Recorded at the Teatro Ristori in Verona between 13 and 15 April 2016, Fiammetta Corvi in Concert is the first CD published by Fiammetta.
The program, whose excerpts can be heard online on this website, ranges from Mozart to Chopin, from Brahms to Granados, offering true emotions thanks to the interpretation and sensitivity of the execution.
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W. A. MOZART - Sonata in la maggiore K. 331
Andante grazioso (15.03)
Alla Turca: Allegretto (3.45)
F. CHOPIN - Ballata n. 1 in sol minore op. 23
Largo – Moderato – Con fuoco (11.05)
J. BRAHMS - 16 Valzer op. 39
N. 1 (1.08)
N. 2 (1.37)
N. 3 (0.59)
N. 4 (1.31)
N. 5 (1.32)
N. 6 (1.16)
N. 7 (2.18)
N. 8 (1.36)
N. 9 (1.25)
N. 10 (0.39)
N. 11 (1.31)
N. 12 (1.40)
N. 13 (0.53)
N. 14 (1.49)
N. 15 (1.30)
N. 16 (1.07)
E. GRANADOS - Danze spagnole
The heterogeneus programme contained in the cd that includes different styles and periods allows to appreciate the technical and expressive qualities of Fiammetta Corvi. In fact it ranges from classicism (Mozart) to romanticism (Chopin), reaching late-romanticism (Brahms) and finishing with the twentieth century (Granados).
The Sonata in la maggiore K. 331 is one of the most famous compositions by Mozart (1756-1791). It was published in 1784 by the editor Artaria. It is conceived in a free form and is the only one (apart from the young Sonata K. 282) whose first movement is not in “Forma-Sonata”. The first movement is “Andante con variazioni” based on an exquisite thematic inspiration of elevated melodic purity, like a Lied. The “Minuetto” (the second movement), with admirable timbre resources, is distinguished by its spirituality and its lyricism. The very famous third movement (“Alla turca”) is in French Rondò form. In this Sonata Mozart adopts a virtuoso hand: passages in octaves, crossing of hands, parallel thirds and broken chords. This Sonata, together with the Sonatas K. 330 and K. 332, belongs to Mozart’s so-called “Viennese years”.
The magnificent Ballata n. 1 in sol minore, op. 23 by Chopin (1810-1849) is a page full of intense passion, emotion and melancholy. As regards the intensity of the melodic accent, the richness of the harmonic structure, audacious for the times, and its virtuoso element it can be considered among Chopin's most complete works. It has a three-part structure, beginning with a Largo, followed by a moderato and ending with a “Presto con fuoco”. Its musical value is strictly linked to the contrast between calm and surge and between the rising and the easing of pathos. It is a composition enanced by accents of aristocratic Parisian mondanity and represents the perfect incarnation of the romantic soul in the dimension of the sound of the pianoforte. Chopin started composing it in the spring of 1831 in Vienna and completed it in 1835 in Paris. The polish musician was the first to give the title of “Ballata” to an instrumental piece; originally it was known as a refined vocal composition.
The 16 Waltzes op. 39 by Brahms (1833-1897), originally written for piano four hands in 1865, are here proposed in the version for piano two hands, re-elaborated four years later by the same Brahms. They are works of an extreme limited dimension, very similar to each other in structure and still enchanting in their drawing-room semplicity. They are Waltzes of tender brilliance, that can be suitable for family context and for little concert halls. The basic differences among the varied pieces can be placed in the articulation of the details, in the colour and in the detachment of the movements. It is a lovely collection, that has to be listened and appreciated in its whole. The musician's love for the dance movements is linked to the fact that such rhythmical typologies are in splendid accord with the melodic creative nature of the composer, often animated by popular influences, that aim to touch the soul of the people they belong to. Not just by chance these Waltzes convey the atmospheres of the “Landler” (a popular german dance similar to the waltz) more than those of the abstract Viennese waltz. They are conceived in an ABA form. They were dedicated by the composer to the famous music critic Eduard Hanslick, author of the essay “Il bello musicale” (1854).
Two splendid Spanish Dances: Oriental and Andaluza by Enrique Granados (1867-1916), a composer rarely heard nowadays and unfairly undervalued, are here performed. His attention is generally turned more to the galant Spain of the XVIII century than to the genuine folklore, whose features and essential rhythms are however maintained. His art is here half-way between an intimate lyrical confession, that assumes almost personal characteristics, and the deep expression of the soul of a Country. Oriental, the second of the 12 spanish dances, written between 1892 and 1900, is a sort of confession that recalls a delicate and suffused spanishism and, at the same time, intense passion and spirituality. The most famous dance is the fifth one – Andaluza – that, besides the technical-virtuosistic aspect, presents an intensely nostalgic melody.
A cd, therefore, which can be listened to with greatest pleasure both for the value and the beauty of the pieces proposed and the interpretation of Fiammetta, who gives us deep emotions.
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