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
DETAILS OF BOTH MARCO POLO VOLUMES:-
Luis GIANNEO (1897-1968)
Piano Works - volumes 1 and 2
Volume 1
Piano Sonata No. 2 (1943) [14.19]
Suite (1933) [12.33]
Piano Sonata No. 3 (1957) [14.52]
Sonatina (1938) [9.10]
Six Bagatelles (1958) [6.37]
Improvisation (1948) [6.40]
Pianists: Dora de Marinis (Sonata 2); Alejandro Cremaschi (Suite; Sonatina;
Improvisation); Fernando Viani (Sonata 3; Bagatelles)
rec Schloss Gottesauer, Velte Saal. Karlsruhe, Germany, 26-31 Aug 2000.
DDD
MARCO POLO 8.225205 [64.11]
Volume 2
Bailecito (1931) [2.25]
Music for Children (1946) [18.50]
Two Etudes (1933) [14.52]
Five Little Pieces (1938) [8.34]
In the Altiplano - Prelude (1932) [9.08]
Seven Little Pieces for Children (1946) [8.59]
Three Argentinian Dances (1938) [8.59]
Christmas Carol (1946) [2.02]
The Little Road to Bethlehem (1947) [2.12]
Pianists: Dora de Marinis (Etudes; Seven Pieces); Elena Dabul (Bailecito;
Little Pieces; Altiplano); Fernando Viani (Dances; Carol; Little Road)
rec Schloss Gottesauer, Velte Saal. Karlsruhe, Germany, 26-31 Aug 2000.
DDD
MARCO POLO 8.225206 [62.58] AmazonUK
Dora De Marinis
(piano)a; Alejandro Cremaschi (piano)b; Fernando
Viani (piano)c