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Here is a CD that, for the lovers of the "classic" accordion, is really valuable, as the CD contains about 50 years of significant compositions (almost all original for our instrument, except the first and the last track), which - as in a rich kaleidoscope - highlight many of the achievements made by the technical development of the accordion in recent decades.
The merit of everything - from having created an interesting program ( appropriately commented in its booklet ) to having masterfully interpreted and adapted it to his instrument (after several years of intense work) goes to Francesco Palazzo, very talented performer and teacher, Professor of Accordion at the Conservatory of Bari.
The value of this CD also lies in having approached works that are now historical and have become true classics of accordion literature, to other pieces less known or later. So you can appreciate the "classics" of literature of Northern Europe, such as the brilliant and rhythmic Toccata No. 1 of Schmidt and elaborate Metamorphoses by Lundquist, the ecstatic and abstract "Melodia" by Japanese Toshio Hosokawa, but also the monumental Sonata "Et expecto" (in 5 movements) of Gubaidulina, in which - as in her other compositions - the great Russian composer cleverly combines contemporary flavors / experimental and archaic (with references to "Gregorian" and choirs), so then you have the opportunity to hear the aleatory Improvisation # 1, one of the first pieces for accordion totally innovative, composed in 1973, by accordionist and composer Salvatore di Gesualdo.
But the real "surprises" on the CD consist of two interesting compositions by Palazzo: "Movimento Perpetuo", a sort of "transcendental" study and the expressive "Elegia", as well as transcripts from the highly successful, with which you complete the challenging program, namely the intimate and meditative Nocturne (1977), from the original organ work by the French composer G. Tailleferre and the remarkable and seductive Overture to Orpheus (1982), a song written by the Dutch composer L. Andriessen for harpsichord, but whose intelligent interpretation by Palazzo, makes us feel as though it is written for the accordion.
We conclude with an added value: it seems that the artist, with its special piano accordion, wanted to break certain "barriers" and recorded several original songs (even contemporary), but especially among accordion - and accordionists - "button" accordion, "piano" accordion ... (with attached jealousy and alleged senses of "superiority"). In fact we should all feel part of a "big family": that of music, even before the accordion!
Reviewed by Alessandro Mugnoz– July, 2013.
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