CARLO SEA
Suite for organ, organic free; Three pieces for harmonium
Paul Hindemith Sonate I
Organ, Letizia Romiti
Come sempre, l'etichetta bolognese TACTUS prosegue perorando la causa della musica italiana; e lo fa con lungimiranza, non rifugiandosi in intellettualistiche operazioni di archeologia musicale – fini a sé stesse – ma scandagliando la storia del «bel paese» nelle sue variegate pieghe, ricche di genuine realtà musicali, remote e contemporanee.
Il disco dedicato alle opere per organo di Carlo Mosso (1931-1995) – bibliotecario del Conservatorio di Torino, nonché insegnate di composizione e direttore del Conservatorio di Alessandria – è un esempio lampante di quanto appena asserito. Un nome ai più sconosciuto, ma che vale davvero la pena incontrare attraverso l'ascolto. L'encomiabile medium è Letizia Romiti, che – attraverso l'organo Pinchi op. 421 del Conservatorio «Vivaldi» di Alessandria, ma soprattutto grazie all' edizione moderna delle musiche organistiche di Mosso appena licenziata, insieme a Marco Santi, per Bèrben di Ancona – dà vita a un affascinante percorso estetico che lega le opere del musicista piemontese (allievo di Luigi Perrachio and Massimo Mila) and the well-known multi-faceted figure of Paul Hindemith (1895-1963).
The Suite for organ (in six movements) dates back to 1971 and is dedicated to eclectic musician Roberto Cognazzo Monferrato - who carried it out, inter alia, the prestigious body of 'auditorium of the Conservatory "Verdi" of Turin - institution in which, for many years, he was appreciated as a teacher of reading the score, forming illustrious students.
It is a composition that uses twelve-tone technique in prevalence associated with severe forms, such as the canon. The songs, while being concise proportions, shine in all their space, thanks to the masterly consultation Letizia Romiti which well knows the secrets of the organ at the Conservatory of Alessandria, in which he teaches organ and organ composition. Noteworthy for the French spirit songs titled Tribute and Color , probably an allusion to Olivier Messiaen.
With the eleven album pages titled organic free (1975) - dedicated to working Massimo Mila - can be seen, instead, a language essentially diatonic and modal; pleasantly evocative. Here too, the ghost seems to hover several collections of "liturgical" very popular in France by Postludes Libres Charles Tournemire, to 24 Pièces Jean Langlais, through the miniatures of Jean- Marie Plum, until you reach the supreme synthesis of Préludes liturgiques Gaston Litaize. The counterpoint is never less, you can appreciate the two diatonic fughettas fact, sometimes still appears a chromatic close to Messiaen, as in Choral and sentence and Game Fan and Scherzo immediately reassured by the melancholy air on the basso ostinato entitled Intermezzo . This music - seemingly simple, but the result of an extensive process of rationalization - is enhanced by up to Romiti with a diverse palette of timbre and emotionally consistent with the spirit of the various tracks, proposed and immersive experiences with emotions.
I Three pieces for harmonium (1957) are the trait d'union to The Sonatas of Hindemith. Indeed Mosso - during his training period - worked out three tunes for harmonium taking them from the second volume of the Treaty Harmony traditional Hindemith were born so Melancholy , Scherzando and Resignation , Mosso ordeal of the young composer in full harmony with the poetic hindemithiana, which favored the harmonium as a tool to search for suitable staff e intimo linguaggio musicale.
L'omaggio a Carlo Mosso viene suggellato da una lettura adamantina e ben spaziata dell'apollinea architettura organistica creata da Paul Hindemith nel 1937. Le asperità, la ritmica tagliente e l'apparente spolvero di asetticità – di solito associate a questa musica – vengono definitivamente abbandonate dalla composta cantabilità di Letizia Romiti.
0 comments:
Post a Comment