Malipiero

In the dark years of the Nazi-Fascist period, when the light of the end was still far off, Malipiero completed a long-awaited undertaking: an edition of the complete works of Claudio Monteverdi. Its last volume, the sixteenth, came out in 1942 at the height of the war. The edition contained the sacred production that the publisher Vincenti had assembled in the collection Messa a 4 voci et salmi (1650). Quartetto Sincronie’s choice to include an arrangement of Monteverdi’s Mass, alternating the parts with Malipiero’s work, is yet another example of reinvention-creation that Malipiero would likely have appreciated. In the composers’ poetics, instruments are asked to sing as voices, and so the opposite—voices translated to instruments—is fitting.

This release couples Gian Francesco Malipiero’s two contrasting violin concertos with the world premiere recording of his kaleidoscopic orchestral work Per una favola cavalleresca, evoking legendary scenes of love, tournaments, battles, moonbeams and heroes. Malipiero’s First Violin Concerto is one of his most beautiful and joyful works, a remarkable achievement for a composer who is said to have played the violin badly in his youth. His Second Violin Concerto, written 30 years later, sounds astonishingly different on a first hearing, but reveals itself to be inspired by the same lyrical impulse as the earlier concerto.

Gianfrancesco Malipiero (1882-1973), harboured particular affection for his Concerto No. 1 for Violin, that he “finished composing” on 10th March 1932. Malipiero considered his solo concertos composed in the fertile years “prayers.” (We refer not only to the Concerto for Cello but also to the felicitous Concerto No. 1 for Violin composed in 1933, to the first two Concertos for Piano, respectively written in 1934 and 1937 and to the Concerto a tre – for violin, cello and piano – composed in 1938.)