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Biography |
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Luis Gianneo - CDs
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Ostinato Foundation has produced the recording of Luis Gianneo's complete piano works in 3 CDs. These CDs were recorded in 2000 in Karlsruhe, Germany. They were released by the label Marco Polo in 2002. What the critics have said: "Gianneo's attractive piano music is well-served by the present performers and is given a warm, natural piano sound. I for one hope that Volume 2 will soon be released, for, judging by the present recordings, Gianneo's music greatly deserves to be re-assessed, the more so when it is played, as it is here, by dedicated performers." - Hubert CULOT Classical Music Web "Dora De Marinis, Alejandro Cremaschi and Fernando Viani perform demanding piano pieces by the remarkable Luis Gianneo. These include his ambitious, folk-music influenced Sonata No. 2 and Suite, the neo-classical Sonatina, the sorrowful Sonata No. 3, Six Bagatelles (written between in the late 1950s) and Improvisation, a nostalgic evocation of the city of Tucaman. Gianneo's works reflected many of the influences of the twentieth century and these intelligent performances should bring him to the wider audience he deserves." - "New Classics" online "This recording contains music well worth exploring. The music is compelling and rendered with fire." - Margaret M. Barela, American Record Guide "Dora De Marinis copes marvelously with the demands of the Two Etudes, and Elena Dabul is compellingly evocative in En el Alt. The recordings are decent, and anyone interested in this repertoire need not hesitate." - Tim Parry, Gramophone Gianneo’s work can be divided into four periods of different duration. The first is a stage of development, between 1913 and 1923, under the European influences of the great German romantics and the French impressionists, principally in piano music. The second transitional stage occurs between 1923 and 1932, from his move to Tucumán to his collaboration with the Grupo Renovación. This stage brought together his formal European training and the folk elements through which he sought a national musical language. The third stage, one of maturity, is the twenty-year period from 1933 to 1953, during which the two principal tendencies derived from the use of folk-music and from neo-classicism combine into a unique musical language, refined over the years and ending in the last piano works in a wonderful simplicity and economy of resources. The fourth stage of full achievement covers the last fifteen years of his creative life, when he moved gradually towards his disciplined use of the dodecaphony. During this stage, he only wrote four works for the piano, and after 1959 he no longer wrote for this instrument. Recorded
in Karlsruhe, Germany, 2000. Pianists:
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