostenuto; sottovoce - 0:57
15 2 Moderato; tranquillo - 4:23
16 3 Impetuoso; violento - Calmando - Più lento - 0:37
17 4 Largamente; sostenutissimo - Poco movendo - 3:48
18 5 Molto sostenuto - Tutti diminuendo - 3:15


The Musica Italiana series is very close to the heart of the Principal Conductor of the BBC Philharmonic Gianandrea Noseda, and especially the music of Luigi Dallapiccola. From the moment of his appointment to the BBC Philharmonic Noseda spoke of his ambition to record the works of this twentieth-century composer.

The BBC Philharmonic has been praised in The Guardian for its performances both live (‘Noseda’s performance was both meticulous in its judgment of every shift in orchestral colour and filled with a sense of anticipatory tension. Dallapiccola’s melodies, angular yet lyrical, unwound with rapt introversion’) and in the studio (‘Noseda understands the music’s lyrical strength and fragile sound world perfectly; the playing of the BBC Philharmonic is exemplary too’).

Dallapiccola was in many respects the quintessential Italian, in love with lyricism, the Romance languages, classical antiquity, Dante, Monteverdi and Verdi. Yet a certain orientation towards Austro-German art led him to follow Busoni, Schoenberg and Webern in seeking new modes of musical architecture. Dallapiccola was to become the first significant Italian composer to embrace Schoenberg’s twelve-note method of composition. But he embraced it from a wholly Italianate direction, deriving his music from twelve-note rows but keeping them subservient to his lyrical and visionary expressive impulses. Though he came to prominence in Mussolini’s Italy, Dallapiccola was a dedicated anti-Fascist, in danger of his life during World War II. Many of his works deal with the themes of persecution, imprisonment, resistance to tyranny, the importance of holding fast to civilised values. For him, art possessed moral force; it is this, combined with the refinement and perfectionism of his technique that makes him such an abiding inspiration in a later age of cultural relativism.

In this latest volume the Partita receives its premiere recording. Gillian Keith takes the solo role in this, and in Quattro Liriche di Antoni Machado. Paul Watkins performs the solo in Dialoghi and the programme is completed with the 1962 Three Questions with Two Answers, a work thematically related to Dallapiccola’s opera Ulisse.

 

“…A huge range of mood  and dynamics – whether mysterious, yearning, vast, dramatic, or miniscule – are superbly conveyed in Gianandrea Noseda’s performance, in which ‘…there is no end to out wonderment, yet from the very beginning we feel at home’.
                                                             

Tim Mottershead
 

Tempo Magazine - October 2010

                            *****
                                                                             

Giuseppe Rossi
 

Musica - May 2010

“The second volume in this series serves up some of Dallapiccola’s finest works.”

Arnold Whittall
 

Gramophone - May 2010

Performance *****    Recording ****
“…this is an important and welcome addition to the slender Dallapiccola discography.”

Misha Donat
 

BBC Music Magazine - April 2010

“…the Partita (1932) occupies the dimensions of a symphony, complete with Mahler-like song finale, as Dallapiccola cunningly reworks material from Italian Baroque, enriching his sources with lavish re-harmonisations and orchestration. The song cycle Quattro Liriche (1964), too, is compelling. His Dialoghi (1960) and Three Questions with Two Answers (1963) are tougher nuts, but their graceful lyricism is powerfully captured by Noseda’s immaculately shaped phrases.” ****
 

Philip Clark

Classic FM Magazine - April 2010

“…one looks forward to further volumes in this immensely valuable project.” “…those new to Dallapiccola should start here.”

Richard Whitehouse
 

International Record Review - February 2010




*****
S Lichtenstein

*****
These rarely heard compositions really deserved such an accurate rendering. Even more, they needed it, because the complexity and (at least apparent) severity of the two later ones might very well discourage the listener, unless guided by the clarity and warmth, both musically and sonically speaking, of a recording such as this. Dallapiccola emerges as an ideal case of a composer being fruitfully influenced by Schoenberg under the respect of musical language and form, while filling it with an original, more lyrical content. A deeply pleasant journey through almost unexplored territories. P.S. A special praise for making the hi-res version available. Hope the other volumes of the series will appear this way too. Peter Dimpflmeier
P Dimpflmeier

*****
Excellent music and recording quality.
M McNamara

*****
Well I basically purchased this as a download as filler for another Italian composer. Initially I was marginally impressed by the short audio sample made available. The hirez version is altogether a different animal and this music certainly has plenty of dynamism and variation to keep you interested enough to explore more of his music. The Partita can easily be used as demonstration tracks with a guess the composer as a bonus feature.How about One question and one answer? It is When will there be more like this .
D Raffells