FLUTE FOR DINNER - Ammendola, Benciolini, Candiotto, Casa, Degli Innocenti, Di Giorgio, Guglielmo, La Malfa, Nobile, Pavan, Sabbadin, Valerio, Bisi

FLUTE FOR DINNER ( CVLD248 )

Author : ADRIANO LINCETTO; ARTHUR HONEGGER AND FRANCIS POULENC
Performer : Gloria Ammendola, Tommaso Benciolini, Simone Candiotto, Giulia Casa, Ludovico Degli Innocenti, Marco Aurelio Di Giorgio, Elia Guglielmo, Veronica La Malfa, Roberta Nobile, Caterina Pavan, Alice Sabbadin, Niccolò Valerio; Maria Bisi (grandpiano)

Tracks

Adriano Lincetto
Flute Quartet in C (1977) 12:16
01. Allegro decisive and very marked
02. Andante cantabile and dreamy
03. Very lively
Sonatina for flute and piano (1978) 9:41
04. Cheerful and lively
05. Elegiac Andante
06. Allegro ironic and grotesque
07. Sequence for flute solo (1979) 3:03
Childhood Games for three flutes in C (1979) 4:39
08. Cheerful and witty
09. Slowly but not too much
10. Sliding
Arthur Honegger (bonus tracks)
11. Dance de la Chèvre (1921) 3:27
Francis Poulenc (bonus tracks)
Sonata for flute and piano (1956) 11:44
12. Allegro Melancholico
13. Chant
14. Soon playful
Adriano Lincetto
15.Adagio and Allegro for flute orchestra (1982) 5:54

88.2 kHz / 24bit original recording made at Auditorium Pollini, Padova, Italy on December 11st, 12nd 2014

Production: Velut Luna
Musical producer and artistic direction: Daniele Ruggieri
Recording and mastering engineer: Marco Lincetto
Editing engineer: Matteo Costa
Cover and inside photos: Marco Lincetto
Design: L'Image
Marketing and Sales Manager: Patrizia Pagiaro

Notes

Adriano Lincetto dedicated an important part of his life to musical education and the promotion of young talents, in his role as a piano teacher, holding a chair since 1966. And this important educational and teaching activity saw him as a protagonist within the "Cesare Pollini" Conservatory of Music in Padua for over 30 years: a conservatory that he also led with tenacity and stubbornness in the last 10 years of his life, before his premature death on April 24, 1996.

The flute is a very important instrument and considered within the corpus of Adriano Lincetto's compositions. And an important reason, perhaps the most important, leads us to refer to the main source of inspiration of the Paduan Master, the one that underlies all his compositions: the closeness to the performers.
It is well known, as the great Radu Lidijenko also underlines in his critical writings on the Maestro from Padua, that Lincetto wrote without a doubt because "he could not help but write": that is, it was a primary need of his being an artist; but then, equally, writing for him also meant "giving" his music to his friends, or to his son Francesco, who, coincidentally, was an excellent flautist. In this regard, it cannot be forgotten that an important part of the concert career of Adriano Lincetto the pianist was developed in the formation of the chamber duo with flute, with Enzo Caroli, in the 70s and 80s.
So, most of the compositions on this album are written, thought out, dedicated to these important... friends.

It is always difficult to talk about the compositional style of an author of the second half of the 20th century, clearly independent, that is, free from the dictates of the "schools" ("of the regime", allow me to add with a deliberate polemical spirit...). It is difficult because a sensitive and deeply cultured person cannot help but be influenced by the stratifications of a thousand and more years of previous musical literature. And this in a conscious way, but certainly even more unconsciously.
It is therefore a difficult task for the "good critic" to try to identify and isolate these sources of inspiration. Lincetto was certainly in love with the radical innovation brought to the world of music by two major revolutionaries such as Debussy and Stravinsky, whose ways and customs Lincetto sometimes cites. But he was not insensitive to the ability to synthesize the great popular music of Eastern Europe accomplished by authors such as Bartok or Prokofiev.
Adriano Lincetto is certainly a child of the 20th century (even if we cannot forget a fundamental composition for string orchestra from 1980 which was significantly entitled "Suite per Paer").
Digging deeper into the details, it is very interesting to note a strong need to communicate to the interpreter his vision of the notes written on the staff, even using words: the definitions of the individual movements and the agogic indications along the score are always illuminating and I would say lightning-fast. Taking the Sonata for flute and piano as a paradigmatic example, we can and must note the titles of the movements: Allegro spigliato, Andante elegiaco, Allegro ironico e grottesco. An adjective is never missing from the classic definitions: always very precise adjectives, which make the sensitive interpreter perceive the almost desperate need of the author that his music be understood to the full. No less the agogic indications: "fluent, but marked" we read at the beginning of the third movement of the Sonata...

Here, the real great difficulty in translating Lincetto's compositions into sounds lies, even more than in the strict technical difficulty of performing the notes correctly, in being able to fully understand what the author has tried to communicate with such imagination and tenacity with those notes, not separated from the words that want to further define them.

This communicative "anxiety", finally, clearly distances the author from the cold dryness of the greats of the past, such as for example JSBach, who instead notoriously left almost exclusively to the notes written on the stave all his artistic message (to the somewhat perverse joy of the many imaginative interpreters who over the centuries have tried their hand at the music of the great German author).
And in this too Adriano Lincetto is not only a son of the 20th century, but also in some ways a precursor of the twenty-first century, the century of great direct communication, the century of the internet and social networks.
I have always wondered how Adriano Lincetto would have lived this new era and I have always answered that he would have had a lot of fun and perhaps he would have found his most authentic natural "artistic habitat". Unfortunately Adriano Lincetto passed away prematurely at the dawn of the new era, and all our curiosity is inexorably destined to remain unanswered.