Enzo Caterino: Youth
Same artist
Da Vinci Classics
Physical and Digital Release: 13 March 2020
Orazio Ferrari, double bass, and Marco Sanna, piano, explore Rachmaninoff’s Cello Sonata Op. 19 and a selection of songs in instrumental versions.
13.67€
Digital programme · 9 tracks
Track timings refer to the digital edition.
Marco Sanna, born in Cagliari (Italy) 1989, has already made a name for himself by playing both as a soloist and also in chamber ensembles in Italy, Germany, Sweden, USA, Switzerland, Spain, France and Belgium, in important concert Halls as Philharmonie Berlin, Kammermusiksaal Berlin, Konzerthaus Berlin, Beethovenhaus Bonn, Schumanns Haus Zwickau and many others. He is a regular feature at festivals such as the Verbier Festival, Rheingaufestival, Beethovenfest Bonn, Rome International Piano Festival, Budapest Festival and many others. He has recorded with the clarinetist Andy Miles. The album “Chopin & Schumann” (Velut Luna, 2014) with the double-bass player Orazio Ferrari has been praised by magazines as “The Strad”, “Gramophone”, “Audiophile” and many others.
Italian double-bassist Orazio Ferrari has gained great critical acclaim for his debut album, the world premiere recording "Chopin & Schumann" (Velut Luna - CVLD 245). In this 2014 release, to be understood as the summa of his instrumental and musical beliefs, his way to approach the double-bass is modern, bold and completely centered to reach the highest musical goals through an instrument widely misunderstood in the Classical Music field. This “boldness” comes from the intent (rather a strong will) to play cello music on the double-bass at the same cello pitch, expanding very much the possibilities of the instrument without any modification or arrangement of the original cello score. This deserved praiseworthy reviews by some of the most important international music magazines such as The Strad, Gramophone and Audiophile Sound. Orazio Ferrari was born in Crotone. He started to play piano at 7 and graduated brilliantly and in advance of schedule in Double-bass at “San Pietro a Majella” Conservatory in Naples under E. Calzolari, achieving afterwards a Master Degree in Solo Double-bass with full marks. He performs by using exclusively the standard E-A-D-G double-bass tuning.
Sergey Rachmaninov: (b Oneg, 20 March/1 April 1873; d Beverly Hills, CA, 28 March 1943). Russian composer, pianist and conductor. He was one of the finest pianists of his day and, as a composer, the last great representative of Russian late Romanticism. The influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers soon gave way to a thoroughly personal idiom, with a pronounced lyrical quality, expressive breadth, structural ingenuity and a palette of rich, distinctive orchestral colours.
Orazio Ferrari performs the instrumental line on double bass, joined by pianist Marco Sanna. The programme places Rachmaninoff’s Cello Sonata in G minor, Op. 19, alongside instrumental versions of songs, including Twilight and Vocalise. A journey through darkness towards renewal Rachmaninoff composed the Sonata in 1901, during a period of renewed creative confidence following the failure of his First Symphony in 1897. Treatment with Dr Nikolai Dahl, involving hypnotic suggestion and supportive conversation, helped him overcome the difficulties that had interrupted his work. He dedicated his Second Piano Concerto, Op.…
Orazio Ferrari performs the instrumental line on double bass, joined by pianist Marco Sanna. The programme places Rachmaninoff’s Cello Sonata in G minor, Op. 19, alongside instrumental versions of songs, including Twilight and Vocalise.
Rachmaninoff composed the Sonata in 1901, during a period of renewed creative confidence following the failure of his First Symphony in 1897. Treatment with Dr Nikolai Dahl, involving hypnotic suggestion and supportive conversation, helped him overcome the difficulties that had interrupted his work. He dedicated his Second Piano Concerto, Op. 18, to Dahl; the Sonata, Op. 19, belongs to the same remarkable period of recovery.
In the reading proposed here by Orazio Ferrari, the Sonata may be heard as an imaginative journey through that experience, from uncertainty and inner struggle towards hope. This is an interpretative perspective rather than a documented programme supplied by the composer.
The choice of G minor recalls Chopin’s Cello Sonata, a work Rachmaninoff knew and admired. The affinity extends beyond tonality to the rich counterpoint and the equality of the two instrumental voices. The piano writing has an almost concerto-like density and brilliance, while the broad melodic lines reveal Rachmaninoff’s distinctive lyrical voice.
The first movement, Lento – Allegro moderato, opens with a brief but essential introduction. Its spare semitone figure seems to search for a point of stability, moving through unsettled harmonies before firm piano chords lead into the Allegro. Changes of pace, strong harmonic tensions and recurring transformations of the opening interval create a restless musical narrative. Moments of expansive lyricism emerge within an atmosphere of intense dramatic energy.
The Scherzo is unusually broad in scope, with two contrasting cantabile episodes. Its dark, driving opening moves between the instrument’s low register and forceful upward gestures. The first lyrical episode has a dreamlike quality; the second opens into a freer, more expansive song. The contrasts create a movement of powerful momentum and expressive variety.
The Andante offers a more serene space. In Ferrari’s interpretation, its long melodic lines suggest a vision of tranquillity and the desire for healing. Its beauty comes from the directness of the song and the warmth of the instrumental dialogue.
The finale, Allegro mosso, brings brilliance, energy and a sense of renewal. Its contrapuntal writing binds the two instruments closely together in a continuous exchange of melody and countermelody. Before the recapitulation, darker memories briefly return, but they are heard from a changed perspective. The coda conveys peace and happiness: the journey can continue.
Based on the album notes by Orazio Ferrari. Original English translation by Wilma Mancini Collia, revised and completed from the booklet.
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