- Concerto for violin, cello & piano - Franco Alfano - Samuel Magill - Elmira Darvarova - Scott Dunn
- Sonata for cello & piano - Franco Alfano - Samuel Magill - Scott Dunn
Alfano: Cello Sonataby Samuel Magill
Listening to these hauntingly beautiful scores it seems barely credible that Alfano's music could have fallen into such unwarranted neglect.... Darvarova produces a silky-smooth, voluptuous sound ideal for the concerto's meticulous opulence, while Magill's husky, dark timbre matches the Cello Sonata's yearning intensity to perfection.
- Release Date:
Performance CreditsSamuel Magill Primary Artist
and post it to your social network
Most Helpful Customer Reviews
See all customer reviews >
ALFANO AT NAXOS CONCERTO FOR VIOLIN, CELLO AND PIANO SONATA FOR CELLO AND PIANO NAXOS 8.570928 In his New Grove's entry on Franco Alfano (1875-1954), leading authority on 20th-Century Italian music John CG Waterhouse added the composer's name to those of Pizzetti, Malipiero, Casella, and Respighi, the "traditional" quadrumvirate that identified the fathers of Italian modern music. With that acknowledgement, Waterhouse administered theoretical and critical justice to Alfano's artistic creativity, which for too long had been confined exclusively to Alfano's lauded and criticized completion of Puccini's Turandot. Musicologists' re-evaluations or re-discoveries usually go sterile unless attentive performers "listen" to their calling and sacrifice time and effort for causes which may or may not bring them due reward. The present Naxos CD, dedicated to Franco Alfano's chamber music, stands at the pinnacle of a fortunate synergy between scholarship and performance practice as it indeed combines great discovery, excellent music, and superlative performance. The two world premiere recordings comprising this disc, Concerto for Violin, Cello and Piano (1932) and Sonata for Cello and Piano (1925), were particularly dear to Franco Alfano. A gifted pianist, Alfano participated in the performance of these works as often as he could, searching for refuge in their intimate thoughts in contrast to the magniloquent and omnivorous world of opera in which he also excelled. Resurrezione (1904), La leggenda di Sakuntala (1921), and Cyrano de Bergerac (1936) are titles still in the operatic repertoire. They never fail to marvel audiences and critics alike and then they make listeners wonder about Alfano's symphonic and chamber music. This recording is aimed at satisfying such curiosity. Concerto for Violin, Cello and Piano begins in the spirit of a new Italian style characterized by severity, formal asceticism, and neo-Renaissance qualities, which Alfano subtly transforms into a melodic, harmonic, and rhythmic language that oscillates between the Iberian harmonic world of Joaquin Turina and the lyrical counterpoint of Ernest Bloch. This concerto, in effect a traditional piano trio, is very approachable in both form and content, making an excellent overture to the following more complex Sonata for Cello and Piano. This sonata bears at first Ravel's imprint especially in the tip-toeing, bluesy second movement. However, the piece blossoms into its own full bloodied, passionate development, which concludes with an epilogue of extreme emotional delicacy. The music heard in this disc is far removed from both verismo opera and the angular modernistic models proposed by Casella and Malipiero. Its essentially cosmopolitan style reminds the listener about tonal patches heard in the works of Turina, Bloch, Delius, Bridge, and Arnold Bax, however, in Alfano's music there is always a strong creative individuality hidden deep down that only great performers can bring to the fore; such is the great value of this disc. Pianist Scott Dunn, violinist Elmira Darvarova, and cellist Samuel Magill, who takes the lion's share of the program, are artists of the first order who have challenged themselves with music of great beauty never recorded before. One would love to hear them perform Alfano's Sonata for Violin and Piano, the Piano Quintet and his three string quartets. Naxos deserves great credit for releasing such an exemplary recording. FS
I liked the "concerto," which is really a piano trio. My reaction to the first movement was that it was very strongly influenced by the chamber music of Chausson and Faure'. I thought that the change to a very slow section near the end of the movement was an anomaly. The next two movements seemed to be more in the style of Ravel. I found the first movement to be the most interesting. Despite the information given in the sleeve-notes about how deeply personal a work the Cello Sonata is, I must confess that I didn't find it, particularly the first movement, very interesting; to me, the thematic material, especially in the last movement, simply isn't very ingratiating. Compared with cello sonatas by Shostakovich, Debussy, and Rachmaninov, this Sonata seemed not to offer very much, even though it contains several impassioned sections. The balance of sound between the soloists is good and overall the execution is top-notch. On my stereo, the recording of the Trio is excellent; the recording of the Cello Sonata is a little bass-heavy. I don't like to pass judgment on the musical style of such a distinguished cellist as Samuel Magill, but I thought there might have been a little too much use of exaggerated glissando. Perhaps this comes from Mr. Magill's long experience in performances of operatic scores, where it lends poignance, but it seems out of place in the Cello Sonata.
It's truly refreshing to hear new music from this era, well played and actually interpreted in the style of the period, instead of the squeaky-clean (and boring) status quo accepted today! Loved it!
Finally! Franco Alfano stands tall in his own right and not just as that guy who finished Turandot when Puccini died. What a marvelous CD! Masterfully performed and a great production. Kudos to all, including Naxos. Highly recommended!