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Franco Margola : Musique pour violon, piano et orchestre. Alogna, Catena, Borgonovo.
Format : 1 CD
Total Time : 01:21:39

Recording : 23-25/11/2021
Location : Milan
Country : Italie
Sound : Stereo

Label : Brilliant
Catalog No. : BRIL96652
EAN : 5028421966526
Price Code : DM011A

Publishing Year : 2022
Release Date : 09/11/2022

Genre : Classical
Franco Margola (1908-1992)
Concerto dell'alba pour violon et orchestre à cordes, dC292
Concerto pour enfant n° 2 pour violon et orchestre à cordes, dC109
Sonate pour violon et piano en ré majeur, dC12
Concerto doppio pour violon, piano et orchestre à cordes, dC132
Variations pour cordes sur un thème ludique, dC143

Davide Alogna, violon (violon G.B. Guadagnini, 1744)
Costantino Catena, piano
Orchestra Sinfonica di Milano
Pietro Borgonovo, direction

Franco Margola (1908–1992) had an unwavering and authentic love for the violin, lasting throughout his career and artistic development. This recording showcases the versatility of the Brescian composer and the evolution of his musical thought over his lifetime. Often resisting the fashions of his time, the composer balanced tradition and modernism. In the aftermath of the Second World War, Margola became intolerant of harsh and violent sounds and so preferred writing more relaxing pieces. Kinderkonzert No.2 is a work for violin and orchestra (1954). In the first movement, the writing is fluid and melodious. Only during the cadenza does the atmosphere become more serious, and the lightness that characterised the entire movement is only rediscovered with the return of the full orchestra. The next movement, Sostenuto, has a dreamlike character that comes to life in the central section with dance-style music. In the final Allegro, the soloist’s part is characterised by brilliant virtuosic writing which fits well into the articulated orchestral texture. Almost thirty years later, Margola wrote Concerto dell’alba for violin and string orchestra (1982). Intended to be the third of the Kinderkonzert, Concerto dell’alba sounds free from any form of modernism and cerebralism. Nevertheless, the composer uses a modern idiom with wisdom and discretion which creates a spontaneous musical eloquence and cantabile sound. A vigorous Rondo` with lively popular tunes concludes the Concerto. The composer proposed a decidedly neoclassical writing style in Variazioni sopra un tema giocoso (1965), placing well calibrated sounds within a formal structure. Also neoclassical, Sonata in D (1931) is the first of a series of five violin sonatas and reveals the composer’s technical mastery. In the first movement, two themes are alternated: one serious, and the other dreamy, seemingly floating on the arpeggiated piano accompaniment. In 1960, the Doppio concerto for violin, piano and string orchestra was published. Once again, Margola refused to follow contemporary musical fashions, instead following his own nature in the search for an expressive and spontaneous language. The three tempos that make up the Doppio concerto follow each other seamlessly and show us a cleverly devised composition where the romantic musical idiom is updated in the light of the experiences of the new century.

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