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Wagner - Verdi: Paraphrases  

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1 CD
Concerto 2092

Stereo DDD
Total time: 56'48''
12 pages Booklet
Italian/English

Wagner - Verdi

CD 2092
Francesco Manara, violin
Marco Sollini, piano
CD
[1] Richard Wagner - Romanza (Albumblatt) 4'55''
[2] Alexander Ritter - Isolde Liebestod, scena finale da Tristan und Isolde di Richard Wagner 7'09''
[3] August Wilhelmj - Parafrasi per violino e pianoforte dal Siegfried di Richard Wagner 10'31''
[4] Antonio Bazzini - Fantasia su La Traviata di Giuseppe Verdi, op. 50 13'49''
[5] Ernesto Camillo Sivori - Fantasia su Il Trovatore di Giuseppe Verdi, op. 20 14'42'
[6] Pietro Mascagni - Ave Maria per violino e pianoforte (Intermezzo da Cavalleria Rusticana) 3'38''

Three composers for three anniversaries: Verdi, Wagner and Mascagni. In the 19th century, paraphrasing, improvisation and arranging were widely practiced and played an important role in the diffusion and cohabitation of two different, dominant musical styles typical of that period: on the one hand lyric opera, and on the other concert virtuosity. In fact, every great virtuoso of the 19th century cultivated the use of improvisation, paraphrasing and so forth, on established themes, which were frequently opera arias or popular motifs and were most frequently written for piano, but occasionally also for other instruments such as violin and piano, as presented here. This practice allowed a more capillary diffusion of opera music beyond the theatre to more reserved groups, such as the salons of high society or private circles of music enthusiasts. All of these four "improvisers" (Ritter, Wilhelmj, Bazzini and Sivori) were outstanding violinists and composers and renown international, concert musicians of their time (Camillo Sivori was Paganini's only pupil; Antonio Bazzini who garnered extraordinary praise from Robert Schumann; Ritter, husband of Wagner's niece Franziska and friend of R. Strauss, was violinist and director; Wilhelmj, child prodigy, was called by Liszt the German Paganini).

Iconography: Laura Zuccheri, Autumn Beechwood, 2012

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