The author and performer's recordings
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Sergio Calligaris
The author and performer's recordings


DAD-021-2 CD booklet AcrobatReader© reproduction (1768kB)SERGIO CALLIGARIS
. . . Rigor y Pasión . . .
[DAD RECORDS, DAD-021-2 (2006), DDD 24 Bit/Khz 96]

Associazione Musico Culturale Aulos
IMAIE (Institute for the Protection of Performing Artists Rights)

SONATA Op.38 (1997)
for Clarinet and Piano
(dedicated to Vladimir and Dimitri Ashkenazy - Carisch Editions, Milan)
Antonio Tinelli, clarinet - Giuliano Mazzoccante, piano

Allegro moderato e maestoso assai, Scherzo fantastico, Finale

Composed in 1997 upon the request of Raffaele Pozzi (the Artistic director of the Pontino Festival) and dedicated to Vladimir and Dimitri Ashkenazy, the Sonata treats the two instruments in a harmonious fashion, attributing importance to instrumentality and expressiveness alike.
The first, quite large, movement (Allegro moderato and Maestoso assai) is a sonata in the most rigorous and particularly dilated form where the two main themes (the first one being very rhapsodic and the second one lyrical and contemplative, as it contains one of its central Trios) are surrounded by two very incisive secondary ideas that are truly important themes. This is confirmed by the fact that the ample, four-voice atonal Fugue (with a fifth voice acting as a pedal on the D flat in the bass), positioned in the central section of the movement as a development (the Fugue being a two-theme structure), actually employs these two secondary ideas as themes.
The second movement (Scherzo Fantastico) is a light and mysterious Presto with two harmonically and very refined, enchanting themes. It is followed by the calm and idyllic Trio (Andantino soave) which, after the recapitulation of the tempo in Presto, will reappear briefly in the Coda, much the same as a faraway evocation.
Even the Finale (Allegro energico and marcato) is based on two "molto mosso e agitato" themes in rapid succession, while the central Intermezzo of the movement (Andante) is indicated as being "very calm and melancholic, with the utmost expression". The classical recapitulation with variations leads to a conclusive Presto with a violent sonority.

TEMA E VARIAZIONI Op.5a (1958 - rev. 1977)
for Clarinet, Cello and Piano
(dedicated to Trio Pro Arte - Carisch Editions, Milan)
Antonio Tinelli, clarinet - Mauro Gentile, cello - Luca Palladino, piano

Tema, Largo, Variazioni (Largo, Andantino, Presto, Allegro giusto, Allegretto cantabile, Moderato, Allegro appassionato), Coda, Presto

The structure of this work is particularly multifaceted. The Theme was created in 1957; it had the form of a Lied for voice and piano, and was inspired to the then sixteen-year-old composer by Garcia Lorca's very dramatic poem "Arboles" (Trees). The following year it was turned into Theme and Variations for piano solo.
In 1977, as some soloists of the Orchestra di Santa Cecilia had asked the author to write a chamber work, he revised the composition to include oboe, bassoon and harpsichord, and added the sixth Variazione we have at present.
Before the composition reached today's definitive version for clarinet, cello and piano, there was one more version, this time, for violin, violoncello and piano. Recently published by Carisch and devoted to the Trio Pro Arte (Antonio Tinelli - clarinet, Mauro Gentile - cello, Luca Palladino - piano), this version mirrors with no doubt very faithfully the spirit of the work, and is the only piece by this author which contains the different phases of his stylistic evolution.
All the other works he composed belong to his early youth or to the present period, and have not undergone any revision.
The solemn, harmonic presentation of the Tema by the piano first, then in pianissimo by the clarinet and the cello, is followed by the first two, very expressive Variazioni, while the third and the forth ones are rhythmical and fast.
The two Variazioni (the fifth and the sixth) that follow are undulating and lyrical. With the seventh and last Variazione one reverts to a very lively and dramatic atmosphere. The Coda (Presto) is brief and very rhythmical.

QUARTETTO N.1, Op.24 (1995)
for Quartet of Clarinets
(dedicated to the Cavallini Quartet - Carisch Editions, Milan)
Méditerranée Quartet:
Antonio Tinelli, clarinet I - Vito Liuzzi, clarinet II
Leonardo Cattedra, clarinet III - Nicola Puntillo, bass clarinet

Toccata, Adagio and Fuga

"In my intentions, this work was to sound as if composed not for a quartet but rather, thanks to the compactedness of its sound, for an orchestra. At the same time, I wanted the four clarinettists to play like four absolute soloists - which is why I chose to compose such a markedly contrapuntal work. As a matter of fact, the entire Toccata is like a great four-voice Invention, much the same as a high-virtuosity 'moto perpetuo'. Conversely, the last tempo is a complex Fuga, this too for four voices, and with an expressive character.
Lastly, I reserved the most expressive and poetical qualities of the enchanting timbre of clarinet to the melancholic Adagio. From the instrumental viewpoint the composition writing is very rigorous, so as to enable the quartet of performers to truly demonstrate what a complete instrumentalist is capable of."

SONATA Op.9 - Tribute to Robert Schumann (1978)
for Cello and Piano
(dedicated to Pietro Stella - Carisch Editions, Milan)
Pietro Stella, cello - Alessandra Gentile, piano

Introduzione and Allegro appassionato with Pavana

Composed as a tribute to Robert Schumann, the composer's favourite author, the work is divided into two large movements, an Introduction and an Allegro Appassionato, with a meditative Pavane in the centre. The harmonising instrumental writing offers various opportunities of solos to the two instruments, which in other sequences follow instead a fast-theme dialogue.
The Sonata is composed in cyclic form: after the first exposition the six main themes keep reappearing entirely or incidentally throughout the work, as there is not even a bar which does not derive from a variation, a change or a development of such themes.
The harmonic writing is polytonal in some points, while in others it emerges from chords constructed on specific intervals.
The first movement begins with a large and vigorous cadenza of the cello solo that introduces in rapid sequence the first and the second theme. A solo of the piano then enters, introducing the third theme and the first one in reverse order. Next comes a large solo of the cello, whose function is to provide an ample introduction to the fourth theme. The vast crescendo (where the two instruments are presented for the first time as joined, with lively arpeggios in which the first theme in cello and the fourth one in piano basses are inserted simultaneously) ends with a diminuendo.
The large Allegro Appassionato (written in the most rigorous sonata form) is very lively, with a first theme flowing from the previous thematic incidental elements and from a new, second subject. The central section of the development presents the sixth theme - an intense and melancholic Pavane. To the regular repeat of the Allegro ensues a coda in "molto agitato", in which all the preceding themes are displayed in a lively fashion.

Translation: Maria Assunta Lutrario-Lamkin

Born in Switzerland in 1967, where he began his musical training. Graduated with full marks at Conservatory of Monopoli and improved at several international academies in Germany, France and Italy.
Diplom with full marks of High Proficiency at Accademia Superiore Internazionale of Pescara in clarinet and chamber music with Romeo Tudorache.
Winner of more than thirty awards in the main national and international competitions between 1986 and 1999.
His artistic activity numbers hundreds of concerts all over the world, at the most prestigious musical institutions.
He performed with numerous orchestras of international importance, as soloist and invited as First Clarinet.
He recorded for various international broadcasting companies and issued CDs which gained enthusiastic approval.
He is full professor of the Chair of Clarinet at the Conservatory of Music "E.R. Duni" of Matera and has given proficiency courses in Italy and Romania for years.

Born in Chieti, he started very young his study of piano with Valentina Usai, graduating with full marks and first-class honours with Lucia Passaglia at Conservatory "L.Cherubini" of Florence and obtaining the "Diplom of Excellence" at the Accademia Musicale Umbra. He attended prestigious proficiency courses with celebrated maestros as Eckhardt and Berman.
Absolute winner of important national and international competitions. Active both as soloist and in chamber ensembles at important institutions in Italy and abroad.
He has been part of juries in national and international competitions and founded the Concorso Pianistico Nazionale "Città di San Giovanni Teatino", where he is Artistic Director. He also cooperates as official pianist with prestigious international institutions of dance.
He performs in duet with the violinist Pavel Berman and with the Quartet of Vilnius. Together with the violinist Liliana Bernardi he created the "Duo Kairòs", gaining vast consents both of the audience and the critics.

Antonio Tinelli, Clarinet
Mauro Gentile, Cello
Luca Palladino, Piano
Formed in 1990, it is an ensemble composed of musicians winners in national and international competitions, with a consistent concert experience developed, in Italy as well as abroad, as soloists and in chamber ensembles.
Its début was in France as the best ensemble of the International Summer Academy "Moulin d'Andé", followed by an intense concert activity in Italy and abroad. After obtaining the Biennial Diplom of High Proficiency in Chamber Music at the Accademia Superiore Internazionale of Pescara with Romeo Tudorache, it was invited at International Masterclasses in 1991 in Koblenz and in 1992 in Sondershausen (Germany), performing in concert with unanimous consents of the audience and the critics.
Dedicatee of works of various composers, among which "Tema e Variazioni" opus 5a of Sergio Calligaris, performing their premières, the Trio made various broadcasted recordings.

Antonio Tinelli, Clarinet and Piccolo Clarinet in E Flat
Leonardo Cattedra, Clarinet
Vito Liuzzi, Clarinet and Alto Clarinet
Nicola Puntillo, Clarinet and Bass Clarinet
Chamber ensemble formed by professionals with a consistent concert experience developed all over the world, as soloists and members of various chamber and orchestral groups.
Awarded in numerous national and international competitions, the artists are all appointed in activities of teaching and cultural promotion.
The repertoire of the quartet, which includes the most important works dedicated to this ensemble other than numerous transcriptions, is distinguished by the research and the particular attention addressed to the production of the Italian authors of the twentieth century.

Born in Umbria, he graduated with full marks and first-class honours with A.Baldovino at the Conservatory "F. Morlacchi" of Perugia. Even before graduating he had been first cello soloist in the Orchestra da Camera "S. Pietro a Maiella" of Naples in a long tour of four months in the United States.
At first cello in the Orchestra Nazionale dell'Accademia di S.Cecilia, he chose to devote himself to the freelance activity in Chamber Music.
Member of important chamber ensembles, he performed at the most prestigious international musical institutions.
Dedicatee of the Sonata for Cello and Piano opus 9 of Sergio Calligaris, recorded with the pianist Alberto Pomeranz.
He made several recordings: "Grand Prix International du disque de l'Academie Charles Cros" of Paris with the "Quintetto Boccherini"; the Brandenburg Concertos of J.S.Bach with the Chamber Ensemble "I Musici"; the complete Sonatas for Cello and Piano of Beethoven, performed with the pianist Alessandra Gentile, which represents an important accomplishment in his artistic activity. He also made a record of the piano quartets of Mozart, Beethoven and Schumann for the A.I.L. (Associazione Italiana contro le Leucemie, Linfomi e Mieloma), with Pasquale Pellegrino, Michèle Minne and Alessandra Gentile.

Born in Perugia, she was pupil of Annarosa Taddei and Muriel Chemin, attending also courses given by renowned maestros (including Sandor, Ugorski, Lonquich and Badura Skoda).
Member of the ensemble "Il Gruppo di Roma" already in 1986, she started her activity in chamber music with performances in Europe. As soloist she performed with many orchestras at several European musical institutions.
At the "Hochschule fur Musik" of Munich, in 1991 she improved at the "Meisterklasse" of Gerhard Oppitz, becoming his assistant; in 1993 she obtained the "Meisterklassendiplom" with first-class honours, even teaching there afterwards.
In 1992 she had been invited at the Beethovenian Performance Courses of the Kempff Foundation in Positano.
She cooperates with contemporary composers: in 1996 she performed the première of the "Klavierkonzert" by Max Doehlemann dedicated to her, in Wien with the "Wiener Sinfonietta". She records for the Rai, Hessischer and Bayerischer Rundfunk.
Full professor of the Chair of Chamber Music at the Conservatory "G.B.Pergolesi" of Fermo.

Michele Gioiosa, Musica e Scuola, 15th May 2007:
"This CD is dedicated to the chamber music of Sergio Calligaris, a composer many times present in these pages because of his extraordinary musical creativity. And it is just in the chamber music that the composers looks for the harmonic detail to satisfy both the intimate and the instrumental demand. The style, which is immdiately recognizeable, in these pages is more rarefied and ethereal; the studied harmony is well suitable for the Sonata for clarinet and piano or the Sonata for cello and piano, for instance. The piano is always an active part and the instrument it converses with enters in a rigorous and extraordinarily expressive counterpoint."

Aldo "hucchio" Chiappini, www.zioGiorgio.it staff, 3rd May 2007:
"A record that we are very pleased to highlight: noteworthy, other than for its artistic level, for a tachnical production of very high level: excellent union between hi-end machines and a "coherent" production of recapture and mixing.
The recording was done perfectly, with a quality and a coherence that pay tribute to the acoustic sounds and to any slightest shade of the performers.
In practice, in the phase both of the sound capture and of the mixing, never were used signal processors that compromised in any way the normal timbre and the original dynamics of the instruments. Just as well, we say, eventually a production which has utmost respect for the performing dynamics and the colours of the performance: all details that works like these certainly deserve.
A CD to listen quietly and several times, in order to get the harmonic and melodic solutions contained in a writing always very sober but at the same time resolute and strong."

Fiorella Sassanelli, La Repubblica (Bari), 14th March 2007:
"Rigours and passion, the two nouns of the title, contain the artistic horizon of the Italian-Argentinian composer Sergio Calligaris, to whom it is dedicated a recent record issue of the DAD Records label of Bari.[...]
All the works in the record are very articulate and require a deep technical and expressive diligence to make the most of the sophisticated taste for Calligaris' harmony."

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Edited by Renzo Trabucco: Page updated to 14/06/2007
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