Goffredo Petrassi - Complete Piano WorksФормат записи/Источник записи: [DSD][OF] Наличие водяных знаков: Нет Год издания: 2023 Жанр: Classical Издатель (лейбл): fonè Продолжительность: 01:06:48 Наличие сканов в содержимом раздачи: Буклет PDF Контейнер: DSF (*.dsf) Тип рипа: tracks Разрядность: 64 (2,8 MHz/1 Bit) Формат: DSD Количество каналов: 2.0 Источник (релизер): highresaudio.com
Треклист:
Partita
01. I. Preludio Allegro
02. II. Aria Calmo con dolcezza
03. III. Gavotta (grottesco) Moderato
04. IV. Giga Vivace Siciliana e Marcia per pianoforte a 4 mani
05. Siciliana Andantino
06. Marcia Allegro Toccata
07. Adagio – Presto – Adagio Piccola invenzione
08. Andantino Invenzioni
09. I. Presto Volante
10. II. Moderato – Piu presto
11. III. Presto, leggero
12. IV. Moderatamente mosso, scorrevole
13. V. Andantino, non molto mosso e sereno
14. VI. Tranquillo
15. VII. Scorrevole
16. VIII. Allegretto e grazioso Petite piece
17. Allegretto e grazioso con spirito [e comodita] Oh les beaux jours!
18. I. Bagatelle Andantino, un poco mosso
19. II. Le petit chat (Miro) Allegro [non presto] 20. Conversazione con Goffredo Petrassi a cura di Raffaele Pozzi
Исполнители:
Roberto Prosseda, piano Alessandra Ammara, piano (tracks 5, 6)
Лог проверки качества
foobar2000 1.6.6 / Dynamic Range Meter 1.1.1 log date: 2023-02-06 21:27:58 -------------------------------------------------------------------------------- Analyzed: Roberto Prosseda / Goffredo Petrassi-Integrale delle opere per pianoforte -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR13 -9.37 dB -25.87 dB 2:27 01-Partita, I. Preludio: Allegro DR16 -9.60 dB -29.39 dB 2:59 02-Partita, II. Aria: Calmo con dolcezza DR14 -7.61 dB -26.80 dB 1:35 03-Partita, III. Gavotta (grottesco) Moderato DR13 -9.04 dB -26.31 dB 1:46 04-Partita, IV. Giga: Vivace DR13 -14.74 dB -29.89 dB 1:55 05-Siciliana e Marcia per pianoforte a 4 mani, Siciliana: Andantino DR14 -9.54 dB -27.10 dB 1:23 06-Siciliana e Marcia per pianoforte a 4 mani, Marcia: Allegro DR14 -7.11 dB -27.07 dB 7:32 07-Toccata, Adagio – Presto – Adagio DR12 -14.69 dB -30.23 dB 1:05 08-Piccola invenzione, Andantino DR13 -11.02 dB -28.33 dB 1:25 09-Invenzioni, I. Presto Volante DR13 -11.94 dB -28.26 dB 2:59 10-Invenzioni, II. Moderato – Più presto DR12 -7.32 dB -25.41 dB 1:38 11-Invenzioni, III. Presto, leggero DR14 -6.80 dB -26.62 dB 3:16 12-Invenzioni, IV. Moderatamente mosso, scorrevole DR14 -13.96 dB -30.35 dB 4:09 13-Invenzioni, V. Andantino, non molto mosso e sereno DR14 -11.54 dB -29.91 dB 2:52 14-Invenzioni, VI. Tranquillo DR14 -12.03 dB -29.63 dB 3:20 15-Invenzioni, VII. Scorrevole DR14 -11.25 dB -28.46 dB 2:31 16-Invenzioni, VIII. Allegretto e grazioso DR14 -12.84 dB -29.74 dB 1:58 17-Petite pièce, Allegretto e grazioso con spirito [e comodità] DR14 -9.77 dB -29.00 dB 3:33 18-Oh les beaux jours! I. Bagatelle: Andantino, un poco mosso DR17 -7.01 dB -27.90 dB 3:35 19-Oh les beaux jours! II. Le petit chat (Mirò): Allegro [non presto] DR15 -7.48 dB -26.25 dB 15:36 20-Conversazione con Goffredo Petrassi a cura di Raffaele Pozzi -------------------------------------------------------------------------------- Number of tracks: 20 Official DR value: DR14 Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz Channels: 2 Bits per sample: 1 Bitrate: 5645 kbps Codec: DSD64 ================================================================================
Об альбоме (сборнике)
Goffredo Petrassi's interest in the piano goes back to his first approaches to music. He himself remembers the curiosity aroused by an old Viennese instrument dated 1826 - a contemporary therefore of Beethoven -which was in the house of an uncle at Zagarolo, the small town in the Roman countryside where the composer was born on 16 July 1904. After moving to Rome at the age of seven, Petrassi entered the Schola Cantorum of San Salvatore in Lauro. It is known that the experience of boy chorister, which followed the old tradition for training musicians for the papal chapels, represented a spiritual and musical deposit of the maximum importance for the future composer. The developments of these preliminaries were however still distant. His activity as chorister ended with the change of voice and Petrassi, coming from a family of modest economic means, started to work at the age of fifteen as assistant in a music shop. The shop was subsequently taken over by the HP-FabbricaItalianaPianoforti (Italian Piano Manufactury) of Turin whose managing director was Guido MaggiorinoGatti, a leading organizer and music critic in Italy at that time; the shop then moved to Corso Umberto, not far from the Conservatoire of Santa Cecilia. There the youngster had the opportunity, in his free time, to read scores and parts playing, self-taught, a piano of the firm. These efforts, applied in particular to the Deux Arabesques of Claude Debussy, attracted the attention of Alessandro Bustini - at that time professor of piano at the Conservatoire-who offered to give him lessons on Sundays gratis. Under the guidance of Bustini, Petrassi began to study piano fairly regularly, applying himself to the traditional literature of the instrument, from Bach's Well-tempered Klavier to Chopin and Debussy. On the advice of Bustini, he started to study harmony with Vincenzo Di Donato in 1925, displaying a great talent for composition. His efforts were then directed towards entering the Conservatoire in the class of composition and, once an acceptable technical competence was reached, the piano was temporarily abandoned. The first compositions in the catalogue of Petrassi's works date back to the "apprenticeship" period with Di Donato: Egloga and Partita, both for piano, were composed in 1926 and played by the pianist Letizia Franco at the Sala Sgambati in Rome on 28 November of the same year during a public test of Vincenzo Di Donato's pupils. Egloga was never published and is today considered lost. Petrassi remembers adopting a musical scoring without bar-divisions, an ingenuous juvenile experiment influenced (according to him) by the reading of a piano piece by Federico Mompou, a twentieth-century stylistically Gallicized Catalan composer. The title of the composition, with its evocation of the classical-pastoral world, is proof of the literary interests of the young Petrassi and of his regard for the French cultural and musical tradition that was still alive in the Roman milieu, between the opposing forces of the followers of Ottorino Respighi, IldebrandoPizzetti and Alfredo Casella. Nor can a vague, perhaps unconscious, reference be excluded to the celebrated eclogue of Mallarme, L'Apres-midi d'un faun which inspired Debussy. "This fine recording brings together all of Petrassi's piano works. It is excellently interpreted by Roberto Prosseda, who carves out this handful of works as a complex and eclectic sound world, rich in relations to the culture and compositional research of those contemporary musics." (Massimo Rolando Zegna, Amadeus, 1/2002) "Do not expect tiring listening: just intense. This, judging by Prosseda's important performance, is to begin with the sensitivity of the performer. The continuous playing with the history of music and forms sounds endowed with a fascinating emotional and syntactic continuity." (Angelo Foletto, Suonare News, 1/2002) "Roberto Prosseda has done a very praiseworthy job in taking up and performing Petrassi's music, succeeding in giving a musical sense, a precise and convincing character to the Inventions, which we have never heard so happily realised" (Riccardo Risaliti, CD Classics, 11/2001)
