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Silvia Frigato, Aldo Orvieto – Fano: Canti (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 58:19 minutes | 978 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Stradivarius
Guido Alberto Fano’s vocal chamber works form an important part of his musical output and mark the three crucial phases of his artistic growth. His earliest songs date from the last years of the 19th century, during his period of training and the start of his musical career in Bologna, using texts by local poets such as Angelina de Leva, Luigi Arturo Bresciani and Giuseppe Lipparini. Then, during the first fifteen years of the 20th century, his most “experimental” years, Fano began to draw inspiration from some of the most distinguished names in Italian poetry, including Boccaccio, Carducci and Pascoli. Finally, his last creative period, after the 1930s, saw a return to the vocal genre with seven pieces on poems by D’Annunzio and one by Carducci, all written in 1945. Fano usually calls his vocal compositions “canti”, a choice often shared by his colleagues of the so-called “generation of the eighties”. On the whole, Fano’s music reveals a commitment to avoid stereotypes and surrendering to the vestiges of easy appeal, demonstrating the composer’s sensitivity in responding to the ethical demands of modernity, with that determined solicitude which characterised the inner workings of the great composers of the early 20th century. – Vitale Fano
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Silvia Frigato, Talenti Vulcanici, Emanuele Cardi – Feo & Manna: Lux in tenebris (Liturgy and Devotion in 18th Century Naples) (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 51:01 minutes | 474 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Arcana
One of the most talented singers of the new generation brings to light four gems for soprano and orchestra belonging to the great eighteenth -century tradition of Neapolitan sacred music. The three composers are representative of as many generations of an industrious dynasty: Francesco Feo (1691-1761) was the uncle of Gennaro Manna (1715-79), who in turn was the uncle of Gaetano (1751-1804). Comparison between their scores allows us to observe the extraordinary development from the austerity of the late Baroque to the elegance of the galant style. The Lamentations by the two Mannas were part of the liturgy of Holy Thursday (Officium tenebrarum), whereas Feo’s La sinderesi, a sorrowful meditation on sin and contrition, belongs to the form of the spiritual cantata and points to a private devotional environment. The short and bright Gloria by Gennaro Manna crowns the programme, symbolising the final achievement of a dimension of redemption and eternal salvation. All the pieces are characterised by the typically Neapolitan taste for purity of voice, with restrained virtuosity and radiant expressivity. This is the third instalment of the new series devoted to Neapolitan music, in collaboration with the Neapolitan Centro di Musica Antica – Fondazione Pietà de’ Turchini.
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