Sylvano Bussotti - Four Pianos
£15.15
Usually available for despatch within 2-3 working days
Despatch Information
This despatch estimate is based on information from both our own stock and the UK supplier's stock.
If ordering multiple items, we will aim to send everything together so the longest despatch estimate will apply to the complete order.
If you would rather receive certain items more quickly, please place them on a separate order.
If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up.
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Pre-orders will be despatched as close as possible to the release date.
Label: Stradivarius
Cat No: STR33952
Format: CD
Number of Discs: 1
Release Date: 29th July 2013
Contents
Works
Bartok Busoni, capriccio di 34 mikrokosmosFoglio d'Album: Le pietre di Venezia
Folies (12) d'apres Francois Couperin le Grand
La vergine ispirata
Olof Palme
Quattro pianoforti
Sette fogli, una collezione occulta
Artists
Sylvano Bussotti (harpsichord, piano)Aldo Orvieto (piano)
Ciro Longobardi (piano)
Giovanni Mancuso (piano)
Debora Petrina (piano)
Carlo Lazari (violin)
Claudio Ambrosini (inside piano)
Alvise Vidolin (live electronics)
Works
Bartok Busoni, capriccio di 34 mikrokosmosFoglio d'Album: Le pietre di Venezia
Folies (12) d'apres Francois Couperin le Grand
La vergine ispirata
Olof Palme
Quattro pianoforti
Sette fogli, una collezione occulta
Artists
Sylvano Bussotti (harpsichord, piano)Aldo Orvieto (piano)
Ciro Longobardi (piano)
Giovanni Mancuso (piano)
Debora Petrina (piano)
Carlo Lazari (violin)
Claudio Ambrosini (inside piano)
Alvise Vidolin (live electronics)
About
There are not many composers of Sylvano Bussotti’s generation – by generation we mean a poetic more than numerical fact – for whom the piano has represented the, or an, authentic centre: a specific place for the invention and production of sounds which radiates towards other ideas, other fields of application.
Despite not being a composer-pianist, or a musician linked to a craft by means of the keyboard, at the end of the 1950s Bussotti succeeded, like Cage, Boulez and Feldman, in defining authoritatively a contemporary language of the piano which is at the same time idiomatic, experimental and imbued with history.
The presence of the piano in Bussotti’s extensive catalogue is not only frequent, but also indicative of innovation, of turning points, sometimes even of ‘manifesto’; it is also not only the fruit of composition but also the living presence of the composer as a skilled and charismatic performer.
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