The Music Of The Musical Life

748 Words Nov 26th, 2015 3 Pages
After his retiring from the public musical life, at the height of his career (his last opera is dated 1829), the Maestro lived enough to see a new fruitful creative period in his old age. From 1857 on, he wrote pieces of chamber music far several instrumental formations and had them performed at Parisian musical soirées. He, however, thought their publication unadvisale as if they were sins of his old age, Péchés de vieillesse. Really they are a collection of "Salonmusik": a quite original one of sublime quality, written with humour and refiniment but full of genuine emotion and wanting in any trace of sentimentalism, too. However the light and ironic relation Rossini had with musical conventions did not preclude him tram facing new expressive forms. Several years later, some characteristics of this art are still present in the miniatures by Erik Satie. Un Mot à Paganini (Elégie), for violin and piano, and Une Larme, Thème et Variations for cello and piano (both compositions are still waiting far their publication) are certainly the gems of this recording. At the beginning of Un Mot à Paganini, a short motive is insistely propounded by piano, as a kind of sigh constantly repeated and developed contrapuntally by figurations of violin, having similar expressive purposes. During the melodic repetitive modulation of piano, there is a moment a harmonic metamorphosis is proposed in: the above mentioned characteristics of an unconventional way of preceeding reveal themselves just…
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