Al Piemonte "Sinfonico Trittico" Carlo Alberto Pizzini

The work Al Piemonte is inspired on the story of the splendid nature and working in the white-burning heat in this beautiful district at the bottom of the mountains. The Roman inhabitant composed this work during one of his longer stays in Piemonte. The composition is described in an analytic article of Attilio Cimbro (published in the Rassegna Dorica of February 1941), from which the following passage is taken over. In the first of the three parts is recorded what Pizzini feel attracted in Piemonte: the big aspirations and struggles, composited to a briljant glory of the beauty of the mountains and vallies and the fruitfulness of the district. Finally the application and persistency of the people and their untired works on the field and in their offices. In the first part Insegne gloriose (insegna = banner, sign-board) the theme in the trumpets and trombones has a festive character with completely or partly returning cycli in all three parts he warms the atmosphere. Insegne gloriose will be entertaining, with the character of a memory and a hint, stimulating the delight of the mountain landscape. In the second part Notturno sulle Alpi (night in the Alps) a singing melody develops with as principle a soprano saxophone, in which later the clarinetts and horns melt a different melody. This will be repeated more intensive in a beautiful crescendo. The very characteristic fragments of the specific theme of Notturno finally perfected the singing line in successively the clarinet, oboe, horn and flute. The third part Macchine e cuori (machines/cars and hearts/characters) begins with a persistent hammering in the basses, above which discords in the trombones come down in one line. Further a violent sentence move which returns by the muscles of the robust, persevering day-labourer. The chromatic scales in the light instruments and horns complete the part to a dizzy feeling of one piece energy, of feverish activity. To the end the polichrome noise of the factory is superior above the singing line: more than all previous sentences accented, the begin theme of this triptych appears to close this composition with an apotheosis.