Flute For Dinner

Available in Audiophile 88kHz/24bit

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Album Name Length Format Sample Rate Price
Flute For Dinner 50:50 $17.98
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# Track Title Length Format Sample Rate Price
1 Quartetto per flauti in do Allegro deciso e molto marcato 00:04:43 88/24 Album only
2 Quartetto per flauti in do Andante cantabile e sognante 00:03:52 88/24 Album only
3 Quartetto per flauti in do Vivacissimo 00:03:42 88/24 Album only
4 Sonatina per flauto e pianoforte Allegro spigliato 00:04:01 88/24 Album only
5 Sonatina per flauto e pianoforte Andante Elegiaco 00:03:10 88/24 Album only
6 Sonatina per flauto e pianoforte Allegro ironico e grottesco 00:02:31 88/24 Album only
7 Sequenza per flauto solo 00:03:04 88/24 Album only
8 Giochi d'infanzia per tre flauti in do Allegro spiritoso 00:01:05 88/24 Album only
9 Giochi d'infanzia per tre flauti in do Adagio ma non troppo 00:02:13 88/24 Album only
10 Giochi d'infanzia per tre flauti in do Scorrevole 00:01:20 88/24 Album only
11 Dance de la Ch 00:03:28 88/24 Album only
12 Sonata for flute and piano Allegro malinconico 00:04:19 88/24 Album only
13 Sonata for flute and piano Cantilena 00:03:48 88/24 Album only
14 Sonata for flute and piano Presto giocoso 00:03:39 88/24 Album only
15 Adagio e Allegro per orchestra di flauti 00:05:55 88/24 Album only

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℗ © 2014 Velut Luna

Gloria Ammendola, Tommaso Benciolini, Simone Candiotto, Giulia Casa, Ludovico Degli Innocenti, Marco Aurelio Di Giorgio, Elia Guglielmo, Veronica La Malfa, Roberta Nobile, Caterina Pavan, Alice Sabbadin, Niccolò Valerio - flute

Maria Bisi, Grandpiano

Adriano Lincetto dedicated a large part of his life to music education and to the promotion of new talents in his role of piano teacher for which he owned the professorship since 1966. He dedicated himself to this important formative and didactic activity at the Conservatorio "Cesare Pollini" in Padua for over 30 years. He led this same conservatory during the last 10 years of his life, before his premature death on April 24th 1996.

The flute is a very important instrument that has an influential place in Adriano Lincetto's compositions. Another important aspect in the works of the Maestro, present in each one of his compositions, is the closeness to the interpreters.

It is well known, as Radu Lijtnko underlines in his critical essays on the Maestro from Padua, that Adriano Lincetto wrote because he couldn't help it; writing was a primary need of his being an artist. Writing for him was also a way to donate his music to his friends and to his son Francesco, that was, not by chance, an excellent flutist.

We want to remind you that an important part of the concert career of the pianist Adriano Lincetto developed in the creation of the flute duet with Enzo Caroli in the 70's and 80's. The greatest majority of the compositions in this record are written, thought and dedicated to these important... friends.

It's not easy to speak about the style of the compositions of an author of the second half of the 20th century that is clearly independent, that is not influenced by the dictates of the schools of that time (I'd rather say with a polemic hint "of the regime"). It's hard because a sensitive and cultured person cannot be influenced by the previous thousands years of music literature. All this knowingly but even more unknowingly. It's a hard task for the good scholar to identify and isolate these influences and sources of inspiration.

What we can assert is that Lincetto was in love with the radical innovation in the music field that two music revolutionaries - Debussy and Stravinsky - brought. Lincetto many times quotes uses and habits of these two composers. He also loved the great eastern music and its ability of synthesis represented by Bartok or Prokofiev. 

Adriano Lincetto is by no means a son of his time, the 20th century (his composition for string orchestra titled "Suite per Paer" composed in 1980 cannot be ignored).

Going into details we can notice that he had this need of communicating to the interpreter his vision of the notes that were written on the staff using also words. His definitions of the single movements and the hints on the score are always revelatory and striking. A very clear example is Sonata for Flute and Piano. The titles of the different movements are explanatory: Allegro Spigliato (Allegro Jaunty), Andante Elegiaco (Andante Elegiac), Allegro Ironico e Grottesco (Allegro Ironic and Grotesque). He adds adjectives to the classical definitions and these adjectives are very precise and communicate to the interpreter his strong need to make clear what he meant, his will to make his music completely understood. Also the notes on the score are very detailed: you can read at the beginning of the third movement of the sonata: Scorrevole ma Marcato (Fluent but Emphasized) ...

The hardship in transforming into sounds Lincetto's compositions lays not in the technical difficulties of the execution but in understanding exactly what the author wanted to communicate with so much fantasy and stubbornness in those notes and in the words that he used. His anxiety to communicate puts the author distant from the great composers of the past. J.S.Bach for example let his artistic message to the keys on the score - with great joy of all those performers that have played the music of the great German author with a lot of fantasy.

Adriano Lincetto is a son of the 20th century but he is also a forerunner of the 21st century, the century of direct and fast communication, the century of internet and the social networks. I sometimes wonder how Adriano Lincetto would have lived in this new era and many times I tell myself that he would have loved it and he would have enjoyed it. Maybe he would have found his natural "artistic habitat". Unfortunately Adriano Lincetto died prematurely at the dawn of this new era and all our doubts are destined to remain.