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COMPOSERCLEMENTI JOMMELLI RUTINI
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PERFORMERFirrinceli, Tonda
Jommelli, Clementi & Rutini: La musica per clavicembalo a quattro mani / Firrincieli, Tonda
- Tactus
- October 5, 2018
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RELEASE DATEOctober 05, 2018
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UPC8007194106886
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CATALOG NUMBERTC710002
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LABELTactus
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NUMBER OF DISCS1
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GENRE
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I. Allegro
Composer: Niccolò Jommelli
Performer: Alberto Firrincieli, Mario Stefano Tonda
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II. Affettuoso
Composer: Niccolò Jommelli
Performer: Alberto Firrincieli, Mario Stefano Tonda
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III. Menuetto
Composer: Niccolò Jommelli
Performer: Alberto Firrincieli, Mario Stefano Tonda
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I. Allegro spiritoso
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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II. Rondeau: Presto
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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I. Allegro maestoso
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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II. Tempo di minuetto: Andante
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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I. Allegro spiritoso
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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II. Rondeau: Presto
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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No. 1. Il Facile - No. 2. Il Pacifico - No. 3. Il Semplice - No. 4. Il Gioviale
Composer: Giovanni Marco Rutini
Performer: Alberto Firrincieli, Mario Stefano Tonda
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No. 5. Il Buono Umore - No. 6. Il Disinvolto - No. 7. L'Afflitto - No. 8. Balletto
Composer: Giovanni Marco Rutini
Performer: Alberto Firrincieli, Mario Stefano Tonda
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No. 9. Il Contrasto - No. 10. Lo Sprezzante - No. 11. I Quattro Caratteri - No. 12. Finale
Composer: Giovanni Marco Rutini
Performer: Alberto Firrincieli, Mario Stefano Tonda
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I. Allegro assai
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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II. Larghetto con moto
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
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III. Presto
Composer: Muzio Clementi
Performer: Alberto Firrincieli, Mario Stefano Tonda
Featuring ⌄
Product Details ⌄
Works ⌄
Among practices distinguishing the European music scene in the second half of the eighteenth century, the performance of music for two players on the same keyboard is certainly one of the more remarkable and, in some ways, significant examples. The rendition of a four-handed piece on the harpsichord or the fortepiano can be considered an example of the direction that music of the second half of the eighteenth century was about to take: light-hearted, convivial, and educational, in which quality existed alongside the intention to satisfy the new “galant” tastes of the aristocracy, as well as the needs of the rising middle class. The four-handed genre becomes, in this regard, an ideal setting to express the new musical feeling. Four hands can double possibilities and exploit the keyboard’s full range. The search for expressivity is maintained by combining extended melodies with arpeggios or broken chords. In the case of performance on the harpsichord, the increased opportunity to “mix” the stops facilitates the search for unexplored colors and contrasts. On a historical copy of the famous harpsichord maker Martin Sassmann, Alberto Firrincieli and Mario Stefano Tonda perform the singular repertoire that sees protagonists Nicolò Jommelli, Muzio Clementi and Giovanni Maria Rutini, in these compositions reflecting their different peculiarities.
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