SKU: 43715578134

impromptus bertoglio

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Description

impromptus bertoglioSCHUBERT: IMPROMPTUS ( CVLD233 ) Author : FRANZ PETER SHUBERT Performer : CHIARA BERTOGLIO Available in: HD File, CD Production: Velut Luna & Chiara Bertoglio Executive & Recording Producer: Marco Lincetto Recording, Mix & Mastering Engineer: Marco Lincetto Editing: Mattia Zanatta Photos: Marco Lincetto Design: the image Marketing: Francesco Pesavento Sales Managers: Moreno Danieli & Patrizia Pagiaro Press Agent: Emanuela Dalla Valle World Wide

SCHUBERT: IMPROMPTUS ( CVLD233 )

Author : FRANZ PETER SHUBERT
Performer : CHIARA BERTOGLIO

Available in: HD File, CD

Production: Velut Luna & Chiara Bertoglio
Executive & Recording Producer: Marco Lincetto

Recording, Mix & Mastering Engineer: Marco Lincetto
Editing: Mattia Zanatta
Photos: Marco Lincetto
Design: the image
Marketing: Francesco Pesavento
Sales Managers: Moreno Danieli & Patrizia Pagiaro
Press Agent: Emanuela Dalla Valle
World Wide Contacts: Cristiana Dalla Valle

Traces

01 - F. Schubert: Vier Impromptus op.90 D.899 - n.1 in C minor
02 - F. Schubert: Four Impromptus op.90 D.899 - No. 2 in E flat major
03 - F. Schubert: Four Impromptus op.90 D.899 - No. 3 in G flat major
04 - F. Schubert: Four Impromptus op.90 D.899 - No. 4 in A flat major
05 - F. Schubert / F. Liszt: Impromptu S.565b - No. 1 in E flat major
06 - F. Schubert / F. Liszt: Impromptu S.565b - n.2 in G major
07 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.1 in F minor
08 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.2 in A flat major
09 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.3 in B flat major

10 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.4 in F minor


Classical. Original compositions by Franz Peter Shubert. Chiara Bertoglio grand piano.
24bit/88.2 kHz original live-in-studio recorded, in Velut Luna Studio, Preganziol, Italy, on August 7- 2012.

Notes

Among Franz Schubert's piano works, the eight Impromptus, Op. 90 and Op. 142, are perhaps among the best-known and most frequently performed, and are certainly performed and listened to far more often than many of the enchanting Sonatas. It therefore seems pointless to reiterate here, in the inevitable brevity imposed by the size of a booklet, the analyses and studies that have been conducted on them; perhaps it is more useful to limit myself to offering the reader a "presentation" of these pieces, a guide that integrates with the key to understanding them that I propose with my interpretation.
I've had a very long relationship with the Improvvisi, some of whom have been around for over twenty years; and I can say they are true musical "friends," whose discreet and constant presence has shaped my journey as a musician and as a person.
Those of Op. 90 have more defined characteristics and clearer, more limpid structures. Schubert's extraordinary imagination and emotional richness are still channeled into "clean" forms, with the alternation and juxtaposition of different levels of compositional articulation. No. 1 plays entirely on the contrast between the martial rhythm of the incipit and the softness of a melody accompanied by a murmur of triplets. No. 2 is simple only in its macrostructure, which alternates sections of uninterrupted scales, almost waves of notes, with a Trio and a Coda of almost barbaric aggression; however, the dance rhythm that runs through it is the same in both sections, with the accent falling askew on the second beat of the measure.
No. 3 is justly celebrated, a sort of wordless Lied that would be reductive to define as a simple accompanied melody. The richness of its pervasive and omnipresent harmonic texture makes it much more akin to a polyphonic piece, in which the fluidity of the harmony allows its contrapuntal richness to emerge, veiled by the enchantment of melodic contemplation. No. 4 weaves together a series of garlands of arpeggios that alternate with the absorbed stasis of the chords and an ascending progression on the left hand's voice that admirably builds to the climax that concludes both the first part and the entire impromptu. Nestled between the final sections is a Trio of infinite beauty, almost a prayer in which, once again, the inner voices of the chorale are made vibrant by repetitions and repetitions.
Op. 142, on the other hand, is more compact, so much so that Schumann hypothesized a sonata-like conception of it (an approach I personally share), but on the other hand, more indecipherable. Each of its four Impromptus (which were renamed as such by the first editor) displays a kaleidoscope richer in emotion and more difficult to interpret than those of Op. 90.
No. 1, in particular, presents a highly complex series of unforgettable moments: the solemn and tragic opening, which inaugurates not only this piece but the entire series; the changing reverberations of a subject hidden among the tremolos; the “duet” in which the left hand responds to itself, continually overriding the circular and hypnotic movement of the right.
The stylistic signature of No. 2 is more homogeneous, unique in its reconciliation of choral, Lied, and dance forms: it is perhaps the mystical pinnacle of the Impromptus, with a serene, composed, and absorbed beauty. No. 3, composed of variations on a theme from Rosamunde, leads us on a journey that revisits, in miniature, all the great themes of Schubert's Romanticism: the circular rhythm of the first variation, the joy of life of the second, the hopeless darkness of the third, which opens to dance in the fourth and dissolves into a shower of scales in the last.
The cycle concludes with No. 4, rich in Hungarian folk movements, with a theme brimming with energy and vivacity, once again not without deliberate barbarism. And once again, Schubert demonstrates the melodic and narrative potential of scales, which here are presented in an almost obsessive manner and colored by the harmonies of the left hand, becoming a musical resource of unimaginable charm.
Completing the CD are Franz Liszt's versions of the Impromptus, Op. 90, Nos. 2 and 3. In Liszt's interpretation, No. 2 increases its virtuosic connotation (for example, with the addition of "filler" notes) and accentuates the "Hungarian" character of the Trio and Coda. Liszt instead transposes No. 3 into the more comfortable and – above all – less problematic, mysterious, and obscure key of G major (from the original in G flat); in the reprise of the main theme, Liszt offers a highly personal rewriting, reminiscent of the atmosphere of the celebrated Liebestraum.
Chiara Bertoglio

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SKU: 43715578134

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Jamie
Louisville, US
★★★★★ 5
Durable, lightweight, dogs love em
Color: Purple
The most durable, perfect weight,all 3 dogs have the best time chewing them. Easy to unpack and carry around. All 3 dogs enjoy, this is my 2nd time purchasing in a year, they last about 6 months per purchase time
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Reviewed in the United States on May 17, 2026
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Michelle Tucker
Alexandria, US
★★★★★ 5
Perfect for the aggressive chewer
Color: Purple
I purchased these because I have a 1-year-old black lab redbone coonhound mix who destroys every toy and Bone. I have gotten him in a short amount of time... These things have outstanded this little guy and he is still enjoying them! Keeps him occupied and satisfies his chewing for hours! And he leaves my shoes alone haha
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Reviewed in the United States on June 10, 2026
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Riley Lee
Birmingham, US
★★★★★ 5
Best for all chewers!
Color: Purple, Color: Purple
I purchased in February and waited until ive had them long enough to make a justified review. I have a very VERY aggressive chewer. He destroys every toy he gets within minutes or a hour. We didnt expect much out of these but why not. Let me tell you... they only have small teeth dents. No cracks, no breaks, no chunks missing, none in the trash, no bleeding gums... nothing. My chewer loves them. First day he just stared at them like they were alien objects but after we played fetch a few times it was on!! Now all three dogs chewer on them. I would say im purchasing again but I dont know when that will be lol I highly recommend to anyone!! Photo is taken today 6/4/26
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Reviewed in the United States on June 4, 2026
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Daniel
Belleville, US
★★★★★ 4
My pit bull loves them.
Color: Purple
I picked up the Frienhund Tough Dog Toys 3-pack for my large, heavy chewer, and overall I’m pretty impressed. Right out of the box, the toys feel solid and well-made—definitely more durable than your average chew toy. My dog usually destroys new toys within a day or two, but these have held up significantly longer, which is a big win. They also do a great job of keeping him occupied. The shapes and textures seem to keep his interest, and I’ve noticed less destructive chewing on furniture since introducing these. That alone makes them worth it. The only reason I’m giving 4 instead of 5 stars is that while they’re very tough, they’re not completely “indestructible” (despite the claim). After a couple of weeks of heavy use, there are some visible wear marks. Still, compared to most other toys we’ve tried, these last much longer. Overall, a great option for medium to large dogs that are aggressive chewers—durable, engaging, and a solid value for a 3-pack.
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Reviewed in the United States on April 17, 2026
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Ashleigh
Port Orchard, US
★★★★★ 5
Great Toys for Chewers
Color: Purple
Love these dog toys, they are so well-made and keep my Golden Retriever busy for hours. The variety of sizes is nice too, they aren’t heavy at all, but they sure hold their shapes , even with the constant chewing. The price was very reasonable, too.
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Reviewed in the United States on June 7, 2026

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