Fone Records

Salvatore Accardo; born September 26, 1941 in Turin, northern Italy) is an Italian violin virtuoso and conductor. Accardo studied violin in the southern Italian city of Naples in the 1950s. He gave his first professional recital at the age of 13 performing Paganini's Capricci. In 1956 Accardo won the Geneva Competition and in 1958 became the first prize winner of the Paganini Competition in Genoa.

Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolò Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician, and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation.

This album is part of the recordings made on the occasion of the concerts of the first edition of the fonè Music Festival Piaggio 2019. The concerts organized by fonè's Giulio Cesare Ricci were held at the Piaggio Auditorium located inside the famous Museum in Pontedera, the place where Piaggio was born and where it still continues to produce today.

Giulio Cesare Ricci is particularly fond of the music of the Argentinean tango king Astor Piazzolla, and so his label Fone repeatedly releases high-quality music by Piazzolla. On "Duettango", it is a top-class quartet that brings the Tango Nuevo to life: At the centre is violinist Fernando Suarez Paz, who played tango with Piazzolla himself in his Quarteto Nuevo in the 70s. Next to him, we hear his daughter Cecilia, whose singing is in no way inferior to her father's playing. Now you need a bandoneon player for the tango, and on this record it is Cesare Chiachiaretta, one of the best in the world at the moment. Add Filippo Arlia, a classically trained pianist, and you have a tremendously emotional and virtuoso tango formation, captured by Ricci in excellent sound quality.

The recording collaboration with the great violinist Salvatore Accardo continues, which began 29 years ago.

Of Grieg’s seventy-four published works, only five are for chamber music, and no less than three of these are Violin Sonatas. His favourite instrument was the piano, but the influence of Norwegian violinist and composer Ole Bull (1810-1880), patron of young Edvard’s career, was enormous. Grieg confessed to considering the Violin Sonatas among his best works, each representing a different phase in his development: ‘the first a little naive, but rich in ideas, the second Nordic, and the third with a broader horizon’, he wrote to his friend Bjørnstjerne Bjørnson. The composer’s connection to his homeland, Norway, was very deep.

The laus perennis that the monks every day in their psalmody offer to the Lord, is adorned with hymns, antiphons and responsories; all chants drawn from the ancient gregorian repertory. With this daily practice and custom, the monks become almost the only custodians and specialists of this patrimony of the highest religious, cultural and artistic merit that is gregorian chant. The monks of Montecassino – always faithful cultivators of this venerable chant, proper to the lit- urgy of the Church – with the present CD want to make these melodies, which are an elevated form of prayer, resound also outside of the monastery walls. The recording was completed at the Tomb of St. Benedict and is intended as an affectionate hymn of sons towards their father and master: in fact, a good part of the liturgy of the Solemnity of St.Benedict of the traditional date of March 21 was performed.

Following the phenomenal success of Cavalleria Rusticana (1889) operas flowed rapidly from Mascagni’s pen for about a decade: L’Amico Fritz (1891), I Rantzau (1892), Guglielmo Ratcliff (1895), Silvano (1895), Zanetto (1896), and Iris (1898). With the arrival of the 20th Century the pace began to slow down: Le Maschere (1901), Amica (1905), Isabeau (1911), Parisina (1913), Lodoletta (1917), Il Piccolo Marat (1921), Pinotta (1932) and finally Nerone (1935), largely a reworking of a much earlier piece. Mascagni himself was convinced that the public’s obstinacy in preferring Cavalleria Rusticana was an injustice. Criticism of the earlier works has tended to centre on clumsy libretti and patches of weaker inspiration, while real controversy has surrounded the later pieces. Here, we are told, Mascagni tried to dress up as a modern, flirting with dissonance and ungainly vocal declamation, at the expense of his natural melodic gifts.