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Chopin

Carlo Levi Minzi

- 2011

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12,99 €

Nel suo libro “Dialoghi sulla consonanza” il teorico statunitense David Goldman (1) dimostra in maniera esemplare come Fryderyk Chopin sia stato il degno erede di una tradizione che affonda le sue radici nelle procedure compositive bachiane, filtrate dalle scritture mozartiana e beethoveniana. Questa attitudine si manifesta anche in composizioni apparentemente “romantiche” come i 2 Notturni op. 48, dove il lavoro armonico e contrappuntistico è celato nelle volute di una melodia piuttosto frastagliata. La sezione centrale di entrambi è mirabilmente scritta in forma di Corale, altro retaggio della tradizione bachiana, e, così facendo, si viene ad annullare la già remota possibilità di un “ascolto facile”. Anche l’accostamento di tonalità lontane tra di loro rivela una profonda metabolizzazione di quelle modalità di scrittura postulate da Bach in “Musikalisches Opfer”, da Mozart nella Fantasia K 475 e da Beethoven nella Sonata op. 13. Un’ audizione comparata sarà molto più esplicativa di una dimostrazione teorica, impossibile in questa sede. Anche nelle Quatre Mazurkas op. 67 una scrittura apparentemente semplice nasconde un rapporto tra melodia e armonia tutt’altro che banale. Dobbiamo essere grati a Julian Fontana, pianista condiscepolo di Chopin a Varsavia, che tra il 1855 e il 1859, con l’autorizzazione della famiglia, pubblicò 23 composizioni inedite raggruppandole nei numeri d’opera dal 66 al 73, salvandole, così, dalla distruzione disposta dal compositore nelle sue ultime volontà. I 24 Préludes op. 28 sono, invece, un palese manifesto di intenti. Composti nell’arco di tre anni tra il 1836 e il 1839 si collocano nella tradizione sistematica del bachiano “Das Wohltemperierte Klavier” non solo per la presenza di tutte le ventiquattro tonalità maggiori e minori, ma anche per la compattezza formale. La ricorrenza di micromelodie e di atteggiamenti compositivi, facilmente riscontrabili in un ascolto integrale, fanno pensare, più che a una semplice raccolta di pezzi tra loro caratterialmente contrastanti e complementari, a una sorta di “Variazioni senza apparente Tema”. Si può quindi, concludere, che la grandezza di Chopin si sia manifestata nella capacità di saper innovare nel solco di quella tradizione mitteleuropea in cui era stato educato, unica via percorribile dal vero genio.
Carlo Levi Minzi
(1) David Goldman: Dialoghi sulla consonanza, traduzione di Emilio Lazzini, Rugginenti Editore, Milano 1990

Allievo di Enrica Cavallo, Vladimir Natanson, Paul Baumgartner e Mieczyslaw Horszowski Carlo Levi Minzi ha tenuto concerti nelle principali città di Europa e America ed effettuato numerose registrazioni radiotelevisive e discografiche.
Il suo repertorio, che si estende da Bach ai giorni nostri, comprende, oltre al ciclo integrale delle Sonate di Mozart, Beethoven, Schubert e Skrjabin, anche più di cinquanta Concerti per pianoforte e orchestra.

E’ Professore Ordinario presso il Conservatorio “G. Verdi” di Milano ed è stato Visiting Professor presso prestigiose istituzioni europee e americane.



“Visiting Professor” exklusiver musikalischer Stiftungen. Fryderyk Chopin’s 24 Preludes Op. 28 bear more than a superficial resemblance to Bach’s two sets of preludes and fugues in the twenty-four major and minor keys. In the Well-Tempered Clavier, Bach showcased the entire range of his compositional technique, from the most lyrical to the most learned. Chopin in his Preludes takes the listener into his compositional workshop, and presents his most daring and original musical thinking in the briefest and clearest possible context. It is hard to think of another collection that so succinctly and so comprehensively presents the full capacity of classical composition in the tradition that Chopin absorbed from Bach, Mozart and Beethoven. The first of the set in C major contains the germ of the entire program. On the surface its sweeping arpeggiation in the base sounds like a statement of compositional freedom, but the freedom Chopin establishes in this short piece is far deeper. Structurally, the C Major Prelude follows a simple antecedent-consequent, in which a first phrase concluding on the dominant is interrupted, and the repetition returns us to the tonic. But the consequent that Chopin has devised to follow his antecedent stretches the meter to the breaking-point, spinning out a phrase that seems to last forever. Embedding this “forever” in a few moments of metronome time is an act of compositional magic. The transformation of time is emphasized by the diminution of the main motive in the figuration of the left hand. In contrast to the metrical and figurative freedom of this first of the set, the fourth Prelude in e minor depicts a dreadful necessity. As the American theorist Carl Schachter observes in his 1999 book Unfoldings, Chopin remove the stabilizing tonic note in the bass from his first statement of the e minor triad. “If we hear the opening chord as representing a structural tonic, then we feel the lack of a stabilizing root underneath it, a feeling that imbues the lowest voice with a strong tendency to descend in the direction of the missing E.” Schachter adds, “I find it difficult to contemplate this song for the keyboard without attributing to it a programmatic character—I hear it as a vision of death, perhaps the imagination of one’s own death.” The e minor Prelude was played at Chopin’s request at his funeral. Longing and expectation appear in an especially poignant fashion in the f minor Prelude (no. 18), in which the tonic triad is state nowhere except in the final measure. Yet this tonic is suggested through out by sharp dissonances that pervade the rapid figuration and point to a goal that is not achieved until the very end of the work. At these two emotional extremes, Chopin achieves the desired effect through the rigor of classical compositional technique. These are not the vignettes of Romantic salon pieces, but the application the compositional craft of a Bach or Mozart to the sensibility of mid-19th century Europe. High emotion and compositional erudition, strict loyalty to form combined with bold experimentation establish Chopin as one of the tiny number of absolute masters of classical composition. A prelude implies something to follow. Unlike Bach, Chopin does not give us fugues to attend his preludes. Instead, these 24 works are preludes to Chopin’s whole opus, stylized works that reveal a link between musical structure and artistic effect across the entire possible range of the classical style. In the Nocturnes Op. 48, we hear Chopin in his salon rather in his musical workship, in which the techniques of composition are hidden away in the folds of a Bellini-like melodic line. But there is just as much compositional rigor in these works as in the Preludes. In an overt reference to Bach, both works contain a chorale as a middle section. And the employment of remote tonalities shows that the operatic line is only the starting point for the construction of the composition, a mean to draw the listener into musical complexity worthy of Bach or Mozart. The Four Mazurkas of Op. 67 show Chopin at his most deceptively simple. These works were rescued by Julian Fontana, Chopin’s fellow piano student in Warsaw, who discovered and published twenty-three previously known compositions as Opera 66 through 73.
David P. Goldman


A student of Enrica Cavallo, Vladimir Natanson, Paul Baumgartner and Mieczyslaw Horszowski Carlo Levi Minzi has concertized throughout Europe and America and recorded LPs and CDs as well as performed for several radio and television stations. His repertoire, which extends from Bach to our days includes the complete cycle of the Mozart’s, Beethoven’s, Schubert’s and Skrjabin’s Sonatas as well as more than fifty Piano Concertos. He is currently Tenured Professor at the “G.Verdi” Conservatory of Music of Milan and has been.

Sein Repertoire, das von Bach bis zur zeitgenössischen Literatur reicht, umfasst sämtliche Sonaten von Mozart, Beethoven, Schubert und Skrjabin und mehr als 50 Konzerte für Klavier und Orchester. Carlo Levi Minzi ist ordentlicher Professor am Conservatorio “G. Verdi” Mailand. Zudem ist er häufig 

In seinem Buch “Dialoge über die Konsonanz” beschreibt der amerikanische Musikwissenschaftler David Goldmann auf beispielhafte Weise , dass Fryderyk Chopin ein würdiger Erbe einer Tradition ist, welche ihren Ursprung in Bachs Kompositionslehre hat und eine weitere musikgeschichtliche Entwicklung durch Mozart und Beethoven erfuhr. Diese Anlage wird auch in offensichtlich romantischen Werken, wie den beiden Nocturne op. 48 deutlich, in denen sich die harmonische und kontrapunktische Arbeit hinter einem zerklüfteten melodischen Verlauf verbirgt. Der Mittelteil beider Stücke ist in wundersamer Art in Choralform komponiert, ein enger Verknüpfungspunkt zu Bach, der das ohnehin nicht gerade “einfache Zuhören” noch komplexer gestaltet. Auch in Anlehnung an Bachs “Ein Musikalisches Opfer”, an Mozarts Fantasie KV 475 und Beethovens Sonate op. 13 finden wir eine Gegenüberstellung bzw. ein Zusammenwirken untereinander ferner Tonarten vor, welche den Schluss einer tiefgreifenden Auseinandersetzung des Komponisten mit seinen grossen Vorgängern nahelegen. Auch in den vier Mazurken op. 67 verbirgt sich hinter einer anscheinend einfachen Schreibweise eine subtile melodisch-harmonische Beziehung, die alles andere als banal ist. Wir können dem Pianisten Julian Fontana, einem Mitstudenten Chopins in Warschau dankbar sein, der in den Jahren zwischen 1855-1859 mit dem Einverständnis der Familie Chopins 23 noch unveröffentlichte Werke, darunter auch diese Mazurken mit den Nummern 66-73 herausbrachte und sie damit vor der, als letztem Willen des Komponisten gewünschten Vernichtung bewahrte. Die 24 Präludien op. 28 sind geradezu eine Bestätigung des eben Gesagten. Im Zeitraum von drei Jahren von 1836-1839 lassen sie sich in den systematischen Kompositionsstil von Bachs “Wohltemperiertem Klavier” einordnen. Nicht nur wegen der Verwendung aller 24 Tonarten in Dur und Moll, sondern auch wegen ihrer formalen Kompaktheit. Die Wiederkehr von Motiven und melodischen Floskeln, die beim Durchhören des gesamten Werkes auffallen, lassen den Schluss zu, dass es sich nicht um eine lose Aneinanderreihung einzelner kontrastierender Stücke handelt, sondern um eine durchkomponierte Variationsfolge ohne offenkundiges Thema. Man kann daher abschliessend sagen, dass sich die Grösse Chopins in seiner Erfindungsgabe und kompositorischen Innovation auf der Basis der bestehenden “mitteleuropäischen Musiktradition” entfaltete, die dem Genie als einzig möglicher Weg erschien.
Carlo Levi Minzi


Visiting Professor in prestigious European and American institutions. Carlo Levi Minzi studierte bei Enrica Cavallo, Vladimir Natanson, Paul Baumgartner und Mieczyslaw Horszowski. Konzerte führten ihn in viele große europäische und amerikanische Musikmetropolen. Rundfunk-, Fernsehaufnahmen und CD- Produktionen spiegeln sein breites pianistisches Spektrum wider.

ADD
Live recording: Milano, 1989
Sound engineer: Giovanni Comi
Digital remastering: Alessandro Cutolo


Etichetta MAESTRO - Catalogo N° GM CD 2911 - Produzione esecutiva di Massimo Monti, Musicisti Associati Produzioni M.A.P. - Distribuzione M.A.P. Anno di pubblicazione 2011

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Brani contenuti nel CD:
Prèludes op.28 (1836-1839)
01. Agitato - 1.01
02. Lento - 2.34
03. Vivace - 1.25
04. Largo - 2.35
05. Molto Allegro - 1.15
06. Lento Assai - 2.02
07. Andantino - 0.45
08. Molto Agitato - 2.42
09. Largo - 1.00
10. Molto Allegro - 0.36
11. Vivace - 0.42
12. Presto - 1.37
13. Lento - 3.29
14. Allegro - 0.36
15. Sostenuto - 7.46
16. Presto con Fuoco - 1.31
17. Allegretto - 3.54

18. Molto Allegro - 1.05
19. Vivace - 2.05
20. Largo - 1.47
21. Cantabile - 2.17
22. Molto Agitato - 0.52
23. Moderato - 1.09
24. Allegro Appassionato - 3.09 4 Mazurkas op.67
25. Vivace (1835) - 1.24
26. Cantabile (1849) - 2.41
27. Allegretto (1835) - 2.05
28. Allegretto (1846) - 5.35 2 Nocturnes op.48 (1841)
29. Lento - 7.44
30. Andantino - 10.28