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DONIZETTI, Elisabetta Dessi, Franco Calabretto, Eddi de Nadai – Sonatas and Waltzes for Piano Four Hands Piano Works
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| Wykonawcy / kompozytorzy | |
|---|---|
| DONIZETTI (composer) | |
| Elisabetta Dessi (piano) | |
| Franco Calabretto (piano) | |
| Eddi de Nadai (piano) | |
Disc 1
Sinfonia in D major, "La Partenza" (version for piano)
1. Sinfonia in D major, "La Partenza" (version for piano) 00:05:15
2. Sinfonia No. 3 in A major 00:04:40
3. Sinfonia in D major (I) 00:05:34
4. Sinfonia in C major (I) 00:04:19
5. Sinfonia in C major (II) 00:05:47
6. Sinfonia in D major (II) 00:04:56
7. Un capriccio in sinfonia in E minor 00:05:03
8. Adagio e Allegro in G major 00:05:44
9. Waltz No. 1 in C major, "Invito" 00:03:11
10. Waltz No. 2 in C major 00:03:51
11. Waltz No. 3 in A major 00:04:29
12. Waltz No. 4 in A major 00:02:23
Disc 2
Sonata for Piano 4 Hands in D major (I)
1. Sonata for Piano 4 Hands in D major (I) 00:15:45
2. Waltz for Piano 4 Hands in G major 00:03:49
3. Sonata for Piano 4 Hands in D major (II) 00:03:48
4. Sonata for Piano 4 Hands in G major 00:04:28
5. Sonata for Piano 4 Hands No. 3 in F major, "a 4 sanfe" 00:03:55
6. Sonata for Piano 4 Hands in A major 00:04:51
7. La solita sonata 00:04:44
8. Sonata for Piano 4 Hands in C major 00:05:34
9. Marcia lugubre (piano duet version of String Quartet No. 7: IV. Marcia lugubre) 00:05:00
10. Sonata for Piano 4 Hands in B flat major 00:03:40
11. Sonata for Piano 4 Hands in C major, "Una delle piu matte" 00:05:47
Total Playing Time: 01:56:33
- Elisabetta Dessi - piano
- Franco Calabretto - piano
- Eddi de Nadai - piano
- DONIZETTI
Czuć w niemal każdym takcie operową zadumę i śpiewność
Gaetano Donizetti is best known as a leading figure of the ‘bel canto’ tradition, having composed the popular and widely performed operas L’Elisir d’Amore and Lucia di Lammermoor. This 2CD compilation, however, is dedicated to a little-known area of his output: his solo piano and piano duet works, composed for family entertainment in middleclass 19th-century homes. These works incorporate Donizetti’s own infectious tunes and such operatic devices as chordal introductions, long tremolos and the occasional dramatic silence.
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