Artist: Alessandro Commellato
Album: Thalberg: L’Art du chant applique au piano, Op. 70, Vol. 1
Genre: Classical
Release Date: 2021
Audio Format: FLAC (tracks) 24bit, 176,4 kHz
Duration: 01:04:24
Total Tracks: 13
Total Size: 1,80 GB
Tracklist:
2. Alessandro Commellato – No. 2 Tre Giorni (After Ciampi) (04:55)
3. Alessandro Commellato – No. 3 Adélaïde (After Beethoven’s, Op. 46) (06:29)
4. Alessandro Commellato – No. 4 Air d’église – Pietà, signore (Attrib. Stradella) (06:13)
5. Alessandro Commellato – No. 5a Lacrymosa (After Mozart’s K.626) (03:47)
6. Alessandro Commellato – No. 5b Sull’aria (After Mozart’s K.492) (02:11)
7. Alessandro Commellato – No. 6 Duetto de zelmira – Perchè mi guardi e piangi (After Rossini’s Zelmira) (06:22)
8. Alessandro Commellato – No. 7 Bella sdorate – incognita (After Mercadante’s il giuramento) (05:36)
9. Alessandro Commellato – No. 8 Le meunier et le torrent – Nel silenzio fra l’orror (After Meyerbeer’s il crociato in egitto) (05:16)
10. Alessandro Commellato – No. 9 Il mio tesoro de Don Juan – Einsam bin ich nicht alleine (After Weber’s J.279) (04:08)
11. Alessandro Commellato – No. 10 Choeur des conjures de crociato – Der Müller und der Bach (After Schubert’s D.795) (03:34)
12. Alessandro Commellato – No. 11 Ballade de presiosa – Schelm, halt fest! (After Weber’s J.277) (04:26)
13. Alessandro Commellato – No. 12 Duo de Freyschütz – Il mio tesoro (After Mozart’s K.527) (05:40)
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Sigismond Thalberg (1812-1871) has a reputation as the only pianist who made Liszt feel nervous, but he also won praise from Mendelssohn for the fidelity of his approach to the letter and the spirit of a score. A famous anecdote tells also of an evening in Rossini’s Parisian salon. Sigismond Thalberg had just finished performing at the piano when Rossini said: “Agree that Thalberg has just given you a singing lesson such as you have never had”, referring to the cantabile, refinement and expressiveness of the pianist’s touch.
Thalberg gathered four volumes of operatic and song transcriptions under the umbrella of L’art du chant appliqué au piano, with the first two volumes published in 1853 and followed a decade later by Volumes 3 and 4.
While it opens with the quartet from Bellini’s I Puritani, Thalberg’s selection of original material ranges far and wide beyond masterpieces of bel canto. There is a haunting transformation of a duet once attributed to the Neapolitan composer Stradella; a straightforward but affectionate transcription of Adelaide, the song by Beethoven that became his most popular piece of vocal music during the 19th century; as well as a much more elaborate fantasia on a number from the incidental music composed by Carl Maria von Weber for the Spanish drama Preciosa.
There are some quintessentially Romantic-era walls of sound in the first two volumes of the collection, such as Thalberg’s version of the Lacrimosa from Mozart’s Requiem, but the limpid textures and uncluttered singing lines of L’art du chant mark a salutary contrast with the cascades and thunderbolts of the hyper-virtuoso repertoire. In this regard, the lighter touch of the fortepiano is well suited to the ideals of vocal expression, transferred to the keyboard, enshrined in Thalberg’s collection.
Roberto Commellato’s new version therefore brings something new to the work’s selective but distinguished discography. He has already established himself in his native Italy as a leading exponent of historically informed keyboard performance. This reputation is reflected in his Brilliant Classics discography of fortepiano albums of music by Beethoven, concertos by Hummel and cello sonatas by Beethoven’s contemporary and diarist Ferdinand Ries. Alessandro Commellato plays here on an Erard instrument.