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Matteo Fossi – Bartók: Danses populaires roumaines (2021-12-24)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:03:02 minutes | 507 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © HORTUS
A pioneer of modern ethnomusicology, Béla Bartók unflaggingly studied the folk traditions of Central Europe. His intent was twofold: to study and promote these musics he loved so much, but also to nourish his own language as a composer. This appropriation came about on the most superficial plane, via arrangement (Three Popular Songs from Csik, Romanian Folk Dances, Improvisations on Hungarian Peasant Songs) or imitation of peasant tunes (Two Romanian Folk Dances). But music of the people came to penetrate into increasingly deeper fibres of his style – harmony, rhythm, melody and even musical structure – giving rise to the Allegro barbaro no less than the to the unsettling poetry of the Two Elegies. A trip to Algeria in 1913 left its mark on the Suite op.!14. Complex Bulgarian rhythms inspire the final six pieces of the Mikrokosmos cycle. This folklore, constantly surfacing, is what makes Bartók’s music so human, and his voice so singular.
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Matteo Fossi – Le jeune Debussy (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:22:14 minutes | 628 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © HORTUS
‘The three cycles that make up the framework of the record (Suite Bergamasque, Pour le Piano, Estampes) are milestones of the piano repertoire, and around them I have inserted pieces rarely heard and, often, lacking in significant critical success. Personally I consider them to be extraordinary: D’un cahier d’esquisses, for example, contains a good deal of the thematic material for La Mer, in the form of a ‘sketch’, similar to the ones great painters draw when they are conceiving a masterwork. This is a virtually unknown work, yet for me it could readily be seen as the symbol of this record.’ M. Fossi
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Matteo Fossi – Brahms: The Progressive (2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 01:11:47 minutes | 1012 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © HORTUS
In 1933, Arnold Schönberg defined ‘Brahms the Progressive’ as the initiator of a free language: ‘He was a great innovator in the area of musical language.’ This disc covers the composer’s entire life, starting with the Variations op. 9, composed at the age of just 20 years, then touching the middle period of his production with the Rhapsodies op. 79, and finishing with compositions which constitute his farewell to the piano: the Fantaisies op. 116 and the Klavierstücke op. 119, written when he was in his sixties. The feature common to these piano compositions is their characteristic musical language and their Brahmsian power, which is recognised in the first notes of his youthful compositions and is still found, unambiguously, in the intimacy of his last works.
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Matteo Fossi, Vittorio Ceccanti, Duccio Ceccanti – Brahms: String Sextets, Arranged for Piano Trio by Theodor Kirchner (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:13:44 minutes | 723 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Brilliant Classics
Close to the Schumanns and admired by Mendelssohn and Wagner, Theodor Kirchner (1823–1903) was an accomplished pianist, organist and composer in his own right. His lifelong friendship with Brahms began when the two men met at the spa town of Baden-Baden in 1865. Robert Schumann had already mentioned him in the same breath as Brahms in the influential 1853 article which effectively launched Brahms’s career.
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Davide Bandieri, Matteo Fossi, Quartetto Savinio – Weber: Complete Chamber Music for Clarinet (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:04:00 minutes | 593 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Brilliant Classics
Carl Maria von Weber had a special fondness for the clarinet, finding it the ideal instrument for expressing the profound Romanticism he had made his own.
He borrowed from a youthful composition, his opera Silvana completed at the age of 24, for his Opus 33 Clarinet Variations. Encouraged by critics to rework the opera’s “overly instrumental” vocal parts, he deleted two arias, but the following year reused the melody of the second of these for his Seven Variations for Clarinet and Piano, Op. 33 (1811). He develops the instantly hummable theme with its cheerful dotted rhythm stylishly, imaginatively and virtuosically, showcasing the full extent of the clarinettist’s abilities while also allowing the piano to shine in two of the seven variations. The piece was premiered in Prague at a private residence by Weber and his friend and touring partner Heinrich Bärmann, whom he had met a few months earlier in Darmstadt. The clarinettist Bärmann had instantly won Weber over with his prodigious technique and highly expressive sound.
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