Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Monday, March 26, 2018
Camillo Togni, Complete Piano Music 4, Aldo Orvieto
The blurb on the CD back is useful. It says that the music reflects Togni's rethinking of 12-tone technique, chromatic harmony and lyricism. Fine. The blurb calls Togni "progressive and fiercely independent." Good words.
So the music bears out those words. This is not the 12-tone music of early Schoenberg, surely. It is expressive, it IS lyrical, it has a kind of passion, a personal vision, yet too it is in no way Romantic, but rather of its time, and also of a sort of balance that weighs each element in a sort of quasi-Baroque evenspinning.
The works on this disk all fall into that period described above, 1940-44. There are six compositions or sets of compositions in toto. There is "Suite, Op. 14a," "Serenata No. 2, Op. 11," Quattro Pezzi per pianoforte, Op. 22," "Serenata No. 4, Op. 15," "Serenata No. 5, Op. 18," and "Valtzer (ad usum Lyae)." None of these sound "Modern Generic," to say the least. All are permeated with a special sensibility and dynamic, brought out rather spectacularly well by pianist Aldo Orvieto. The cover tells us that these are "World Premier Recordings." And all the better for that because I find the music extraordinarily convincing.
Nothing ventured, nothing gained. So too, for the modest cost of a Naxos release, you can immerse yourself in some truly outstanding Italian Modernism, with the fresh fingerprint ID of a rather tragically underappreciated Camillo Togni. It makes me want to hear the other volumes, surely, and for that matter whatever else there is.
That should tell you something about how I feel about this volume. Listen closely! It is worth your time.
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