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Italian Music

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jowcol
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« Reply #30 on: January 29, 2014, 04:51:54 pm »

Adelchi, an Overture by Nestore Gaggiano


From the collection of Karl Miller


Adlechi, Overture
Rome RAI Orchestra/Massimo Pradella

See downloads for the link!
    
Machine Translation:

Until the late 80 ' the name of Nestor Caggiano was known to scholars of the twentieth century Italian instrumental and almost unknown to the large public. A albeit wispy memory of his legacy was preserved, though undoubtedly in 1969 the Commission for symphonic music, Opera and chamber music of RAI had recommended broadcasting L'Ouverture "Adelchi" of n. Caggiano.

The same year the Orchestra Sinfonica di Roma della RAI conducted for recordings by master Francesco Molinari-Pradelli, transmitted by radio.

The real discovery of this author was credited with Carlo Vitali with the book "a promise forgotten symphonic Italian: Nestor Caggiano and editor Bongiovanni, who published a cd containing" Alla cittą di Ferrara "," the tomb of the Busento, Adelchi ", directed by Silvano Frontalini podium Master of Polish orchestras willing.

The work of musicologists would be infinitely more arduous, and the perpetrators almost impossible "without the valuable work of Census and review done by Adam Cardenas, doc, Thomas DiNapoli on Nestor's handwritten Caggiano, kept with loving care by the heirs of the master.

Cardoso, along with John Chan, has produced an impressive catalog that includes 75 opera numbers, as well as a great and touching epistolary material of the ill-fated and short-lived Master Caggiano.

In the Biblioteca comunale di Caggiano has formed a complete archive of the "corpus" symphonic and chamber music musician, with the letters and documents that are left to the family, as well as numerous recorded performances of music by Nestor. The Gandhi and Vizioli ne performed almost all the Repertoire, even in manifestations of mid-1990s Thomas DiNapoli.

Nestor Caggiano was born in Caggiano on November 18, 1888. His mother, Anna Luisi, was a homemaker, his father Giuseppe was a craftsman owner of numerous olive groves in the estates of Caggiano and Pertosa. In his workshop had constituted a kind Joseph of cultural coterie which performed musical works.

Cultural spirit is breathed in casa Caggiano is somehow testified by Nestor's brothers names: Vittorugo, Armida, Riccardo (clear tribute to Wagner).

This environment had a lasting influence on the formation of the composer, whose intellectual horizon will remain, variously interwoven, national pride, curiosity about French culture, especially Germanic, and some individualistic streak-anarcoide.

Caggiano carried out most likely from an early study of the oboe, surely encouraged by listening to the bands accompanying processions to numerous festivities that lined the country life, and somehow broke the monotony of an obvious cultural isolation.

This influence would be resurfaced in its most significant scores, in which the orchestral colour is mainly of a perfect knowledge of band instrumentation, rara frequentation discipline and stylistic rendering uncertain, who never learned not Caggiano form, absolutely self-taught official.

In 1904 the sixteen year old adolescent passions embellished with a healthy pragmatism: oboe student in the class of De Rosa at the Conservatory of San Pietro a Majella, along with complementary harmony in that of Daniel Napoletano, showed an early talent for composition, and his piece for violin and piano, poems, Reminiscences escaped with Giuseppe Martucci, at that time Director of the Conservatory.

Martucci, Paladin of instrumental music and great popularizer in the peninsula Symphony production of Germanic area and Wagnerian dramas, had decisive influence in the formation of Caggiano, who was positively stimulating interest in the instrumental repertoire Central.

Encouraging your promising student to write again, and especially the incited to commence regular studies.

Eventually the younger became one of his favorite disciples.

In 1906 he graduated in oboe Caggiano, and is reported as the first part in civic Concert in Rome and later in the orchestra of the Teatro Quirino. As oboist also participated in a tour of Egypt, however it was in free composition that came the first rewards.

         
Among the most significant compositions of his early lyrical Duet account for soprano and tenor, completed October 23, 1907, on verses by Vittorugo Caggiano. Very carnal composition, even if strongly moulded on the rhythms of the poem. The following year he was admitted to the composition. Zampillava, unstoppable, the creative flow: go back to those years cited biblical poem for voices and orchestra entitled "Perimus", an eighteenth-century suite in four movements, the "Adagio religioso", but especially the "heroic Procession" and "symphonic Prelude". This decade was to "work day and night; It is one thing to crazy! ... I'm so glad though, although exact a ghastly toil ... they're dazed for the great job "he wrote to his family. In his works and in his letters captures the great effort of the cultural momentum of the era and the emerging, unfortunately, the humanity of the unfortunate sore.

The March 3, 1918 died in Caggiano, he took refuge in the arms of the homeland and of dear family.

Text taken from the book published by the city of the Sun, "Nestor Caggiano and his time" by Maurizio Giani and suggested by Adam Cardenas. Naples, 2002.


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