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Fantasy Biamonti 213 – World Première in Settimo Torinese (2006)
The world première of the Fantasy, Biamonti 213
Settimo Torinese – 9 April 2006 – Pianist Massimo Anfossi
On Sunday, 9 April 2006, at 5:30 p.m., the WORLD PREMIÈRE PUBLIC PERFORMANCE of the Fantasy for Piano, Biamonti 213, by Ludwig van Beethoven was given.
This Fantasy — or rather “Sonata quasi una fantasia” — was entirely sketched by the composer during the final years of his stay in Bonn, as can be deduced from the study of the paper. The manuscript is preserved in the British Museum, within the Kafka Miscellany, on pages 90 recto to 95 recto.
The Fantasy has long been studied by Maestro Albert Willem Holsbergen, composer and scholar from Leiden, the Netherlands, who, together with Professor Mark Zimmer of the Beethoven Research Center (www.unheardbeethoven.org), has been instrumental in its rediscovery. Holsbergen himself has prepared a Performing Edition — an apt term indicating a partially fragmentary composition to which only the minimum necessary has been added in order to render it suitable for public performance.
The distinguished pianist of the afternoon performance was Maestro Massimo Anfossi, an internationally renowned concert artist. Having already to his credit several important discographic productions — among them the complete recording of Muzio Clementi’s Sonatas for Piano with Violin accompaniment, and the full edition of the chamber music of Francesco Cilea, both issued as World Premières — the performer was approached, thereby initiating a fruitful collaboration, by the recording label Inedita, which had already established a production line devoted to the rediscovery of Beethovenian rarities.
As these now-yearly catalogues make clear, the search for unknown and fragmentary works has become a constant feature of both the Italian and international cultural landscape. Thanks to the investigations of scholars such as Holsbergen, Cook, Zimmer, and Tigani, we are now able to lift the veil on creations that would otherwise have remained lost in the folds of history. This is particularly true of the Trio Anhang 3 and the Macbeth, Biamonti 454.
