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Opera - Released July 3, 2020 | Chandos

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A major work of the 20th century, Il prigioniero (The Prisoner) by Luigi Dallapiccola dates back to the end of the war and its immediate aftermath (1944-48). It is set during the Spanish Inquisition with a libretto that was drawn from La Torture par l’Espérance (Torture by Hope), an extract from Contes Cruels (Cruel tales) by Villiers de l’Isle Adam, which the composer had discovered while strolling on the banks of the Seine in Paris. Featuring three dodecaphonic series named ‘Prayer’, ‘Hope’ and ‘Freedom’, this dense, short and concise opera also includes tonal echoes that later disappeared in his two other lyrical works. The hero believes he is finally free when he finds the door of his prison cell left open and can escape for one night to gaze at the stars in the sky. However, the illusion turns out to be short-lived as the Grand Inquisitor himself would soon be leading him to the stake, which is an awful allusion to the tragic reality of life in Europe and beyond during that dark era. First performed with Hermann Scherchen at the Mai Musical Florentine, the work quickly became popular in countries across the world from New York to Buenos Aires and is still just as successful today. In this new recording of a concert in Copenhagen in 2019, Gianandrea Noseda continues his exploration of 20th century Italian composers following on from albums dedicated to Castiglioni, Petrassi, Casella and several others. This short opera (which is less than three-quarters of an hour-long) is completed by three choral works based on texts written by Michelangelo Buonarroti the Younger (the great-nephew of the sculptor from Florence) and Alcaeus of Mytilene, a Greek poet from late 7th century B.C. © François Hudry/Qobuz
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Classical - Released January 1, 1995 | Warner Classics

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Classical - Released March 1, 2015 | Brilliant Classics

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Opera - Released January 1, 2003 | naïve classique

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Classical - Released January 1, 2014 | Universal Music Australia Pty. Ltd.

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Symphonic Music - Released November 1, 2004 | Chandos

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While Luigi Dallapiccola is most remembered for his serial compositions, listeners may be surprised to find that much of his output is quite approachable and highly enjoyable. Dallapiccola occasionally wrote openly tonal works in a neo-Classical vein, and several of his milder twelve-tone pieces lean toward tonality in their triad-based rows and beautifully crafted themes. This 2004 release presents some of Dallapiccola's most accessible music, warmly performed by Gianandrea Noseda and the BBC Philharmonic, and richly recorded by Chandos. The CD opens with the bright Tartiniana (1951), an antic divertimento based on themes by Giusseppe Tartini that could be compared to Stravinsky's Pulcinella in its spicy harmonies and wryly humorous treatment of eighteenth century material. Dallapiccola's music is more complex and challenging in his ballet suite Frammenti Sinfonici dal Balletto, Marsia (1942-1947), but its quasi-Impressionistic orchestration and dramatic rhetoric are appealing, and the use of twelve-tone technique is barely perceptible. The darker-hued Due Pezzi (1947), the mysteriously evocative Piccola Musica Notturna (1954), and the profusely inventive Variazioni per Orchestra (1953-1954) are all dodecaphonic works, yet Dallapiccola's continuous lines and serene atmospheres are far removed from the agitated Expressionism of the Second Viennese School and the dense complications of the postwar avant-garde. © TiVo
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Classical - Released May 4, 2018 | Sony Classical

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Symphonic Music - Released January 26, 2010 | Chandos

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Symphonic Music - Released September 1, 2005 | Naxos

Booklet
For the most part, Luigi Dallapiccola concentrated on composing operas and vocal works, and wrote relatively little instrumental music; as a case in point, it takes only one CD to present his complete works for piano solo and violin and piano. Some of these pieces are light entertainments, such as the neo-Classically cute Sonatina canonica su capricci di Paganini (1943), the folk-like Inni -- musica per tre pianoforti (1935), and the vivacious Tartiniana seconda for violin and piano (1956), which may be compared to Stravinsky's Suite Italienne in its happy mix of eighteenth century melodies with modern harmonies. But Dallapiccola's most significant work on this 2005 Naxos release is the Quaderno musicale di Annalibera (1951-1952), a much-studied work for its ingenious applications of twelve-tone technique -- somewhat independent of Schoenberg's rules -- yet surprisingly accessible for its clarity and frequent allusions to tonality. Pianist Roberto Prosseda delivers crisp and meticulous performances of these concisely worked piano pieces; when joined by violinist Duccio Ceccanti, the duo is expressively sympathetic, coordinated, and technically polished. Naxos provides great sound quality with natural resonance and a lifelike presence. Naturally, this CD is recommended for dedicated dodecaphonists everywhere, but there's enough appealing tonal music here to attract even the most conservative listener. © TiVo
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Classical - Released November 23, 2004 | Stradivarius

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Opera - Released May 3, 2019 | Stradivarius

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Classical - Released June 29, 2010 | CapriccioNR

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Capriccio's Pianorarities: Luigi Dallapiccola is a survey of Dallapiccola's earlier acknowledged works that runs from his final music in a neo-classic style through to his earlier serial compositions. It does feature at least one relatively rare Dallapiccola composition; his Piccolo Concerto per Muriel Couvreux par Pianoforte e Orchestra da Camera (1938-1941), a neo-classical work dating from a period when Dallapiccola was living under fascism and hating it; it has only been recorded once before. It is a sparkling, brightly colored piano (not a piccolo, rather a "little") concerto and a near masterpiece as far as late European neo-classicism is concerned. The Piccolo Concerto is played with dedication and some measure of flair by pianist Pietro Massa with the support of Peter Hirsch and the Rundfunk-Sinfonieorchester Berlin. Apart from the Due Pezzi per Orchestra (1948) -- which is played by Hirsch and the Rundfunk-Sinfonieorchester Berlin alone and concludes the program -- the other selections are not particularly rare, especially the Quaderna musicale di Annalibera (1952), probably the most frequently recorded keyboard piece of Dallapiccola. The recording quality is a little inconsistent; the extremes of volume in Quaderna musicale di Annalibera are not well bridged, and one might find themselves jockeying the volume knob a bit. There is a similar disjunction of volume found between the quiet and loud movements of the Due Pezzi; the "Fanfara e Fuga" will make one jump after the calm, reflective "Sarabanda." Overall, it is unusual to see so many relatively early Dallapiccola pieces on a single disc; nothing here post-dates 1952. Capriccio's Pianorarities: Luigi Dallapiccola may prove more palatable to listeners who have a hard time getting a grip on his later bill of fare, and the already converted will likely be awestruck by the Piccolo Concerto. © TiVo
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Classical - Released March 12, 2007 | Delphian

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Classical - Released October 7, 2014 | CapriccioNR

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Classical - Released January 1, 1963 | BnF Collection

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Classical - Released February 5, 2020 | Signum Classics

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Classical - Released January 1, 1953 | BnF Collection

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Classical - Released January 1, 1960 | BnF Collection

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