Fulvio Fiorio & Gabriele Fiorio - The Sounds of Wood (2024)

One hundred years of Romanticism, about sixty years of post­romanticism and another sixty of filologic research and adhesion to "original versions" of past musical compositions got used to us badly.

Romanticism conditioned us to think that what was written by the hand of a composer has to be untoucha­ble, a sacred document that's perfect like it is; post­romanticism convinced us that this idea had to be applied to any artwork, even the ones that were written before the '800s; lastly, the meritorious and sacro­sanct philologic enforcement to the research of the 'original text' have definitely forced us to believe that the only 'original version' of a composition is the one that reproduces exactly the text, recovered with all the tricks modern and performed with instruments as close as possible to the 'original' instruments of the time in which the composition was, in fact, composed.

These three elements, put together, even if they seem contradictory to each other, actually go to form a perfect storm, a kind of explosive mixture that makes people look askance artistic achievements such as the one proposed by the program of this CD.

But fortunately, for some, very little indeed, time, we have awakened from these paths so tremendously binding, starting right from the end, from the last step. And so 'historically informed' executions, those in which, that is, the performers tell you “I know very well that I am playing with a modern instrument an ancient music, but I also know that…”.

However great and famous a composer is, the most important market at the time was that of theatrical music, with which fame is achieved; a fame on the wave of which they can then produce (and sell 'chamber' pages intended for the most loved organics, pages that the performers amateurs will surely buy driven by the fame of the author.

So here is Leonardo Vinci who, very famous between Naples and Rome thanks to his melodramas, enriches its catalog with a good group of music for small complexes thanks to which his name can also circulate in non­theatrical circles.

Or again here is Nicolas Chedeville (speaking of 'advertising'…) riding the wave of a double success, that of Antonio Vivaldi, and that of the flute brought into vogue by universal fashion Arcadica, who composes and publishes (in 1737) one of the most clamorous 'historical forgeries', those sonatas of the 'Pastor fido' which for a long time attributed to the great Venetian are here finally reassigned to the French author of the time of Louis XV.

And we don't believe that in the German cities of those same years people behaved differently, considering that in Prussia Prince Frederick himself is a flutist (we don't know how skilled), and that playing this wind instrument is one of the most widespread fashions in good society.

It should therefore not surprise us that even two unsuspected ones like Georg Ph. Telemann and Johann Sebastian Bach, yield to the prevailing fashion and compose, both around 1730, collected one for solo flute and the other for flute, in the case of the Sonata BWV 1033, accompanied by the continuo. Two very famous pages, those present in this recording, which are accompanied by the Sixth Invention for two voices among the 15 that Bach assigns to an unidentified polyphonic keyboard, implicitly authorizing their execution with any tools capable of executing those notes.

Tracklist
01. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): I. Adagio
02. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): II. Allegro
03. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): III. Largo
04. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): IV. Pastorella
05. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): V. Allegro
06. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): I. Andante - Presto
07. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): II. Allegro
08. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): III. Adagio
09. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): IV. Menuetto I-II
10. Fantasia in F-Sharp Minor, TWV 40:11: I. A tempo giusto
11. Fantasia in F-Sharp Minor, TWV 40:11: II. Presto
12. Fantasia in F-Sharp Minor, TWV 40:11: III. Moderato
13. Invention No. 6 in E Major, BWV 777 (Arr. for Marimba by Gabriele Fiorio)
14. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: I. Preludio
15. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: II. Allegro assai
16. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: III. Sarabanda
17. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: IV. Allegro
18. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: I. Vivace
19. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: II. Fuga da capella - Alla breve
20. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: III. Largo
21. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi)[Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: IV. Allegro ma non presto