Thalberg - L’Art du chant applique au piano Vol.1 | Piano Classics PCL10242

Thalberg - L’Art du chant applique au piano Vol.1

£19.76

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Label: Piano Classics

Cat No: PCL10242

Format: CD

Number of Discs: 2

Genre: Instrumental

Release Date: 10th December 2021

Contents

Works

Thalberg, Sigismond

L'Art du chant applique au piano, op.70
» no.1 Quatuor de l'opera I puritani
» no.2 Tre giorni, air de Pergolesi
» no.3 Adelaide de Beethoven
» no.4 Air d'eglise du celebre chanteur Stradella
» no.5 Lacrimosa, tire du Requiem de Mozart
» no.6 Perche mi guardi e piangi de Zelmira
» no.7 Bella adorata incognita, romance de l'opera 'Il Giuramento' de Mercadante
» no.8 Nel silenzio fra l'orror de l'opera 'Il crociato' de Meyerbeer
» no.9 Einsam bin ich nicht alleine de l'opera 'Preciosa' de Weber
» no.10 Le meunier et le torrent de Schubert
» no.11 Duet de l'opera Der Freischutz
» no.12 Il mio tesoro de Don Giovanni

Artists

Alessandro Commellato (piano)

Works

Thalberg, Sigismond

L'Art du chant applique au piano, op.70
» no.1 Quatuor de l'opera I puritani
» no.2 Tre giorni, air de Pergolesi
» no.3 Adelaide de Beethoven
» no.4 Air d'eglise du celebre chanteur Stradella
» no.5 Lacrimosa, tire du Requiem de Mozart
» no.6 Perche mi guardi e piangi de Zelmira
» no.7 Bella adorata incognita, romance de l'opera 'Il Giuramento' de Mercadante
» no.8 Nel silenzio fra l'orror de l'opera 'Il crociato' de Meyerbeer
» no.9 Einsam bin ich nicht alleine de l'opera 'Preciosa' de Weber
» no.10 Le meunier et le torrent de Schubert
» no.11 Duet de l'opera Der Freischutz
» no.12 Il mio tesoro de Don Giovanni

Artists

Alessandro Commellato (piano)

About

The first fortepiano recording of a collection belatedly gaining recognition beyond pianophile circles as a major keyboard cycle of late Romanticism.

Thalberg 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. He 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 Adelaïde, 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 (the complete early variations, 95245), concertos by Hummel (94338 and 95894) and cello sonatas by Beethoven’s contemporary and diarist Ferdinand Ries (95206).

Played on an 1843 Érard piano

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