Alessandro Severo is a pasticcio, an Italian term meaning a jumble or hodgepodge. In the operatic context, it refers to a work made up of music composed for another occasion and reused with little or no change. Handel produced three pasticcio operas based on his own music: Oreste (1734), Alessandro Severo (1738), and Giove in Argo (1739); only the latter contains any substantial new music. With this release, we now have recordings of all three.
FANFARE: Ron Salemi
Música Callada (Music of Silence) is a very special work, one of the most beautiful and elusive in the entire piano repertoire. It is extremely difficult to perform. On the one hand, there’s the temptation to stretch each piece out hypnotically, if monotonously, while quicker speeds preserve the music’s melodic essence at the expense of much of its atmosphere and harmonic richness. For although much of the music is indeed quiet, and none of it moves quickly, it is all meaningful.
Alexander Mosolov (1900-1973), too, uses his own distinctive scheme of tonal organisation, different from Roslavets, and different from the Vienna School as well. His sonatas are technically very complex and difficult, and symphonically oriented, exploiting the full resources of the modern instrument. Herbert Henck puts this difficult material across in a beautiful, spirited performance and finds a lot of lyricism behind an often forbidding surface. The recording and production are up to the highest possible standards, as with all of ECM's releases, which are unsurpassed.
Llegaron crónicas registrando la tempestuosa velada donizettiana que tuvo lugar en el teatro de Bérgamo que lleva con justicia el nombre del compositor local con un reciente Poliuto (septiembre, 2010) que regresaba al lugar tras las funciones ofrecidas en 1993 dirigidas por Gianandrea Gavazzeni con su esposa Denia Mazzola y el tenor alicantino José Sempere. Vistos los resultados la cosa no es para tanto. Sí, el montaje es un caos de épocas, entre la Armenia romana donde pasa en realidad la obra original y el fascismo mussoliniano…Fernando Fraga
Morton Feldman is without doubt one of the most remarkable and influential composers of the second half of 20‐th century America. His experimental works (where the course of a composition is often open to multiple interpretations) are based on melodic cells which are endlessly and subtly varied and developed in immensely long and slow moving structures (sometimes of several hours), producing a hallucinatory effect on the audience.
Having introduced several 17th and 18th century female composers on our first CD entitled "Donne Barocche" I would like to elaborate briefly on my choice of the three composers (…) the most obvious trait shared by all three composers is the fact that music provided them not only with a means of gaining a living but also in their composing with a way of escaping lives of solitude and sadness. (Elena Russo)