Listen to the slightly witheld pathos of Caro mio ben and the persuasion and intelligence of Monologo del "tempo", for instance. The Renaissance rhetoric is – rightly – not poured out, but appropriately filtered. There are tenderness, passion and drama, of course. They need to be approached – shepherded, almost – more obliquely and with greater self-awareness than for the most part is the case here. Their meanings and themes are not those of our age. This needs a subtler and more nuanced approach by the singers for whom these are not the originals. Technical shortcomings of the singers notwithstanding, one is led into a strange and clearly-defined world: that of a composer distilling the essence of his sources in such a way as to shed new light onto them. The sequence of songs lends the two CDs variety and room for reflection. But the improperly held notes and lack of delicacy and negotiation of the subtleties of line sometimes detract from a set of works that are exposed, intimate and allowable of no room for error. The works for lower registers are taken by Elisabetta Pallucchi and Roberto Abbondanza they have a good grasp of the songs' drama and need for variations in dynamic. Their articulation is neither distinguished nor sufficiently filled with color or style. Too often the singers (two sopranos, mezzo and baritone) approach the delivery of the songs in an almost perfunctory manner they lack both soul and precision. In fact, these performances substantially lack the depth and reserve, the awareness of their inherent intensity really to lend them the necessary impact. If only the singers would gaze upwards a little – and not lose their vision in the older scores. It's hard not to think that there must have been times when he wanted to nudge the vocalists slightly towards a less formal, more genuine, or even more abandoned approach (certainly a more genuinely expressive one) to Dallapiccola's love of life. As is the case with all the songs here, though, Filippo Farinelli piano playing is sensitive and supportive. Yet there is a violence and adventurousness in Dallapiccola's writing which is not really matched by the style of singing – contained and somewhat prim – of the singers. In some ways Dallapiccola's work sought to share the sparseness of Berg or Webern, whom he admired.Īs the second CD wears on, some of the more original and non-tonal pieces make a contrast – the Quattro liriche di Antonio Machado, in particular.
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Potentially, though, this fact provides insight into Dallapiccola's preoccupations of melody, shifting tonality (Monteverdi's chromaticism sits well in a world where tonality was being, at least, "re-examined" by composers in these years), meticulous paring of harmony and melodic line to its essence… a major aspect of works like Il Prigioniero. Frankly, this makes their greatest value that of greater historical curiosity than songs entirely in their own right. This means that most of the items here are likely to be familiar to many listeners. The rest are effectively arrangements, realisations or re-interpretations of earlier works.
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Indeed, of them all only the Rencesvals and Quattro liriche di Antonio Machado are entirely his own, original, work. Thus it is that Dallapiccola drew on the music of Renaissance madrigalists, Monteverdi and his contemporaries for the bulk of the songs collected here.
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It would be almost inconceivable that an Italian composer could operate in a vacuum, so rich is the musical heritage of that culture. Indeed, the first extant of Dallapiccola's compositions were for voice and piano – although he suppressed them. Luigi Dallapiccola lived from 1904 to 1975 and wrote perhaps the most lyrical twelve-tone compositions of the trio of twentieth-century Italian composers that also included Berio and Nono. Gioite al canto mio (from "Euridice") 4.Illustratevi, o cieli (from "Il ritorno d'Ulisse in patria") 3.Sonetto spirituale in stile recitativo 2.Sonetto spirituale (Maddalena alla croce) 3.Rencesvals, trois fragments de "La chanson de Roland" 4.Di misera Regina from "Il ritorno di Ulisse in patria" 3.