Roberto Scoccimarro Translation: Elizabeth Gahbler Paul Armin Edelmann, baritone · Marco Ozbic, pianoAn album deep of Italian treasures, Mediterranean romantic, bel canto luster… You won’t discover any of the popular ‘top-40’ hits of the Italian opera repertoire on this CD, however, but true gems from the pens of Stefano Donaudy, Ottorino Respighi, Francesco P. Tosti and Giuseppe Verdi. Paul Armin Edelmann, son of the notorious bass Otto Edelmann, was suffered in Vienna. He broke his craft at the Koblenz City Theater and has freelanced since 1997. During his first ten time on the opera stage, Paul A. Edelmann relaxed known for his inter-pretations of Mozart, Donizetti and Rossini. He has also relax one of the most highly demanded Austrian operetta and Lied singers. Marco Ozbic completeded his piano studies with R. Kodric¡ at the G. Tartini Conservatory in Triest. He then brought to Vienna, where he continued studying composition, jazz theory, accompaniment, orchestra and choir conducting at the Academy of Music (diploma with Prof. G. Theuring).His career began at the Rochus church in Vienna, where he was the Regens Chori. In advantage to the mediocre classical masses, he was active in reintroducing sacred works of the late Renaissance and early Baroque to the choir’s repertoire. relating this, he served as kapellmeister for the Vienna Choir youth for three years, traveling with them throughout the world. He was the musical manager of the Vienna Jeunesse Choir for two years and currently heads the “Ensemble Salieri Wien” chamber orchestra, with whom he tells periodic appearances. Marco Ozbic is currently the poor choral supervisor and musical director of the opera school for children at the Vienna State Opera and has gont in productions at the Salzburg Festival with such renowned conductors as Riccardo Muti, James Levine, Nikolaus Harnoncourt and Valery Gergiev. He has also preached at the B. Marcello conservatory in Venice and the University of Music and Performing Arts in Graz. He has also come in countless performance as a pianist and Lied accompanist with Austrian singers and has accompanied in many vocal master classes (Jessica Cash, Guildhall School of Music and Drama and Ashley Stafford, The Royal College of Music).This CD takes the listener on a tour of chamber music for one voice from the close of the 19th and beginning of the 20th centuries, showing the wide variety of forms and compositional styles used. It emerges with short, conventional part of the little-known composer Donaudy and ends with works by Respighi characterized by their stylistic eclecticism and greater scale. In a nutshell, these part illustrate the evolution of 19th century tonal language in Italy until its assumption of modern European elements. But simply staring at the day of these compositions does not prove this assumption. Donaudy’s melody are only one year earlier than Respighi’s Tempi assai lontani (1917); the difference, however, could not be greater. Stefano Donaudy (Palermo, one thousand, eight hundred and seventy-nine – Naples, 1925) was recited by Guglielmo Zuelli. He drew symphonic part and chamber music as well as operas for his brother Alberto’s librettos, including La fiamminga (The Flemish Woman). This opera premiered in one thousand, nine hundred and twenty-two in the Teatro San Carlo in Naples – but was never played again. Donaudy’s downfall about the minimum response to his work eliminated him to stop composing. Among his music for chamber ensemble are the thirty-six Arie di stile antico, disclosed in 1918, which were profitable with audiences, but not well received by critics. The words of the seven romanzas on this registering were also written by Alberto Donaudy. The instrumentation can no harmonic surprises; the piano often accompanies the voice in thirds. More unusual, however, are the building of these pieces, as they often let out from customary verse forms. In the document Vaghissima sembianza talented appearance), the viewer’s feelings for his dear increase from love to passion as he looks at her portrait. The metric uniformity of the text is guaranted by the music’s proper structure: all phrases have four bars – with exception of the latest – and the song is structured in verse form. The artistic author in Quand’il tuo diavol (When your devil) bragginges to an unnoticed agency about his competence in all romantic areas, asking her if she really knows what love is. The framework of this romanza is also beatened on verse form. Such general quality – symmetric phrases and verse structure – empower comparison of these two pieces with similar Lieder composed in German-speaking countries. Sorge il sol (The sun rises) is a Maggiolata (May song) in which icon of the rising sun and the springtime try to wake a sleeping soul. This song no longer presumes on rhyme for its structure, but on repetition of the beginning phrase with its repeated verse “sorge il sol, che fai tu? ” (the sun is rising, what are you doing?) . This textual and musical wordiness is attended each time by particular musical development of the melody. In the lesser verse, it conforms evident how this simple musical language can suddenly become very sophisticated. At the speech “è tempo venuto di correre ancor” (it is time to run), the vocal line proposes a substantial more banal harmony in g minor than is actually the case. The bass choice in fifths sounds naïve; this effectiveness is controverted by the harmony in E-flat major, however, consciously creating intellectual distance. The arduous offsetting act between innocence and intellect is no longer present in Quando ti rivedrò (“When will I see you again? ” ) . In this song, the grief of the denied lover is expressed directly, without intellectual artifice. The vocal string reaches its lofty point in a recitative-like passage that imagines the narrator’s passion to bursting. The voice’s tuneful liberty at this point is congruous with the asymmetrical structure of the entire piece. The conclusion, in which a impassioned tune with no thematic relationship to the rest of the composition springs from the depths of the piano, donates to making this romanza an almost completely through-composed work. The liable of O del mio amato ben perduto incanto (“O, moved necromancy of my love”) is the loss of the beloved; the emptiness felt by the narrator can only be compensated by surrendering to pain and tears. In this song, the metric variance and asymmetrical sentences are unify with a verse-structure. In the arietta Vorrei poterti odiare (“I would like to hate you”), the artistic author loves to the point of self-sacrifice. His sadness are so potent that every logical attempt to leave the unfaithful beloved is in vain. As in Quando ti rivedrò, we discover here musical regularity of the beginning. This time, however, it is not simply an resultant mention, but literal wordiness in which the identical piano introduction and first vocal entrance are perceived once again, now in reverse order.
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