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曲目リスト
| 1. Piano Sonata, Op.9 (1936) Composed by Paul Creston |
| 2. Six Preludes, Op. 38 (1945) Composed by Paul Creston |
| 3. Piano Sonata (1963) Composed by Vittorio Giannini |
| 4. Two Waltzes (1953) Composed by Nicolas Flagello |
| 5. Piano Sonata (1962) Composed by Nicolas Flagello |
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内容紹介
The three American composers represented on this recording belong to the group often described as 20th-century traditionaliststhose figures who rejected most of the tenets of Modernism--especially its emphasis on originality, rational objectivity, and experimentation, and its contempt for communication as an artistic objective. Rather, the traditionalists viewed themselves as inheritors of a living legacy, to which they sought to make their own individual contributions, with recourse to the full range of classical forms and techniques, and with the aim of personal expression and communication. Beyond their aesthetic affinities, Creston, Giannini, and Flagello shared an Italian ancestry, and spent most of their creative lives in the environs of New York City. Creston and Giannini were approximate contemporaries, while for many years Giannini and Flagello maintained a master-apprentice relationship. Each composer is represented here by a piano sonata composed at a different phase of his respective career. Crestons sonata is an early work, written before his language had reached maturity; Gianninis dates from the last years of his life, when his style seemed to be charting a new course; Flagellos sonata appeared at the midpoint of his career and the apex of his compositional development.
Product Description
The three American composers represented on this recording belong to the group often described as 20th-century traditionalists迫those figures who rejected most of the tenets of Modernism--especially its emphasis on originality, rational objectivity, and experimentation, and its contempt for communication as an artistic objective. Rather, the 鍍raditionalists viewed themselves as inheritors of a living legacy, to which they sought to make their own individual contributions, with recourse to the full range of classical forms and techniques, and with the aim of personal expression and communication. Beyond their aesthetic affinities, Creston, Giannini, and Flagello shared an Italian ancestry, and spent most of their creative lives in the environs of New York City. Creston and Giannini were approximate contemporaries, while for many years Giannini and Flagello maintained a master-apprentice relationship. Each composer is represented here by a piano sonata composed at a different phase of his respective career. Creston痴 sonata is an early work, written before his language had reached maturity; Giannini痴 dates from the last years of his life, when his style seemed to be charting a new course; Flagello痴 sonata appeared at the midpoint of his career and the apex of his compositional development.
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