The Classical Accordionist – Salvatore di Gesualdo

COD: 40001 Salvatore di Gesualdo, accordion
  • F. Landini (1325-1397): Ballata
  • C. Merulo (1533-1604): Toccata Prima del 1 tono
  • W. Byrd (1543-1623): 1. Pavana, 2. Fantasy
  • G. Frescobaldi (1583-1643): Toccata Seconda
  • B. Pasquini (1637-1710): Toccata
  • S. di Gesualdo (b. 1940):
    • Improvvisazione N. 1
    • Improvvisazione N. 2
    • Punkte
    • Musica pro Guido

inglese


Etichetta: EMA Vinci Records
Copyright: (p) EMA Vinci 1996
Lunghezza totale: 50:08


Lavoro richiesto, ambito ed unico a livello internazionale. S. di Gesualdo in questo CD ha realizzato un particolare percorso che, partendo da maestri del nostro rinascimento, giunge alle suggestive risonanze armoniche della propria musica, F. Landino Ballata C. Merulo Toccata prima del I° Tono (I° Libro) W. Byrd Pavana, Fantasy G. Frescobaldi Toccata seconda (II° libro) B. Pasquini Toccata S. di Gesualdo Improvvisazione 1, Improvvisazione 2, Punkte, Musica pro Guido Fisarmonica Salvatore di Gesualdo

An internationally sought-after, longed-for and unique work. In this CD, S. di Gesualdo has accomplished a peculiar route, leading from the maestri of our Renaissance to the suggestively harmonic sounds of his own music. F. Landino Ballata C. Merulo Toccata n.°1 of I° Tone (I° Book) W. Byrd Pavana, Fantasy G. Frescobaldi Toccata n.2 (II° Book) B. Pasquini Toccata S. di Gesualdo Improvisation 1, Improvisation 2, Punkte, Musica pro Guido Accordion Salvatore di Gesualdo.

GOFFREDO PETRASSI, compositore. Roma 1966. “..un contributo molto importante nello sviluppo del suo strumento …” VINCENZO DAVICO, compositore. Roma 1967. “…Lei sa quanto grande sia la mia ammirazione per la sua arte concertistica e quanto il Suo prodigioso virtuosismo mi abbia colpito e convinto ….

GIANFRANCESCO MALIPIERO, compositore e musicologo .Asolo 1967. “…lei aggiunge lustro a un nome già tanto illustre, quello di Gesualdo …”

ARMANDO LA ROSA PARODI, direttore dell’Orchestra Sinfonica della RAI. Roma1968. “..l’impressione che ha suscitato in me S. d. G., suonando con la fisarmonica (!!!) Bach ed altri autori, è stata enorme … il suo talento può paragonarsi a quello di Segovia….Per merito suo la Fisarmonica può diventare uno strumento da concerto….

LUIGI NONO, compositore. Venezia 1968. “..lei sta facendo una vera rivoluzione nel campo della fisarmonica e con nuove prospettive musicali…”

PIERRE BOULEZ,compositore, direttore d’orchestra, saggista Bayreuth 1968. ” .A S. d. G., l’Artiste de l’accordèon…En bien amicale souvenir de ce rencontres à Bayreuth..”

LUIGI DALLAPICCOLA, compositore. Firenze 1973. ” …(dedica) Al Paganini della fisarmonica ..”

BRUNO BARTOLOZZI, compositore e teorico del suono. Fiesole 1975. ” ….S. d. G. porta uno straordinario contributo alla conoscenza di questo strumento, mettendone in luce le reali possibilità … con effetti di grande nobiltà espressiva e di insospettate risorse sonore … d.G. offre al compositore d’oggi, particolarmente interessato alla elaborazione del suono e delle sue componenti armoniche, un materiale ancora inedito per lo più ed originalissimo…”

SYLVANO BUSSOTTI compositore. Roma 1975 Salvatore di Gesualdo ha compreso qualcosa di essenziale ‘dentro’ alla musica: che questa vive nel rapporto intimo fra l’essere umano e lo strumento, frutto della sua invenzione, oggetto privilegiato e inquietante; sfida meccanica ai sensi e alla ragione. E l’audacia di questo straordinario musicista sta nell’essersi prescelto uno strumento generalmente ritenuto plebeo: la Fisarmonica. Quello che Salvatore di Gesualdo riesce a fare di questo strumento non è un miracolo. E’ qualcosa, viceversa, di tanto concreto e tanto più stupefacente: egli rivela quella proprietà (forse l’essenziale) di trasfigurazione del reale che la Musica, sopra tutte le umane ricchezze, con ogni mezzo ed ingegno ci dona.

FRANCO DONATONI compositone. Milano 1976. “E ‘stato un piacere, e un poco uno stupore, ascoltarti: lodi e complimenti non solo sono meritati, ma esigono una specificazione che è data dal coraggio col quale tu realizzi non solo la musica ma le ragioni tue interiori del far musica, nella fedeltà al mezzo originario della tua storia privata. Uno dovrebbe poter trovare la tua coerenza, e allora un lumicino plccolo piccolo ma fermamente acceso illuminerebbe la sua esistenza “.

GYORGY LIGETI compositore. Hamburg 1975 . ” …You are a WONDERFUL artist! I listened (several times) with greatest delight and, naturally, I would like to write a piece for you… My critical opinion is an UNLIMITED admiration for your mastership in playing this beautiful and rich sounding instrument “.

FERRUCCIO VIGNANELLI organista musicologo. Roma 1975. “Io penso che nella gerarchia dei valori musicali, prima dello strumento ? certamente assai importante?si debba collocare la musica, il musicista e, infine, l’interprete che, con la sua sensibilità e la sua abilità, trasmette allo strumento il linguaggio trascendentale dell’arte. Queste considerazioni mi sorgevano nella mente mentre ascoltavo una grande opera di J. S. Bach eseguita da Salvatore di Gesualdo.

La sua “magica” fisarmonica non mi faceva rimpiangere né l o strumento ” specifico ” per il quale il pezzo era stato scritto, né tanti organisti più o meno famosi” GIORGIO GASLINI. compositore e pianista jazz. Milano l991. “…un musicista soltanto geniale! …”


Salvatore di Gesualdo (1940 – 2012) was born in Fossa ( AQ ) and raised in Cansano . Self-taught , he won the World Trophy Accordion in 1962 in Salzburg . Degree in choral music ( ’67 ) and composition ( 70 ) at the Conservatory Gioacchino Rossini in Pesaro with Boris Porena . Has carried out studies of conducting at ‘ ” Academy of Santa Cecilia in Rome . He taught composition for teaching at the Luigi Cherubini Conservatory in Florence and in important Accordion Master Class . According to musicians and international critics has set a new course to history accordion ( … )

An internationally sought-after, longed-for and unique work. In this CD, S. di Gesualdo has accomplished a peculiar route, leading from the maestri of our Renaissance to the suggestively harmonic sounds of his own music.
F. Landino Ballata C. Merulo Toccata n.°1 of I° Tone (I° Book) W. Byrd Pavana, Fantasy G. Frescobaldi Toccata n.2 (II° Book) B. Pasquini Toccata S. di Gesualdo Improvisation 1, Improvisation 2, Punkte, Musica pro Guido
Accordion Salvatore di Gesualdo


Carrello


I have been trying to obtain a CD by the Italian accordionist Salvatore di Gesualdo for many years. I first heard about him in 1989 when I purchased my first free-bass concert accordion: a Victoria 140 bass quint-free-bass convertor piano-keyboard model. Di Gesualdo also plays a Victoria accordion, a 160-quint-free-bass model which, I believe, he designed himself. His instrument—which can be ordered from the Victoria company — has two extra left-hand bass rows which descend one octave lower than the standard accordion (and four notes lower than the standard free-bass accordion or bayan) to a contra C. I heard rumors that he played the complete Art of Fugue by J.S. Bach and this is something that I wanted to hear.

Di Gesualdo is probably the most famous Italian concert accordionist alive today. According to the CD booklet notes, he was “self taught, he left University to study music.” He won an international trophy in Salzburg in 1962 and earned diplomas in choral music and conducting (1967) and composition (1970) from the B. Rossini State Conservatory in Pesaro. He also studied orchestral conducting at St. Cecilia in Rome. He presently teaches composition and musical analysis for teachers at the L. Cherubini State Conservatory in Florence.

I was especially pleased to receive a copy of di Gesualdo’s CD (his first, I presume) from EMA Records. Although Art of Fuguewas not included on the program, the musicianship was all that I thought it would be. He doesn’t need to transcribe music for the accordion; he simply plays it from the score. His choice of music appeals to me; Renaissance and Baroque compositions as well as his own original contemporary compositions. I have always thought that the accordion lends itself to the Baroque style, like a small chamber organ. In fact, on occasion I have toyed with the idea of calling my instrument a “chamber organ.”

The early music selections on the CD (22 minutes worth) are a good introduction to contrapuntal Renaissance and Baroque keyboard music. Most of the composers are Italian, with the exception of the English William Byrd, and the compositions are short, ranging between 2:21 (Pasquini’s Toccata) and 5:36 (Merullo’s Toccata). These are not flashy virtuoso pieces; they are within the abilities of any competent keyboard player, be he or she an organist, harpsichordist or pianist. I believe di Gesualdo does not delight in pyrotechnics, he delights in recreating fine music. If the listener is not entertained, who cares? His performances are targeted toward discriminating classical music lovers who appreciate quality music.

Di Gesualdo is unusual in that he plays these works on the accordion; note for note with stylistic authenticity. If I am not mistaken, he was the first Italian accordionist to master the free-bass accordion, and he has made quite a name for himself as a classical accordionist.

The second half of the CD—the more substantial half, I might add, clocking in at 28 minutes—consists of (predominantly) atonal works composed by di Gesualdo. It is a curious contrast: early music on one hand and atonal music on the other. This dichotomy is not limited to this particular CD; he often programs similar pieces for his concert performances. (*1) Obviously di Gesualdo wanted his listeners to hear his own works.

These works, unlike the early music pieces, are not contrapuntal; they are more like surreal sustained tones and intervals (di Gesualdo seems to have an affinity for minor seconds) punctuated with sharp stabs of clusters, not unlike many other aleatoric works I have heard.

The final track on the CD is Musica pro Guido, a complex work for accordion and magnetic tape which was composed to commemorate the 1000th anniversary of the birth of the famous Medieval music theorist, Guido d’Arezzo (ca. 994-1050), whose invention of the staff served as the foundation for modern Western musical notation. Although the piece’s opening is similar to di Gesualdo’s other three compositions, as it begins with a single tone and gradually adds other tones in succession, it is much more developed. Various Medieval chants appear within the piece, which I assume were authored by Guido, as well as brief sections of syncopated jazz choral singing accompanied by a plucked string bass.

The CD liner notes are written in Italian. Some (but not all) sections are translated into English. Although this CD is superb, I consider it to be simply an appetizer which precedes far greater recordings to come, and I wait with bated breath for the release of di Gesualdo performing the entire Art of Fugue. This, I believe, would be a worthy monument for posterity of di Gesualdo’s genius and I hope he will consent to record this CD as a legacy for future generations of classical accordionists.


(*1) On June 30, 2000, di Gesualdo performed the following works:

  • C. Gesualdo da Venosa’s Canzon Francese del Principe
  • J.S. Bach’s Die Kunst der Fuge BWV 1080
  • S. di Gesualdo’s Epitaffio

during a solo concert at Teatro Romano di Fiesole. On July 29 he performed the following selections during a concert at the Stagione Musicale Estate:

  • Claudio Merulo – Toccata 1 del Primo Tono
  • Girolamo Frescobaldi – Toccata I (primo libro), Toccata I (secondo libro),
  • Toccata V (secondo libro)
  • Baldassarre Galuppi – Presto
  • Johann Sebastian Bach – Toccata
  • Alfred d’Auberge – Tre Studi
  • Charles Magnante – Allegro
  • Luciano Fancelli – Acquarelli Cubani
  • Ernesto Lecuond – Malagena
  • Salvatore Di Gesualdo – Improvvisazione n.2.

© EMA Vinci Records  nel formato CD 1.7.1996

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