Mozart / Spazian- Twilight Travelers (CD)
The debut album of Francesco Spazian with a bold project that combines Schubert and Mozart to the post-modern suggestions by Valentin Silvestrov The meaning of the project is illustrated in the in-depth notes written by the musicologist Andrea Bedetti: "Don't be surprised [...] by the presence of Valentin Silvestrov [...]. The choice of these pieces proposed here, Zwei Dialoge mit Nachwort (2001-02) and Der Bote (1996), is directly linked to the presence of the Schubert and Mozart sonatas; if the Dialogues reflect the timbre concept of the postlude (precisely the "Nachwort"), the ideal progression of Schubert's Sonata in A minor could only be with the first fragment of the Dialogues, the Hochzeitswalzer, derived from that Schubert (with the complementary and "bonding" G flat major tonality), while Der Bote is a placid Rondo that directly refers to the musicality and to the dance rhythms of Mozart. The latter, in particular, highlights one of the main characteristics of the aesthetic/musical vision of the Ukrainian composer, a disarming exterior-paralysis/interior-vitality (expanded here by the indication of the author who warns that the piece must be performed with a closed sound box) in which every note, every chord, although ideally and necessarily connected with each other, takes on it's own precious and irreducible timbre and physical autonomy, in which the silence that surrounds them makes their inner effects reflect and intensify."
The debut album of Francesco Spazian with a bold project that combines Schubert and Mozart to the post-modern suggestions by Valentin Silvestrov The meaning of the project is illustrated in the in-depth notes written by the musicologist Andrea Bedetti: "Don't be surprised [...] by the presence of Valentin Silvestrov [...]. The choice of these pieces proposed here, Zwei Dialoge mit Nachwort (2001-02) and Der Bote (1996), is directly linked to the presence of the Schubert and Mozart sonatas; if the Dialogues reflect the timbre concept of the postlude (precisely the "Nachwort"), the ideal progression of Schubert's Sonata in A minor could only be with the first fragment of the Dialogues, the Hochzeitswalzer, derived from that Schubert (with the complementary and "bonding" G flat major tonality), while Der Bote is a placid Rondo that directly refers to the musicality and to the dance rhythms of Mozart. The latter, in particular, highlights one of the main characteristics of the aesthetic/musical vision of the Ukrainian composer, a disarming exterior-paralysis/interior-vitality (expanded here by the indication of the author who warns that the piece must be performed with a closed sound box) in which every note, every chord, although ideally and necessarily connected with each other, takes on it's own precious and irreducible timbre and physical autonomy, in which the silence that surrounds them makes their inner effects reflect and intensify."