Ingrid Carbone interprets “the harmonies” of Franz Liszt
In her “other” life Ingrid Carbone is a mathematician and teaches analysis at the University of Calabria; in her artistic curriculum, however, she boasts a diploma with full marks in piano at 19, international competitions and masterclasses with pianists of the caliber of Lazar Berman. And it is with a program entirely dedicated to the music of Franz Liszt (1811-1886) – which she considered “the point of arrival of a pianist: a goal from a technical and interpretative point of view” – that the Calabrian artist celebrates his recording record company. beginnings; the album entitled Les harmonies de I’esprit combines some famous pages of the Hungarian composer with lesser-known and highly valuable works. We start with the most virtuosic piece of the album, the famous Fantasia, almost Sonata Après une lecture du Dante, the last piece of the second volume of the Années de Pèlerinage; it is “visual” music, which intends to transport the imaginary world of the Divine Comedy onto the pentagram through a sort of musical fresco that Carbone paints with the tip of his brush between continuous expressive chiaroscuro, diluting the agogic in perhaps a little too much restrained time . The Third is set in the diadem of the six Consolations, which represents one of Liszt’s greatest poetic and intimate peaks, and which joins the subsequent Liebestraum n. 3, the famous “Sogno d’amore”, initially conceived as a vocal lie but then left without words and with the only seal of sublime music. Finally, the album closes with a rarely heard page, Légende n. 2: San Francesco di Paolo “marchant sur les flots”, which describes the miracle performed by the hermit saint Francesco da Paola, when he crossed the Strait of Messina walking on the water after having spread out his cloak; between fine movements of notes, sonorous sounds and intense chord progressions, the worthy crowning of those “harmonies of the spirit” that give the album its title.
