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As is the case with all the songs here, though, Filippo Farinelli piano playing is sensitive and supportive. Yet there is a violence and adventurousness in Dallapiccola's writing which is not really matched by the style of singing – contained and somewhat prim – of the singers. In some ways Dallapiccola's work sought to share the sparseness of Berg or Webern, whom he admired.Īs the second CD wears on, some of the more original and non-tonal pieces make a contrast – the Quattro liriche di Antonio Machado, in particular. Potentially, though, this fact provides insight into Dallapiccola's preoccupations of melody, shifting tonality (Monteverdi's chromaticism sits well in a world where tonality was being, at least, "re-examined" by composers in these years), meticulous paring of harmony and melodic line to its essence… a major aspect of works like Il Prigioniero. Frankly, this makes their greatest value that of greater historical curiosity than songs entirely in their own right. This means that most of the items here are likely to be familiar to many listeners. The rest are effectively arrangements, realisations or re-interpretations of earlier works. Indeed, of them all only the Rencesvals and Quattro liriche di Antonio Machado are entirely his own, original, work. Thus it is that Dallapiccola drew on the music of Renaissance madrigalists, Monteverdi and his contemporaries for the bulk of the songs collected here. It would be almost inconceivable that an Italian composer could operate in a vacuum, so rich is the musical heritage of that culture. Indeed, the first extant of Dallapiccola's compositions were for voice and piano – although he suppressed them. Luigi Dallapiccola lived from 1904 to 1975 and wrote perhaps the most lyrical twelve-tone compositions of the trio of twentieth-century Italian composers that also included Berio and Nono.
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