The Guitar And Fortepiano In The Age Of Beethoven – Angelo Colone

Beethoven as a pivot for a guitar world certainly sounds unprecedented if not strange, yet it is precisely what the two interpreters of this record aim to demonstrate, the guitarist Angelo Colone flanked by an absolute specialist in ancient keyboards like Enrico Maria Polimanti. Two extraordinary interpreters who bring to the stage an extremely complex and fascinating discourse, if Beethoven is probably the most important composer of his time, he was certainly not the most typical expression and around him many other authors found their place in that sonorous world, loved and appreciated in life and which are now having a gradual and inexorable rediscovery. The point of view of the guitar allows us to explore this phenomenon from a perhaps privileged point of view, given the not high number of compositions dedicated to this instrument by these authors. The case of Hummel is certainly emblematic, represented here by Pot-Pourri op. 53 is one of the most emblematic cases, which however is flanked by Divertimento op. 38 by Weber and even more the Great Brilliant Sonata op. 102 by Diabelli, author much cited by other composers and immortalized by Beethoven himself but perhaps one of the least known of the group. The Italian Giuliani is also added at the opening, the only composer of this record to have actually dedicated his entire life to the guitar and who was also an advocate of some of the most important technical changes of the instrument of that period. A work of exceptional historical interest both for the time it represents and for the point of view adopted and that the two performers know how to paint with musical strength and balanced reflection.