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Title: Brahms, Mariani, Ravel: Il Mito e la Memoria
Year Of Release: 2024
Label: Da Vinci Classics
Genre: Classical
02. 16 Waltzes, Op. 39: No. 2 in E Major
03. 16 Waltzes, Op. 39: No. 3 in G-Sharp Minor
04. 16 Waltzes, Op. 39: No. 4 in E Minor, Poco sostenuto
05. 16 Waltzes, Op. 39: No. 5 in E Major
06. 16 Waltzes, Op. 39: No. 6 in C-Sharp Major, Vivace
07. 16 Waltzes, Op. 39: No. 7 in C-Sharp Minor, Poco più Andante
08. 16 Waltzes, Op. 39: No. 8 in B-Flat Minor
09. 16 Waltzes, Op. 39: No. 9 in D Minor
10. 16 Waltzes, Op. 39: No. 10 in G Major
11. 16 Waltzes, Op. 39: No. 11 in B Minor
12. 16 Waltzes, Op. 39: No. 12 in E Major
13. 16 Waltzes, Op. 39: No. 13 in C Major
14. 16 Waltzes, Op. 39: No. 14 in A Minor
15. 16 Waltzes, Op. 39: No. 15 in A-Flat Minor
16. 16 Waltzes, Op. 39: No. 16 in D Minor
17. Pezzi Sinfonici: I. Aloniadi - Sostenuto
18. Pezzi Sinfonici: II. Driadi - Scherzando
19. Pezzi Sinfonici: III. Oreadi - Grave
20. Nené Waltz
21. Valses nobles et sentimentales, M.61: No. 1, Modéré - trés franc
22. Valses nobles et sentimentales, M.61: No. 2, Assez lent - avec une expression intense
23. Valses nobles et sentimentales, M.61: No. 3, Modéré
24. Valses nobles et sentimentales, M.61: No. 4, Assez animé
25. Valses nobles et sentimentales, M.61: No. 5, Presque lent - dans un sentiment intime
26. Valses nobles et sentimentales, M.61: No. 6, Vif
27. Valses nobles et sentimentales, M.61: No. 7, Moins vif
28. Valses nobles et sentimentales, M.61: No. 8, Épilogue - Lent
QUALITY: LOSSLESS
DURATION: 01:12:50
TAILLE : 598
TRACKS : 28
COVERS : OUI
The waltzes of both Brahms and Ravel reinterpret the traditional waltz form. Brahms’ versions embody a folk spirit, eschewing opulence and salon sophistication, painting an emotional spectrum from gentle to grim, with occasional folk-inspired hues. Ravel’s renditions, on the other hand, are imbued with a melancholic air, not just signaling the end of an age but also serving as an omen of mortality, with their rhythm breaking and elevating into something ethereal.
The descriptors “nobles” and “sentimentales” blur in meaning as they confront the dawn of the new century.
Between the waltzes of Brahms and Ravel sit my own compositions: the Symphonic Pieces from 2022 and the Nené Waltz from 2021. They represent dual approaches to memory: the first as a collective narrative that connects historical events to the realm of myth, and the second as a personal remembrance tracing back to my own origins. Within my past, I discover the sea and the mountains-two distinct yet harmoniously interwoven landscapes that reflect in my music. While my previous album “Visions” included pieces from the Mediterranea collection, this current work is devoted to the mountain nymphs, valleys, and woods. Choosing the title “Symphonic Pieces” was not without its challenges; I pondered a descriptive name but ultimately settled on one that evokes an abstract impression. The places of memory and origin morph into a Parnassus, home to nymphs and bestowed with mythical resonance, untouched by rustic simplicity, and radiating an epic aura. The influence of Schumann’s Op. 13 and Op. 16 resonates deeply with me. This composition, like those preceding it, maintains a tonal and cyclical architecture, with cyclicity knitting together each movement and culminating in the third movement, which synthesizes the themes introduced earlier.
Distinct from many of my musical composition that are connected to my literature works, this composition stands on its own. In its conception, I contemplated a narrative infused with the presence of the Aloniades, nymphs of the cliffs, Dryads of the woods, and Oreads of the mountains. Yet, given its comprehensive musical and symphonic nature, I chose to let it transcend specific tales, allowing it to be an autonomous expression of my ancestral lands-pristine and mythical, where human settlement poses a challenge. Its symphonic character is underscored, perhaps because it was initially envisioned as a piano concerto, yet it found its true voice within the intimate scope of the piano. The bold passages that sporadically surface throughout the piece reveal a polyphonic texture, notably in choral-like moments within the first and final movements. A footnote: a Molise folk tune subtly enters towards the work’s conclusion, envisioning a celebration inhabited not by mortals but by ephemeral, mythical entities.
The genesis of the Waltz dedicated to Nené complements that of the Symphonic Pieces. While the latter amplifies the collective and monumental, “Nené Waltz“ inclines towards the private and heartfelt. Had it not been for the shadow of death and sorrow that colors Nené’s narrative, her waltz might have resembled Schumann’s Op. 15 in spirit. As such, her waltz occasionally assumes a somber and unsettling tone.
Reflecting on my body of work, both literary and musical, a recurrent motif emerges: the entanglement of death and dance. This leitmotif is present in pieces like “Chef Tango,” selections from the “Kinderliana” collection, such as “The Animated Doll” and “The Dancer’s Waltz,” and the finale of “Pour Jouer” featuring a skeletal dance. This motif acts as a bridge connecting me to my characters – Mario Chef, Alin, Aldo Ciccolini – some of whom have not only existed within the realms of my creations but have also played significant roles in my life, my past, and my heritage. In this context, dance embodies both a means of connection and a gesture of farewell.
Nenè, born Antonietta Colantuono, emerged from a small village in Molise. Her father, my great-grandfather Domenico, once a celebrated tenor known as “Manrico” in Verdi’s “Il Trovatore,” later chose a life as a notary, a decision shrouded in regret and secrecy. Nené, his youngest daughter, was poised for a singing career at Rome’s Santa Cecilia Conservatory, a dream her father had envisioned for her. Yet, her life was cut short by typhus at the age of twelve. In her final moments, her world was one of swallows and doves, and her longing for her schoolbook, “The Tales of Things.” Soon after, Domenico followed her in death, burdened with life’s regrets and undisclosed secrets.
I hold only a few keepsakes of Nené: notebooks, photographs, and trinkets. A century later, I traverse the land of my ancestors, now silent and haunting, yet echoing with the whispers of bygone times, fostering a surreal and intense dialogue that crescendos into a tumultuous waltz, one that I envisage sharing with her.
I may never revisit these distant, once-familiar places, but the memories they hold are an indelible part of me. They inspire my story “The Swallows Always Return in Spring,” winner of the 2022 Dantebus selection, and this waltz, composed with a bold conclusion in 2021.
Through my compositions, I aim to encapsulate the essence of existence within my life, accompanying me even as the world around me seems to wither and decay. While my music is not aligned with a symphonic poem tied to a narrative, it possesses its own distinctive compositional structure and embarks on a journey independent of any accompanying text. Yet, the backdrop of events and my pursuit of a tonal, often contrapuntal structure lend a narrative quality to my music, drawing from atmospheres, visions, and scenes that intertwine life and death.
