FRANCESCO PALAZZO
Classical accordion
[Phoenix Classics, DDD, PH 99516]

Tracks 13-15, "Preludio, Corale e Finale", op.33 (1994)
(Rev.F.Palazzo)
13. Preludio, Moderato e maestoso assai (3.26)
14. Corale, Adagio (2.43)
15. Finale, Allegro tumultuoso e deciso (1.27)
Francesco Palazzo

From J.S.Bach to our times,
through new sounds

The accordion, a proteiform instrument that came on the musical scene in the early nineteenth century and still in constant evolution today, is proposed on thi CD in a classic style.
There are many reasons why this instrument of popular origins, but above all tied to leisure time or amateur performances, also has a place in 'cultured' circles. This is partly due to the technical-mechanical development of the last thirty years, and partly to those few but bold musicians, such as Hugo North and Mogens Ellegard in Germany and Denmark, Allen Abbott in France and Salvatore di Gesualdo in Italy, who attracted the attention of the public, the mass-media and specialized circles, by giving hundreds of concerts throughout the world.

The strongpoints of the new Italian classic accordion school are due to its drawing from the old "keyboard" literature (from Claudio Merulo to J.S.Bach with Die Kunst der Fuge BWV1080), recovery of the main part of the traditional Italian and foreign accordion repertory reworked and filtered through a complex work of critical revision and promotion of an original repertory of classical origin, also thanks to the highly important contribution of composers such as Bruno Bartolozzi, Gaetano Gianni-Luporini, Pier Luigi Zangelmi and Boris Porena.

The present program fully represents the requirements of this new ideology and in fact mainly concerns the following points: the keyboard literature, several important organ compositions, recovery of the tradition and "new sound" of the accordion.

[...]

Clearly Romantic in style, Preludio, Corale e Finale by the composer of Argentine origin, Sergio Calligaris.
The three-movement piece recalls well-known allegories and models, and for its assonance, also certain famous nineteenth-century piano compositions. In the three movements of this piece, with the restless and passionate nature of the first, obscure with heavenly the second, and the turbulent and virtuosic the last, Calligaris uses a not too modern and innovative but interesting and certainly well-structured language, mainly based on modes built on whole-tone scales and chromatic sequences typical of the post-Debussy French school.

© 2000 - Francesco Palazzo
Translation: Jan Filip

FRANCESCO PALAZZO was born in Martina Franca in 1969, studied with Salvatore di Gesualdo and obtained the diploma in 1994 (the first in Italy) at the "L.Cherubini" Conservatory of Florence, completing his training through humanistic studies, Composition, Choir music and Choir conducting.
After playing in Italy's main cities (Verona, Lucca, Rome, Naples, Bari, Taranto, Martina Franca, Lecce, etc.) for important Concert Associations and Italian Conservatories, in recent years he undertook a personal technical and expressive research, also based on comparison with other instruments, which encouraged him to re-establish his performing technique on new bases and to design a new concert instrument more in line with the renewed artistic requirements.
He has been teaching accordion at the "N.Piccinni" Conservatory of Bari since 1993, while carrying on concert and teaching activities at the same time. He also revises music and transcribes works for his instrument, drawn mainly from the organ repertory and in part already published.

Critical remarks:

...Francesco Palazzo is a highly talented musician, gifted with wonderful expressive and technical qualities; hence an element that raises the accordion to unexpected artistic heights... (Aldo Ciccolini)

...A pondered touch and strict tone-control... A highly reasoned Bach, with no concessions to superficiality or any forcing... When played this way, the classical accordion becomes a truly noble instrument... (L'Arena, Verona - Italy)

A technically flawless execution and deeply emotional interpretation... With his accordion he cuts motes of pure crystal... (Il Corriere di Roma, Rome - Italy)

The intensity of his interpretation and his technical masterly could not be further from the stereotype of the accordion... It was almost a concert-lecture... (Barisera, Bari - Italy)