Stefano Cascioli - Complete Works for Solo Piano - COMPACT DISCS [CD]
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This recording contains Francesco Pennisi's (Acireale, 11 February 1934 - Rome, 8 October 2000) complete works for solo piano, according to the latest catalogue. The piano compositions have rarely been performed and studied even less frequently, for many reasons. They are concise and liberated at first sight from a serious commitment to composition and open to 'other' dimensions compared to his main production, since they unfold playfully, almost with nostalgia. This recording not only has the merit of restoring Pennisi's piano repertoire to it's full entirety for the first time, but it illustrates it's due importance in the composer's active pursuit of an underlying texture of echoes, sounds, and resonances. Pennisi's piano pieces were composed in the period between the late 50s (Sei pezzi brevi, 1957) and the year 2000 (Na nuttata tanta ranni. Un canto natalizio etneo trascritto dalla memoria, 2000). Pennisi is one of the leading exponents of Roman avant-garde music in the period following the Second World War. Initially selftaught, influenced by Dallapiccola's music, Pennisi moved to Rome to study composition with Robert W. Mann, while attending university. He was one of the founders of the Nuova Consonanza Association, which is still a reference point for the promotion of new Italian music. Not only was Pennisi a composer, but he was also a graphic artist, painter, set designer and writer.
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- GenreClassicalDescriptionThis recording contains Francesco Pennisi's (Acireale, 11 February 1934 - Rome, 8 October 2000) complete works for solo piano, according to the latest catalogue. The piano compositions have rarely been performed and studied even less frequently, for many reasons. They are concise and liberated at first sight from a serious commitment to composition and open to 'other' dimensions compared to his main production, since they unfold playfully, almost with nostalgia. This recording not only has the merit of restoring Pennisi's piano repertoire to it's full entirety for the first time, but it illustrates it's due importance in the composer's active pursuit of an underlying texture of echoes, sounds, and resonances. Pennisi's piano pieces were composed in the period between the late 50s (Sei pezzi brevi, 1957) and the year 2000 (Na nuttata tanta ranni. Un canto natalizio etneo trascritto dalla memoria, 2000). Pennisi is one of the leading exponents of Roman avant-garde music in the period following the Second World War. Initially selftaught, influenced by Dallapiccola's music, Pennisi moved to Rome to study composition with Robert W. Mann, while attending university. He was one of the founders of the Nuova Consonanza Association, which is still a reference point for the promotion of new Italian music. Not only was Pennisi a composer, but he was also a graphic artist, painter, set designer and writer.ArtistStefano CascioliTitleComplete Works for Solo PianoFormatCDLabelStradivarius
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After deepening the piano works of Francesco Pennisi; Stefano Cascioli undertakes the exploration of the work of the Hungarian composer Ferenc Farkas (1905-2000). He now comes out for Stradivarius Farkas and Italy. Baroque suggestions; first volume of the series with the publication of the integral for piano. The Hungarian composer Ferenc Farkas (1905-2000) had particularly close ties to Italy. This; however; was not only of decisive importance in his career but also an influence on the development of Hungarian music history through his students, which even indirectly left a mark on European music. Farkas was the head of the composition department of the Budapest Academy of Music from 1949 to 1975; and his class produced such excellent composers as György Ligeti; György Kurtág; Emil Petrovics; Sándor Szokolay; Miklós Kocsár; Zoltán Jeney; Zsolt Durkó; and Attila Bozay. His legendary lessons played an important role in turning the interest of Hungarian composers toward Latin culture and loosening the grip of the German influence that lasted for centuries. Farkas followed Respighi's example both in his approach and in his referencing the musical past; but in terms of style Alfredo Casella and Gian Francesco Malipiero were closer to him. His songs and chamber works were soon successfully presented in the Italian capital; where the Teatro Indipententi performed the comedy of Amelia Della Pergola (stage name Diotima) Non ci sono più donne with his music on March 15, 1930.
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