Luis Ferrey - Interpret Immortal Ernesto Lecuona - COMPACT DISCS [CD]

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In the early 1960s Goffredo Petrassi's idiom was almost indistinguishable from that of the Italian avantgarde. Completed in 1964, the Seventh Concerto evolves with mounting tension and a sense of underlying menace. The Eighth Concerto from 1972 was commissioned and premiered by the Chicago Symphony Orchestra. It is a substantial piece of outright virtuosity, with dissonance, trenchant dialogues and a fraught atmosphere. The much earlier Sonata da camera for harpsichord and ten instruments finds Petrassi poised between neo-Classicism and a more modernist direction. This is the third and final volume of Petrassi's complete Concertos for Orchestra on Naxos (Nos. 1-3 are on 8.573702; Nos. 4-6 are on 8.573703).

Recorded in Perugia between 2023 and 2025, a major new set of Schumann's song output for mixed voices - vocal duets, trios and quartets - by a fine team of Italian singers, and led by the pianist Filippo Farinelli.In recording previous, adventurous surveys of the songs and chamber music by Ravel, Berg, Dallapiccola, Hindemith and others, the pianist Filippo Farinelli has demonstrated his deep knowledge of and affinity for a wide range of chamber music. As he does here, he has gathered together a carefully selected cast of singers in order to present both rarities and established masterpieces within the catalogues of these composers, shedding new light on their evolution as creative thinkers and musicians. The solo song output of Robert Schumann is well established among the peaks of the rich heritage of German Lieder. But alongside cycles such as Dichterliebe and Frauen-liebe und -leben, Schumann often returned to the combination of mixed voices, and these cycles are much less familiar to most listeners. Many of them catch the composer at his most genial and Biedermeier in tone, such as the female Duets Op.43 and the Madchenlieder Op.103.The Spanisches Liederspiel Op.74 and the Spanische Liebeslieder Op.138 are strikingly under-rated precursor to Hugo Wolf's Spanisches Liederbuch, in which a group of singers take turns their individual turns (in solo or duet) to outline 'sketches of Spain' from a German perspective (and from one who had never been there), full of charm and grace. The Op.79 Liederalbum fur die Jugend likewise reminds us of Schumann's genius for song-melody at it's most artless, a vocal counterpart to piano cycles such as Kinderszenen. The poet Emanuel Geibel had adapted many of the 'Spanish' texts, and Schumann's Op.29 trio of songs based on texts by Geibel catch the authentic spirit of the German wanderer. Here and elsewhere throughout the set we find