An Argentinian composer of Italian origin, Luis Gianneo is much lesser-known than his slightly younger colleague Alberto Ginastera. His music however clearly paves the way for Ginastera’s in that much of it is, in one way or another, folk-inspired. Many of these pieces actually use Argentinian folk rhythms rather than quote or rhapsodise on folk-tunes, much in the same way as in Bartók’s so-called imaginary folklore. Indeed, Gianneo’s music is never slavishly nationalistic (i.e. in the narrowest meaning of the word) or merely picturesque. It nevertheless is deeply rooted in the local tradition as well as in mid-20th Century musical language. His piano writing is clearly of its time, and often brings Prokofiev, Stravinsky or Bartók to mind.

The Suite of 1933 is the earliest work in this selection and a good example of Gianneo’s musical thinking. It successfully blends folk-like rhythms and phrases with a more cosmopolitan idiom. It is a brilliant piece, full of energy and colourful contrasts.

The Sonatina, completed in Paris in 1938, is much more Neo-classical in outlook though its main themes are again often redolent of folk music. The thematic material is moulded in more traditional forms and handled with much economy and clarity. It never outstays its welcome.

The Piano Sonata No.2 (1943) is a much more ambitious piece, though it has still much in common with the earlier works, especially in its reliance on traditional Neo-classical forms and Argentinian rhythms. In this, as in the earlier pieces, there is much contrapuntal activity which Gianneo expertly masters; but again his colourful music is never blandly academic or dryly austere.

The shorter Improvisación of 1948 is set in a clear ABA form. The gently undulating outer sections frame a more impassioned middle section. A beautiful short piece that should become a popular encore, were it heard more often.

The Piano Sonata No.3, completed in 1957, is another ambitious, substantial piece. It is a much more troubled work than any of the other ones recorded here. According to Dora De Marinis, this may reflect the composer’s sorrow at the death of his wife but also the turbulent political situation of the country at that time. In any case, the music here is rather more austere, harsher, though it still has its share of folk-inspired material. The way in which this material is handled already points towards Gianneo’s later music. This is characterised by a greater economy of resources as is evident in the masterly Seis Bagatelas, written between 1957 and 1959. This is one of his last piano pieces, and, as far as I am concerned, the finest work here. The folk material is less prominent and the counterpoint is in strict two-part writing, whereas the musical idiom now tends towards some free atonality. The music is still very colourful, inventive and superbly written for the instrument.

Gianneo’s attractive piano music is well-served by the present performers and is given a warm, natural piano sound. I for one hope that Volume 2 will soon be released, for, judging by the present recordings, Gianneo’s music greatly deserves to be re-assessed, the more so when it is played, as it is here, by dedicated performers.

-- Hubert Culot, MusicWeb International

GIANNEO: In the Altiplano / Music for Children

Includes work(s) by Johann Strauss Sr.. Ensemble: Slovak Sinfonietta. Conductor: Ernst Märzendorfer.

Includes work(s) by Hans Christian Lumbye. Ensemble: Tivoli Symphony Orchestra. Conductor: David Riddell.

DEANE: Quaternion / Krespel's Concerto / Oboe Concerto

LUMBYE: Orchestral Works, Vol. 6

Includes work(s) by Hans Christian Lumbye. Ensemble: Tivoli Symphony Orchestra. Conductor: David Riddell.

Talk about politically incorrect! This opera, based on a play by Voltaire and first presented at La Scala in 1817, presents the prophet Mohammed ("Maometto", tenor) as a traitorous, conniving thug who has enslaved the children--Seide (mezzo-soprano, trouser role) and Palmira (soprano)--of his rival, Zopiro (bass), the sheriff of Mecca. The kids do not know that Zopiro is their father, and Mohammed and his henchman Omar (baritone) trick the zealous Seide into murdering Zopiro, who as he dies reveals that Seide and Palmira are brother and sister, and his children. Seide is poisoned in prison and dies in Palmira's arms a bit later while his "fate" is being decided by divine providence in front of the populace. Palmira expresses her wish to die as Mohammed tells the people to tremble in front of his power over life and death, and they ask forgiveness.

One theory states that Voltaire in fact was making a statement about the cruel power of the Jesuits, but because that was deemed too inflammatory he transferred the guilt to Mohammed. Who would be bothered by that? Well...enough said.

Peter von Winter (1754-1825), a student of Salieri's, was first a violinist and then began conducting at the Munich court. In 1778 he composed his first opera and eventually wrote more than 40 stage works for Munich, then Vienna, and then Italy. His music is more Mozartean and Gluckian than Rossinian, and Maometto is a fine example. The overture is martial in character, with cymbals and prominent woodwinds, and like the opera in general it's more moody and dramatic than easily tuneful. But there are lovely moments: the chorus introducing Palmira is delicate and preciously scored for high winds, and that gives way, in her recitative and aria, to a still delicate but far more somber tone. And a trio in the second act, in which Zopiro prays off-stage with the brother and sister in the foreground, is rare and fascinating. Von Winter's orchestration is very full--more Germanic than Italian--and the chorus plays a big part, interjecting into arias and scenes, expressing real sentiments, and taking part in the action. In short, given the opera's dark plot and its dark outcome--the bad guy wins, there is a parricide, a murder, and a (wished-for) suicide for the siblings--the music suits it to a tee.

The live performance, from July, 2002 in Bad Wildbad, Germany, is excellent. None of the singers is famous but probably will be. Sebastian Na, a Korean tenor, is a fine, no-nonsense Maometto (the part was written for the tenor who created Pollione in Norma). His voice is substantial and he sings with authority. His future probably doesn't lie in the bel canto, however--he has a bigger edge to his sound. Antonio de Gobbi's bass voice is unusual: it has very little depth and his pitch is occasionally suspect, but it's an even sound throughout two octaves, and he commands attention and makes an impression at all dynamic levels. He makes Zopiro the moral center of the opera, which is correct.


Gloria Montanari as Seide starts out very badly, with plumy, matronly sound, but she soon gathers momentum and status; by her second-act duet with Zopiro, she's terrific. Similarly, Maria Luigia Borsi's soprano is not as sweet as we might like, but when it's all over, it is her coloratura, sharp diction, and fine ensemble work that stay in the mind. Luca Salsi's rich baritone makes Omar stand out. The Czech Philharmonic Choir, Brno and Czech Chamber Soloists play and sing splendidly under Maestro Bellini, with the Choir being particularly noteworthy. The recording could have more presence; the opera sounds best when played loud. The packaging contains a full Italian libretto with no translations, along with a good track-by-track synopsis and informative notes. This is highly recommended--a rarity, and a nice link between the German and Italian works of the period.
--Robert Levine, ClassicsToday.com

STRAUSS I, J.: Edition - Vol. 3

Includes march(es) by Johann Strauss Sr.. Ensemble: Slovak Sinfonietta. Conductor: Christian Pollack.
Includes polka(s) by Johann Strauss Sr.. Ensemble: Slovak Sinfonietta. Conductor: Christian Pollack.

Includes work(s) by Johann Strauss, Sr.. Ensemble: Slovak Sinfonietta. Conductor: Ernst Märzendorfer.

Includes waltz(es) by Johann Strauss Sr.. Ensemble: Slovak Sinfonietta. Conductor: Christian Pollack.

STRAUSS I, J.: Edition - Vol. 5

Popular Pipa Music: Pipa Concerto "Ambush on All Sides"

Includes work(s) by Joly Braga Santos. Ensemble: Algarve Orchestra. Conductor: Alvaro Cassuto. Soloist: Jan Bastiaan Neven.