Carlo Levi Minzi - Landini: Sonate per pianoforte Nos. 1 & 2 - COMPACT DISCS [CD]

Carlo Mazzoli and Silvia Rambaldi, passionate scholars of historical instruments and performance practice of early music, were teachers for many years - respectively of Piano and Harpsichord - at the Conservatorio InchG.B. MartiniInch in Bologna, where they realised numerous teaching and concert projects. They have had a constant point of reference in Maestro Luigi Ferdinando Tagliavini, with whom they have collaborated assiduously in the activities of the San Colombano Museum in Bologna, which has housed it's collection of historical instruments since 2010; they are both present with some performances, both solo and in duo, in the DVD Il vibrar dell'aria dedicated to the Museum. It was precisely with performances on these ancient instruments that the study of Clementi's works for duo began, leading to this first complete recording.

With the exception of the Sonatina No. 25, long considered a minor work, this box set contains the last Piano Sonatas of the Titan of Bonn. In a recording landscape already rich in this repertoire, this focuses entirely on the performances of Carlo Levi Minzi, who, in his artistic maturity, delivers his personal vision of these works refined, meditative, exquisitely personal. In addition, the Klavierstück WoO 61a.

In this substantial recording, the award-winning young pianist Dario Bonuccelli leads us towards the discovery of the works of Giovanni Rinaldi, a discreet and precious figure in the Italian artistic panorama of the nineteenth-century. The trait that chiefly defines Rinaldi's personality, in addition to his composing exclusively for the piano, is the fact that his inspiration expressed itself invariably outside the established formal patterns no Sonatas, no Themes with Variations, no substantial Inchconcert piecesInch, but only short, strongly characterized pieces. Not even an authoritative friend such as Giulio Ricordi, who urged him to compose a sonata, managed to change his conviction that the music he was creating must be the most direct expression of an emotion, and was not to be conditioned by abstract principles. The mastery of Dario Bonuccelli in the interpretation of these small portraits mainly dedicated to nature, daily life, small emotions and simple feelings, brings us back to the discovery of an alternative cultural undergrowth that flourished in the shadow of the great European romanticism and the rampant nineteenth-century Italian melodrama.