The composer: Adolfo Fumagalli
Born in Inzago, near Milan, in 1828, Adolfo Fumagalli was celebrated during his brief life as the “Paganini of the piano.” A stunning performer, experimental composer, and daring innovator, he amazed European audiences with prodigious technique and vivid imagination. Franz Liszt, who was sparing with his praise, called him in an 1853 letter a “first-rate pianist.”
Despite his success, Fumagalli fell into oblivion after his premature death from tuberculosis in 1856, just two days after his last concert in Florence. Today, his music survives as a hidden treasure of 19th-century pianism—and his four Grandi Fantasie di Concerto, composed between 1848 and 1849, represent the purest synthesis of his style: operatic, virtuosic, and highly personal.
The four Fantasie: structure, freedom, theatre
The four Fantasie recorded on this disc are based on famous Italian operas: La Sonnambula, Lucia di Lammermoor, I Puritani, and Norma. Unlike the traditional paraphrases by Liszt or Thalberg, Fumagalli’s reinterpretations do not aim to faithfully reproduce the original models. Rather, they are free fantasies, improvisatory in character, built around the original themes. His sensitivity as a transcriber often leads him to restate themes in keys different from the original, both to suit the technical feasibility on the keyboard and to alter their flow; he also frequently enriches the original material through chromatic inflections and a wide range of ornamental figurations.
Sometimes the original arias are not presented in full: the music unfolds with freedom, following a logic that is primarily pianistic rather than a linear operatic narrative. A further distinctive trait, especially when compared to his contemporaries, is his tendency to present each theme only once. Except for rare cases the material is consistently new and always rendered through a different pianistic technique and texture.The result is a sequence of heterogeneous episodes, shaped by a variety of compositional techniques and pianistic idioms: from fugue writing to romantic rhapsody, including lyrical and brilliant moments. The outcome is a hybrid, personal form suspended between theatrical memory and instrumental invention.
Virtuosity as Expression
Fumagalli’s style is defined by a virtuosic language serving a deep expressive intent. His writing is a technical kaleidoscope: lyrical cantability, contrapuntal overlays, orchestral textures, brilliant figurations, sudden modulations, and bold harmonic experiments.
In these transcriptions, alongside a rich variety of touch, the full range of pianistic technique is present: scales, arpeggios, trills, tremolos, octaves, double notes, chords, and wide leaps. His command of pianistic color is astonishing. Within a few measures, he can move from sparkling tremolos to delicate inner voices, from melodies in the left hand to poly-rhythmic cascades.
Particularly striking are the themes entrusted to the thumbs and the complex hand crossings—devices that reflect not only extraordinary physical dexterity but also an imagination beyond convention. Some passages require long trills played with the fourth and fifth fingers while the thumb is already engaged and the left hand, crossed over, tackles double notes; in others, the writing unfolds through leaps of exceptional breadth. Emblematic in this regard is a passage from Norma, where both hands, moving chromatically by semitones, progressively separate until covering a span of four octaves.
Liszt’s influence is evident, but Fumagalli often surpasses him in complexity. His technical demands verge on the impossible—and perhaps this is why, after his death, few dared to tackle his repertoire. His tendency to push towards the extreme — a distinctive trait that contributes to the construction of his legendary status — is reflected in the exaggeration of these technical means, often combined simultaneously.
The Piano in Fumagalli’s Time
Understanding Fumagalli’s language also means understanding his instrument. The piano of the 1840s–’50s, especially French models like the Erard, was very different from modern grand pianos. Lighter mechanics, shorter keys, less tonal depth—all these favored agility, transparency, and expressive use of the pedal rather than volume.
Fumagalli took full advantage of these features. His textures extend over the entire keyboard, with wide leaps, massive chords, and extreme contrasts between registers. He employed all the mechanical innovations of his time: metal frames, double escapement, felt hammers. His pianism was physical, theatrical, intense—and so was his music.
The Left Hand and Formal Innovation
One of Fumagalli’s most lasting contributions was the exploration of writing for the left hand alone. His most famous work in this field, the Grande Fantaisie sur Robert le Diable, op. 106, dedicated to Liszt, is a milestone in the history of one-handed repertoire.
Although later composers such as Ravel, Prokofiev, Hindemith, and Bortkiewicz would further develop the genre, Fumagalli’s approach was truly pioneering. He gave the left hand a leading role: rich, articulated, and technically daring.
More generally, his catalog reveals a creative mind ready to overturn conventions. Many of his pieces play with form: some Piccole Fantasie exceed in size those simply titled Fantasie, and there are works that blur the lines between salon charm and structural rigor. Behind these irregularities lies a unified vision: that of a composer for whom form is always subordinate to expressive instinct.
A Pioneer to Rediscover
Why was Fumagalli forgotten? The reasons are many: music too difficult for amateurs, a life cut short at the peak of success, and also his preference for theatrical paraphrase and brilliant style, which quickly became outdated as Romanticism shifted toward introspection and organic development.
Yet, in today’s musical climate—marked by renewed interest in historical instruments, forgotten composers, and performance practices—Fumagalli’s voice is being heard once again. His fantasies, once dazzling stage showcases, now emerge as sophisticated acts of pianistic storytelling.
The performer: Ferdinando Zuddio
Ferdinando Zuddio is an Italian pianist dedicated to the rediscovery of rare and seldom-performed Romantic repertoire. A passionate researcher, he combines musicological rigor with bold interpretative choices, aiming to bring historic works back to life through performance.
His reading of Fumagalli arises from a deep dialogue with 19th-century sources and techniques. His interpretations reveal the richness, complexity, and theatrical sense of the music, demonstrating how much this composer deserves a place alongside the great Romantic pianists.
Zuddio approaches these works with a vision that unites technical accuracy and expressive intensity, highlighting every tension, contrast, and dramatic breath inherent in the writing. His performance goes beyond merely reproducing Fumagalli’s music: it relives its extremes—from passages of delicate bel canto to moments of uncontrollable fury, where sound explodes into near-chaos only to recompose into lyrical clarity.
To face these fantasies is to traverse a musical terrain demanding timbral control, structural clarity, and instrumental mastery. More than technique is needed: imagination and the ability to embody multiple musical identities simultaneously. Zuddio succeeds through a rare combination of refinement and abandon, making each piece at once meticulously crafted and charged with vibrant tension.
In his hands, Fumagalli is not a relic of the past: he is a living force, vibrating on the edge between control and impulse.
Recording Context and Artistic Rationale
The recording took place at Palazzo Pisani-Dossi, a noble residence nestled in the rolling hills of Oltrepò Pavese (Lombardy, Italy). This historic villa is the birthplace of Carlo Dossi — writer, diplomat, and one of the leading figures of the Italian Scapigliatura movement. Its stone walls and wooden beams provide a warm, natural acoustic, allowing the piano to resonate organically—far removed from the dry, artificially prepared sound of a conventional studio.
The album presents the complete set of the four Grandi Fantasie di Concerto on Italian operas, outstanding examples of the composer’s artistry. Nearly all the tracks are world premiere recordings. It was recorded in May 2019, but due to various delays—most notably the pandemic—the project was released only six years later.
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