Aldo Finzi was an Italian composer born in Milan in 1897 and died in 1945. At the age of 24, his works were already being published by Ricordi, whereas previously he had Fantuzzi and Sonzogno as publishers. With the racial laws, he was prevented from having his music performed. Nevertheless, his production is quite conspicuous, even though he was content to work anonymously or under others' names for a living: his is the rhythmic translation of Franck's Beatitudes into Italian, a translation that runs under another name. Buried under a false name, his wife had to wait until after the war and the repeal of the racial laws before she was able to draw up a document allowing her to return the composer's mortal remains to the family chapel in Milan's Monumental Cemetery. Recently, thanks to the work of his son and grandson, many of his works have been brought back to light, allowing today's public to rediscover his artistic vein and profound inspiration. Giovanni Battista Mazza received the original manuscripts of the two waltzes (for piano) directly from the hands of Aldo Finzi's son, with the commission to make a transcription for orchestra to be performed at a concert conducted by Maestro Mazza himself in Milan at the Istituto dei Ciechi. The orchestration of the first waltz, the one in D major, was conceived for the same ensemble as Respighi's suite Gli uccelli, scheduled for that same concert. The ensemble is that of a 'two-man' orchestra, but with only one oboe. The style of the transcription does not stray very far from that of the period, whose harp sonority evokes a characteristic atmosphere. However, Mazza has taken a certain liberty in interpreting the original in the treatment of the phrases, which are sometimes dismembered into incisors entrusted to different instruments and reconstructed in a discursive context with a dialogic character. In the last bars one can recognise a quotation, which Mazza wanted to include, from Musetta's famous waltz in the second act of Boh\u00e8me. The simplicity of these compositions manages to convey the somewhat nostalgic charm of a decisive era in our history and in Italian music. Maestro Mazza dedicated these pages to Bruno and Aldo Finzi.<\/p>\n
Accettai volentieri il compito che mi veniva affidato, un lavoro di proporzioni modeste che, pero\u0300, mi riconduceva ad un mondo che sentivo vicino – il mondo dei nostri nonni! – nel quale una finestra era aperta, anche in Italia, sulla musica sinfonica, qui troppo spesso soffocata dall\u2019imponenza della nostra produzione nel campo dell\u2019opera.<\/em> Il secondo valzer, in sol maggiore, e\u0300 trascritto per orchestra d\u2019archi. Il \u201ccolore\u201d e\u0300, quindi, assai diverso rispetto al precedente. L\u2019esecuzione di entrambi i brani, come nel caso del concerto in cui sono stati proposti per la prima volta, ne mette in luce il diverso carattere; altrimenti questa breve composizione si presta ad essere inserita in un programma per soli archi. La scrittura e\u0300, relativamente alla brevita\u0300 del pezzo, ricca e varia nei colori e nella distribuzione delle parti. Ho trovato un esempio di riferimento per questo piccolo lavoro in alcuni valzer giovanili di Ottorino Respighi – alcuni ancora inediti – che ho avuto il piacere di riportare alla luce ed eseguire alcuni anni fa. La semplicita\u0300 di queste composizioni riesce a trasmettere il fascino un po\u2019 nostalgico di un\u2019epoca decisiva per la nostra storia e per la musica italiana. Ho dedicato queste pagine a Bruno e ad Aldo Finzi.<\/em> Giovanni Battista Mazza ricevette i manoscritti originali dei due valzer (per pianoforte) direttamente dalle mani del figlio di Aldo Finzi, con l\u2019incarico di realizzarne una trascrizione per orchestra, qui pubblicata con i titoli Valzer lento n\u00b0 1 e Valzer lento n\u00b0 2.<\/p>","protected":false},"featured_media":226818,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"product_brand":[],"product_cat":[41,37],"product_tag":[494,42,683,388,636],"class_list":["post-224509","product","type-product","status-publish","has-post-thumbnail","product_cat-classica","product_cat-contemporanea","product_tag-aldo-finzi","product_tag-edizioni","product_tag-giovanni-battista-mazza","product_tag-musica-perseguitata","product_tag-orchestra","pa_tipologia-edizioni","first","instock","taxable","shipping-taxable","purchasable","product-type-variable"],"acf":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/product\/224509","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/comments?post=224509"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/media\/226818"}],"wp:attachment":[{"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/media?parent=224509"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/product_brand?post=224509"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/product_cat?post=224509"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/www.preludiomusic.com\/en\/wp-json\/wp\/v2\/product_tag?post=224509"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe orchestration of the first waltz, the one in D major, was conceived for the same ensemble as Respighi's \"Gli uccelli\" suite, which was performed in the same concert I gave at the \"historic\" Istituto dei Ciechi in Via Vivaio in Milan. The instrumentation is that of a \"two-man\" orchestra, but with only one oboe. The style of the transcription is not far removed from that of the period, of which the sound of the harp evokes a characteristic atmosphere. However, I have taken a certain liberty in interpreting the original in the treatment of the phrases, which are sometimes dismembered into incises entrusted to different instruments and reconstructed in a discursive context with a dialogic character. In the last bars you can recognise a quotation, which I wanted to include, of Musetta's famous waltz in the second act of Boh\u00e8me.<\/em><\/p>\n
\nGiovanni Battista Mazza<\/strong><\/p>","protected":false},"excerpt":{"rendered":"