Dieci Studi sul Trillo - SILVIO OMIZZOLO

Dieci Studi sul Trillo - SILVIO OMIZZOLO (CVLD380)

Giovanni Tirindelli, piano

HD REMASTERED FROM ORIGINAL ANALOG TAPE

Fascicolo I 
01 - Mazurka: Moderatamente animato 2:44 
02 - Marcia Funebre: Molto lento 4:50
03 - Scherzo: Presto. Più tranquillo. Presto 8:09

Fascicolo II
04 - Canzone senza parole: Non troppo lento 4:21
05 - Habanera: Lentamente 4:19
06 - Polacca: Moderato maestoso 5:43

Fascicolo III
07 - Barcarola: Un poco sostenuto 6:24
08 - Minuetto: Moderato, Musetta: Più mosso. Moderato 5:06
09 - Marcetta: Allegro 3:02
10 - Toccata: Vivo (sonoro, con molto pedale, quasi campane) 6:01

Total Time: 50:46

48kHz / 20bit original recording made at Auditorium Pollini, Padova, on October, 1997
Analog remastering and 88.2kHz / 24bit AD High Resolution Digital Master made at MLStudio, Naquera, Spain, on May 25, 2024

Production: Marco Lincetto for Velut Luna Recording, mix and mastering engineer: Marco Lincetto
Musical producer: Giovanni Tirindelli
Photo: Marco Lincetto
Design and layout: L'Image

Silvio Omizzolo was born in Padua in 1905. A pupil since 1923 of Renzo Lorenzoni, he graduated from the Milan Conservatory in 1927. In the meantime he obtained his classical baccalaureate, then graduated in Law at the University of Ferrara. For the composition he was practically self-taught, while treasuring the encouragement and valuable advice of Almerigo Girotto. His first works for piano belong to 1928, followed by numerous works both for the same instrument and for various vocal and instrumental complexes. In 1943 he won first prize at the Competition of the Musicians Syndicate, followed by numerous important awards, including a third prize at the international competition "Queen Elizabeth" in Brussels (in 1969), with the Concert for piano and orchestra, only Italian opera chosen among 200 competitors. Many of his compositions were performed in public and broadcast by RAI. Alongside his work as a composer, he had a rich concert activity, both as a soloist and as a chamber musician. From 1933 to 1974 he held the Chair of Piano at the Pollini Conservatory of Padua, then a tied music institute: he was director of the same institute from 1966 to 1971, contributing decisively to its transformation into a State Conservatory. He died in 1991, at the age of 85. Of his "10 Studies on the trill" from which is the selection for this collection, Silvio Omizzolo wrote: "I wrote the studies because there was no such work, but, as usual, I did not want to give them too much importance. The title is weak, sloppy. I could have called them Concert Studios, as they really are".

The analysis and memory of Wolfango Dalla Vecchia
After the first compositions for piano (Elegy, Dream, Ghosts, Prelude and Fugue) appeared between '28 and '29, the personality of Silvio Omizzolo is manifested in all its evidence in the very ambitious and prestigious Dieci Studi sul Trillo, composed in 1936, published by Ricordi in 1939 and performed for the first time by Carlo Vidusso in Milan in 1940. In their eclectic pianism, these ten studios compose a singular work that is clearly detached from a whole series of similar piano works, for the solid architecture of the whole, which does not indulge in any inspired randomness, but rigorously concludes a precise drawing, in which the educational purpose provides the pretext for the creation of a suite of traditional piano forms, in which the trill, in all its variants, It assumes contextual importance not as a decorative or secondary detail, but as a basic semantic element, provocative of various lyrical states. The themes are full of verve and always varied; but the deus-ex-machina of every emotion is always this changing and impervious trill without interruption, from the subdued and measured his appearance in the initial Mazurka, to the gloomy rolls of the Funeral march, the delicate murmurs of the Canzone senza parole, the witty exploits of the Marcetta, the bright trills of the Polacca, the complex ones of the Barcarola and the Minuetto, the multiple, arduous and étonnants of the Toccata finale.

A historical and technical note by Marco Lincetto
This project was recorded by me in the long gone month of October 1997 and released soon after in December of the same year with this my label VELUT LUNA that was then taking its first steps for just a couple of years (the first edition of '97 carried as catalog number CVLD009, while today this number CVLD380...).
It is undoubtedly one of the most important project I have ever recorded and produced, first of all because Giovanni Tirindelli and I represent the final links of that princely artistic descent that starts from Silvio Omizzolo, of which Giovanni was one of the last students, continues with my father Adriano Lincetto, also a student of Omizzolo and curiously born in 1936, or the year of composition of these Dieci Studi, of which he will become one of the only three great performers, together with Carlo Vidusso and Franco Angeleri, until the execution of Giovanni.
Throughout my childhood and youth I lived with the long hours of study of this score by my dad, in preparation for his many concerts in which he performed it and then, decided to play as last songs (Mazurka, Marcia Funebre and Toccata) of his last concert in public, in October 1979, with Silvio Omizzolo sitting in the front row.
These are moments of life in music and for the music that I, John and a few others have touched with hand, and from which we have drunk and that today we can pass on to posterity.
Therefore, this first absolute recording of the studies of Omizzolo, puts in my opinion a kind of tombstone on any other interpretation or recording that may be proposed of this hypnotic, unique and fundamental composition of the piano literature of all time.
From a technical point of view, it is a very accurate work already at the time, a pure recording made with only two omnidirectional microphones in the wonderful hall of the Auditorium Pollini, designed and wanted by Adriano Lincetto and Wolfango Dalla Vecchia, which in various ways have succeeded in the management of the Conservatory that houses it. And again, then, the intertwining of life is not random and makes sense.
Thanks to the technology matured in the last 27 years, today I’m reproducing a "remastered" version, which in reality leaves the original goodness unchanged, adding an even better presence, a better spaciousness and a new great overall freshness to the sound. All this strengthened and conveyed at best also by the precious CD holder made of gold foil.