Featuring several world-premiere recordings, the most comprehensive set ever released of Pizzetti’s song output.
Art song occupies a substantial space in Pizzetti’s oeuvre, with over 40 pieces, and yet the composer is still remembered mostly for his opera Murder in the Cathedral, and more tangentially for chamber and choral pieces such as the Cello Sonata and Requiem. Pizzetti composed songs for almost his entire life as a composer, starting with Nuvole (1899), a romanza still unpublished, up to the Tre canti d’amore, which belong to the group of his last works, from the second half of the 1950s.
Pizzetti wished to distance himself from the Italian tradition of song writing for the salon of salon writing: in 1914 he wrote that ‘a new period for vocal chamber music in our country is about to begin.’ His choice of authors is singular, and serious: Petrarch, Michelangelo, Victor Hugo, as well as contemporary Italian versions of Greek lyrics by Sappho and the classical-era tragedians.
Another running thread is nature, and a love for his native region of Parma. Pizzetti often set poets from the region such as Mario Silvani’s Sera d’inverno (1907), an evocative winter landscape, and a set of three ‘tragic sonnets’ by Alfredo Zerbini. Alas, like other songs here, they were never published, despite the poet’s entreaty to the composer: ‘I ask you to do it for our beloved dialect, if you do not want to do it for me… Through the music of a great musician, who knows, even our poor dialect may aim high!’
Alfredo Blessano’s booklet essay gives invaluable context to this absorbing and richly varied collection of 20th-century song. Performing together as the ‘Vansisiem Lied Duo’, Paola Camponovo and Alfredo Blessano have previously recorded the complete songs of Gian Francesco Malipiero (96153). ‘The songs are lovely, and the performances excellent… They are strongly closely attuned to each other, and their committed performances here are much more than readings.’ (Fanfare)
- The Complete Songs (Liriche) by Ildebrando Pizzetti (1880-1968) form a significant portion of his vocal output, bearing witness to his deep connection with Italian literary traditions and his ability to translate poetry into expressive music. As one of the leading Italian composers of the early 20th century, Pizzetti was known for his lyrical style, drawing inspiration from both the past and the modern era. His songs often set texts by prominent Italian poets such as Gabriele D’Annunzio, who shared Pizzetti's interest in themes of nature, mysticism, and the Italian cultural heritage.
- Pizzetti’s liriche demonstrate his skillful blend of text and music, characterized by a refined melodic line that closely follows the natural inflection of the language. His approach to vocal writing is often declamatory, allowing the poetry's meaning to guide the musical expression. Harmonically, the songs exhibit a rich, modal language influenced by Renaissance and early Baroque music. The thematic variety in his Complete Songs ranges from intimate, introspective reflections to more dramatic, impassioned expressions, always maintaining a close relationship between word and sound.
- Sung by the Vansìsiem Lied Duo: Paola Camponovo (soprano) and Alfredo Blessano (piano). This duo already showed their affinity with the idiom in their much praised recording of the complete songs by Malipiero on Brilliant Classics (BC 96153).
