Another name i?

The first time i heard this record, I have believed that Niccolo Castiglioni was one of those obscure Baroque composers now are recorded cantatas for castrato and other concertini for piccolo, thrilling adventure to which we invite the music lover at the beginning of the XXI century consisting mostly, as you know, out drawers harmless music already considered obsolete there are two good centuries.

Upon inquiry, javais all wrong since Niccolo Castiglioni CastiglioniNiccolò: Quilisma is a composer born in Milan July 17, 1932 and died in the same city on 7 September 1996, which makes him a younger than its compatriots Giacomo Puccini (born 1858) Luigi Dallapiccola (born in 1904), Bruno Maderna (born 1920) and Luigi Nono (born 1924). Pianist and creator, Castiglioni had to know an American period (Buffalo, San Diego, Ann Arbor, Seattle) before returning to her beautiful country to share his time between his hometown and the Dolomites region.

I do not know you, but one of my favorite music is PulcinellaHindemith / Stravinsky / Weil: 20th Century Music Stravinsky: Ballets / works for the stage / orchestral works (Box 8CD), a work created in 1920 when Stravinsky was tinkering in his own way from John the Baptist Pergolesi: cétait lépoque where the past excited creative imagination of composers, well before quon comes in the name of progress, seriously museum of authenticity, and there is perhaps no less genius than in Pulcinella in the Rite of Spring. Well, the Buranella that opens this disc, composed DAfter Galuppi's sonatas, is a sort of "sequel" as we now say in good French: "Pulcinella II: The Return", somehow, and they have despaired dy never right. Everything is there: pungent wind instruments, instrumental findings, sometimes sweetly anachronistic that helicopter in Dane Skin Jacques DemyPeau Donkey [Collector's Edition] spirit of commedia DellArte, First of art in question being that of not never take seriously.

I know, I know, we need to show the contemporary composer délévation mystic, that he will take the lead in hand, commemorates September 11, or that he devotes an entire opera to the denunciation of the death penalty, a head doeuvre that probably open the doors of the Institute. Personally, I much prefer entertain me with Castiglioni, who has a sense of instrumental Conversation absolutely amazing. So embark on Venice (including the island of Burano, so colorful, little remote nest): Danish quon the orchestra meant here is not the Philharmonia Klemperer, of course, but now that he must do without Klemperer, Ernest Ansermet and Hermann Scherchen, it is glad to have a Gianandrea Noseda on hand to cheer themselves up.

Castiglioni was to find the way like other Darmstadt and the central part (and mistress) of this program, the Altisonanza triptych already burned to a disc NeosAltisonanza, La favole di Esopo, is affected by the evolution of European music of the times. But the famous "vanguard" Castiglioni brings verve and lightness of touch that seduce many. The first time is very rich (in places, an aviary in madness, but nothing like Messiaen), dreamlike ambience of the 3rd part is particularly involved: often located in the treble, immaterial and sometimes comical, she nest music dAltisonanza not that of the Buranella, revised and corrected? However quon can judge without comparing, beautiful execution.

Salmo XIX (Psalm 19), for two female soloists, chorus and orchestra, dune duration of a quarter of an hour, complete the program. This is certainly a work less violent than Ligeti's Requiem for example, and means more reminiscent of sacred music of earlier periods overlapping Castiglioni, literally, the former and the new. Was one feels that the composer someone who not naimait aesthetic taboos, and did not want to deprive themselves of anything.

Gianandrea Noseda, who has already spent disc Dallapiccola, Petrassi and Casella Chandos, appears to have stood embarked on an exploration of Italian music of the twentieth century. This is perhaps one of the most unexpected and remarkable volumes of the cycle.