DE FORMA SONATA: LISZT,BERG,CHOPIN - GIUNTI

DE FORMA SONATA: LISZT,BERG,CHOPIN ( CVLD224 )

Author : LISZT BERG CHOPIN
Performer : ALESSANDRA GIUNTI

Notes

Classical. Original compositions by Liszt, Berg, Chopin. Alessandra Giunti grand piano.
88.2kHz/24bit original live-in-studio recording made at Magister Area Studios, Preganziol, on February 2012.

Composed between 1852 and 1853, published in 1854 by “Breitkopf & Hartel” in Leipzig and dedicated to Robert Schumann, Liszt’s Sonata is placed in a period of the composer’s creative life in which thought clearly prevails over virtuosity. Never, in fact, had the composer conceived a work of such vast proportions for the piano. Creator of the Symphonic Poem, that is, of something that decidedly goes against the “Enlightenment” construction of the sonata form, Liszt attempts a composition taking into account only a minimal part of the formal presuppositions that this type of artistic creation entails. It is a composition written in a single movement in which a complete reversal of the genre takes place: the scheme of the sonata form is bent and adapted inexorably to new expressive needs, with a formidable work of construction and a fantastic dramatization of all the elements of the discourse. From these premises we can understand why the work escapes the traditional sequence "exposition-development-reprise", and is structured according to a cyclical form with the principle of thematic development assimilated to the procedure of variation. The main indications of the movements are: Lento assai, Allegro energico, Andante sostenuto, Allegro energico, Andante sostenuto and Lento assai. From what has been said so far, Liszt's Sonata in B minor is a symphonic poem for piano and at the same time a true encyclopedia of musical romanticism. The only piano page in Berg's catalogue was composed between the summer of 1907 and 1908. Printed in 1910 at the author's expense, it had the opus number 1 and the title of Sonata.
It is in a single movement, since the young musician accepted the advice of Schoenberg, his teacher, not to add any more. Despite this, this formal structure appears classical: an exposition (with ritornello), a development, reprise and a short coda. All constructed with precision, and articulated with a notable economy of thematic material. But the emotional climate is far from eighteenth-century models: the chromaticism - which is juxtaposed with diatonism - introduces a tension that progressively sharpens, to be reabsorbed only in the finale, after a very dramatic central explosion. In a rigorous architecture, therefore, a passionate sensitivity and all the excesses of romantic delirium are expressed. The sonata op. Chopin's Sonata No. 35 was born around the Funeral March composed in 1837. The first and last movements were sketched between 1838 and 1839, while the Scherzo dates back to the late summer of 1839, when the idea arose of organizing all the movements in a sonata that would gather around the Funeral March, which had been known to many for some time. It was published in May 1840. The usual structure of the first movement appears rather different from the rigorous conduct prescribed by tradition: the Development, for example, is not the moment to explore all the rhythmic and harmonic possibilities of the themes, as per Beethoven's conception, but the place to exalt the expressiveness of the dramatic potential; the Resumption is not the natural conclusion of a piece, but the culminating point of greatest creative tension. The Scherzo and the Funeral March, although they present themselves as ritual moments of the classical sonata, actually represent particular phases of the composition. Thus the very short conclusive Presto - which presents itself in the form of a perpetual motion where neither melody nor rhythm are marked - is more an evocation of the piano color entrusted to the two hands that play parallel musical lines. The exceptional character with which Chopin approaches the sonata form and the care of the artistic form, to the maximum perfectionism, have coined a unique, extremely rare and extremely precious example of a work of art.

Production: Velut Luna
Musical producers: Achille Gallo & Alessandra Giunti
Recording Engineer: Marco Lincetto
Editing Engineer: Matteo Costa
Photo: Marco Lincetto
Layout: the image
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