The Bianchi Demicheli Duo count nowaday amongs his recordings the complete published and unpublished Lorenzo Perosi Camera music work.
Following a short profile of the author.
Apart from one hundred and sixty compositions for organ, Lorenzo Perosi’s chamber music includes about thirty works, in particular: three string trios, sixteen string quartets, four quintets for strings and piano, a lost suite for violin, cello and piano, three pieces for cello and piano, two for violin and piano (a third one is unfinished), one string chorale with variations, a few compositions for harmonium and piano.
It is a remarkable “corpus”, spanning from the last years of the nineteenth century till the ‘30s: surely Perosi’s most fertile period, characterized as it is by a constant, rich creation of trios, quartets and quintets.
An intoxication of pure music, suffused with mysterious meanings, as the dedications of some score also suggest: quartets nos.1, 2, 3, 4, 5, 6, 7 and 8 are dedicated to his father, Giuseppe; quartets nos.11, 12 and 13 are dedicated to himself (“To Lorenzo Perosi junior Vegetarian”); quartets nos.13, 14, 15 and 16 on the death of Carlo, his brother (“Endless sadness on the death of my brother, the Cardinal”); same for quintets nos.1, 2, 3 and 4; Elegia for cello and piano dedicated to Ferdinando Frasnedi; Ore di Londra (Hours of London) for cello and piano dedicated to Luigi Silva.
And then the enigmatic, mysterious signature: “Lorenzo Perosi Senior Vegetariano (L.P. Senior Vegetarian) which seems to state a condition reflecting an existential discomfort.
While much has been said about this in a mix of truth and gossip, little attention has been payed to the coincidence between Perosi’s most mature chamber music and the deep crisis, both uman and artistic, that affected him.
We could wonder, in fact, why he composed almost all his chamber music, orchestral and symphonic works between 1900 and1930.
Is it possible that the absolute instrumental language, consacrated by historical-linguistic heritages, conforted a spirit in need of pure musical atmospheres?
Because of our scarce knowledge of these works, only conjecturesand suppositions are possible.
The shadow of mystery still hangs over these works: although they all belong to Casa Ricordi, only the third quartet, Elegia and Tema con variazioni had the onor to be published. It is not much when considering the importance of such a unique contribution to the Italian compositive school of the twentieth century.