 Né en 1961, Raffaelle Bellafronte, étudie le piano et la composition avant d'intégrer pendant plusieurs années des studios d'enregistrements où il pratique diverses recherches et expérimentations visant à se créer un style propre. Si l'on retrouve cependant dans ce disque de piano des réminiscences de Prokofiev ou de Chostakovitch. il s'inscrit surtout dans la lignée des Busoni, Casella, Pizzetti, Martucci, Dallapicola pour n'en citer que quelques-uns. Que ce soit ses trois Sonates ou son recueil de Préludes, Bellafronte travaille la forme pour en révéler les soubassements. Mais au-delà de cette déstructuration de la forme, ce qui le distingue de ses pairs c'est sans doute une propension à l'improvisation à la façon d'un Keith Jarrett. Volcanique, belliqueuse et profuse cette musique exploitant la rudesse et la force de l’instrument ne faiblit jamais. Gageure pour le pianiste Alessandro Deljavan qui pétrit son clavier comme une charrue la tourbe, dans un festival d'arpèges fusées, d'ostinatos, de rythmes invraisemblables et de climats obsédants. L'auditeur lui, n'en sort pas indemne. (Jean-Charles Hoffelé) Born in 1961, the Italian composer Raffaelle Bellafronte has produced a wide-ranging body of work in a modern tonal idiom. Previous albums of concertos, guitar music and chamber works paint a portrait of a lively mind and a personal voice embracing large dramatic gestures and lyric reflection, each as quintessentially ‘Italian’ in their expression as the other. The set of 12 Preludes opens with a magnificently imposing evocation of stillness, coloured by the kind of bittersweet harmonies to be found in Bartok and the sense of musical space associated with Messiaen, building a surprisingly complete soundworld within the brief space of three minutes. The remaining preludes are no less ingenious in their economy of mood and gesture. Melancholy and frenzy alternate; glittering and asymmetrical rhythms stand in stark opposition to slow ostinato figurations; dense contrapuntal writing is cast against terse homophony. Bellafronte trained as a pianist himself, and he composes for the full spectrum of the instrument’s heroic and sensual possibilities. There is a satisfying crunch to the harmonies and immediately appreciable breadth of vision to the opening paragraphs of the Sonata Prima Désaccord (2006),where contrapuntal and propulsive ostinato writing combine to pull the listener through a compelling narrative which feels longer than its 12-minute duration. From three years later, the Second Sonata experiments with a Haydnesque binary form of two quick movements – a nervous, lopsided march followed by a frustrated would-be fugue with a brutal and macabre conclusion. The Third Sonata (2014) is the most substantial piece here in both duration and ambition, launched with a momentum worthy of Bartók or Alkan. The quick-slow-quick form is superficially conventional, but it encloses a wealth of surprising excursions which challenge tonal stability and once more pitch the listener into a pianistic tumult. Attracting a range of renowned pianists such as Zlata Chochieva and Maria Argentiero, Bellafronte’s piano music is tackled here with superb assurance by Alessandro Deljavan, no stranger to the Brilliant Classics and Piano Classics catalogues himself, with acclaimed albums of Chopin, Taneyev and Godard to his credit.
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