The Études Tableaux, miniature-masterpiece of extraordinary harmonic beauty, form, writing, synthesis, images that are able to evoke and...of an extraordinary musical and technical difficulty. I don’t want to add anything else, the music is wonderfully descriptive and it is right that the listener creates his own worlds and perceives the paintings that each piece paints.
Although the repertoire is known to fans, this is a particular record and, contrary to the standard, I’ll tell you in person.
I didn’t have the courage to play the Études even when I was a full-time pianist, despite the fact that I had Rachmaninov’s greatest works on hand, including his formidable third concert. I thought instead of studying and recording them when life became much more complex; engineer by day, pianist by night. I don’t want to lie by saying that reconciling the two is easy, it isn’t. Playing at the recording level is already a big challenge in itself, adding a complex everyday work makes it all exceptionally trying. These lines serve as a context to the fundamental concept that I would like to pass on to those who read these words: it is possible to set oneself and achieve objectives that seem impossible in an already more than full life context. And I say that because it’s worth it, whatever you choose. The challenges, won or lost, give us invaluable lessons first of all on our ego, on our limits that will prove to be wrong, and then give us a magnificent wave of new knowledge, wide spectrum. What is needed is a good dose of stainless will, a predisposition to resist fatigue, sometimes suffering, and never be distracted from the primary objective. And another thing I write, never be content to learn, study, challenge, improve. Because satisfaction is the death of desire.
Now, coming to the particularities of this record, let’s start with the fact that the piano used for the recording is my personal: a wonderful Bechstein D282 that I call Albus. A dream of a lifetime, lasting more than twenty years, come true. Albus was delivered to me directly from Berlin this April (2023) and its opening was the recording of this record. The preparation and tuning of the piano for the recording, I personally edited it.
Another peculiar fact is that I recorded this record. By this I mean that the work of sound and balance engineer (microphone positioning, balancing, acoustic treatment and recording) I did personally. I had in mind a shot that was as faithful as possible to the sound of the instrument, extremely detailed and precise, with particular attention paid to obtaining a perfect sound image. The choice inevitably fell on electronics of absolute excellence and the characteristic of a linear frequency response and neutral tone: microphones Sennheiser and Schoeps, omnidirectional and sub-cardiodes for a great presence and crystal clear, preamplifiers Millennia and Rupert Neve that guaranteed the least possible alteration of the native signal, signal cables at the height of the components mentioned.
This too is the result of years of study, experience and mistakes; a dutiful thanks to the precious teachings of my producer Marco Lincetto to whom I then left the finished traces. In the expert hands of Marco I entrusted the delicate mixing and mastering phase, strictly in analog chain, as I like. The result is a recording with a natural sound and great impact that, with a well built system, makes you enter the piano in the house, in all its glory.
Regarding the choice of songs and their order, I had been intuitively imagining this exact sequence for a long time. It is a path of sounds and images that in my head has developed just like that, which I particularly love and therefore, would not need further illustration. Nevertheless, I add that as a person who naturally perceives and imagines abstract worlds, beyond the images that these scenes evoke, their sequence, to explain it in understandable words, reminds me of a beautiful iteration of sinusoidal functions in three spatial dimensions and a temporal one, translatable into a sheet of pure space that moves sinuously, sometimes wrapping you, interspersed with moments of great impetus to others of deep reflection, sometimes dismayed, but in any case intimate. In the face of the complete recording, having extracted these twelve passages in this exact order, did nothing but confirm that intuition had long ago. I recommend a yarn listening to better understand the above.
Rachmaninoff and I.
You could dedicate the whole libretto just to this theme. Simply, to conclude, his music is my soul mate in music. I’ve spent the last 15 years studying and playing his plays. His language is so much part of me that I recorded a whole record (Within & Without - Homage to Rakhmaninov) that collects a series of my original compositions dedicated to the great master. With this instead, I want to pay tribute to him again playing his music, to celebrate the 150th anniversary of his birth.
total time: 42’00”
88kHz / 24bit original digital recording made at M° Edoardo Brotto’s studio, Italy, on the 1st and 20th of May 2023.
Analog mix & mastering made at Velut Luna Studio, Valencia, Spain, on the 26th of August 2023.
M° Edoardo Brotto plays his BECHSTEIN D282 CONCERT GRANDPIANO “ALBUS”, tuned and prepared by Edoardo Brotto.
M° Edoardo Brotto chose Sennheiser MKH 8020, Schoeps CMC6 Mk21, Millennia Media HV 3C and Rupert Neve 5211 Portico Designs mic preamplifiers.
The original master was monitored and personally approved by M° Edoardo Brotto.
Original composition by George Gershwin. Hallo Mr. Sax, saxophone orchestra / Mario Marzi, conductor / Paolo Zannini, grandpiano 24Bit / 96 kHz Digital Recording. Live in studio at Chiuppano Public Auditorium (Vicenza, Italy) April, 2003 A new ensemble of classical saxophones, directed by Mario Marzi, first sax of the Philharmonic Orchestra of the theatre "La Scala", offers an original interpretation of authentically outstanding masterpieces like Rapsody in Blue, The Cuban Ouverture, Porgy and Bess, I Got Rhythm. Twelve saxophones manage to reproduce perfectly all the different tones of the classical symphonic orchestra, while the piano and percussion sections are the same as originally written by Gershwin.
VENTIQUATTRO MELODIE E ALTRI RACCONTI
CLASSICAL FROM 20th CENTURY: original compositions by Leopoldo Armellini, bassoon / Paolo Muggia, guitar / Ugo Orlandi, mandolin / Fabiano Maniero, trumpet / Luisa Giannini, soprano / Lorella Ruffin, piano / Maura Mazzonetto, piano 20 Bit Digital Recording. Live in studio at Hotel Ritz (Abano Terme), SS.Felice e Fortunato Church (Noale) . January 1997 This is a collection of previously unreleased chamber music by Adriano Lincetto for piano and bassoon, piano and guitar, piano and mandolin, organ and trumpet, organ and soprano. The composition is of great power and sensibility and finds a perfect place within the traditional Mitteleuropean history of the Twentieth Century and among the echoes of Debussy, Malipiero and Omizzolo.
MUSICA PER DUE PIANOFORTI - VOL. 1
CLASSICAL FROM 20th CENTURY: original compositions by S. Rachmaninov Teresa Trevisan and Filippo Trevisan, Grandpianos 20 Bit Digital Recording. Live in studio at Modigliani Auditorium (Padova, Italy). March 1997 Original compositions by S. Rachmaninov for two pianos
MUSICA PER PIANOFORTE
CLASSIC FROM 20th CENTURY: original compositions by (1905 - 1991) Giovanni Tirindelli, Grandpiano / Romano Zancan Dall'Alba and Annalisa Ogeniti, four hands Grandpiano. 20 Bit Digital Recording. Live in studio at Pollini Auditorium (Padova, Italy). June - October, 1997 These ten studies on the Trillo could be easily called "Transcendental Studies for a Concert", due to their unique artistic virtues and the absolute skill of their talented interpreter, Giovanni Tirindelli. With this work Tirindelli becomes a solid and clear point of reference for those who dare to interpret this fascinating score which represents a consistent continuance of Debussy's work.
MUSICA DA CAMERA
CLASSICAL FROM 20th CENTURY: original compositions by Silvio Omizzolo (1905 - 1991) Ezio Mabilia, Edoardo Lanza, Ines Scarlino, Franco Angeleri, Grandpiano / Giovanni Guglielmo, violin / Elio Peruzzi, clarinet / Giambattista Valdettaro, cello / Tiziana Zoccarato, soprano / Chamber Ensemble: Andrea Danese, flute, Francesca Guerra, hautebois, Ivan villanova, clarinet, Steno Bosso, basson, Eugenio Pegoraro, french horn, Pietro Juvarra, violin, Fulvio Bertagnin, viola, Giordano Pegoraro, cello, Mario Caldieron, doublebass. 20 Bit Digital Recording. Live in studio at Pollini Auditorium (Padova, Italy). June - August, 1997 This other work by Omizzolo, no less interesting than the other, reveals even more the capabilities and the creativity of this multi-talented artist who here presents a journey through his most significant production of chamber music: sonatas for violin, clarinet, violoncello, all accompanied by piano, the solo protagonist of another passage and two pieces for a small chamber music ensemble (9 and 11 instruments) with the addition of a soprano.
Short songs from Italian Renaissance, French 16th Century, English Renaissance Ensemble Juveniliter: six solo vocals, Federico Zandonà conductor 20 bit Digital Recording. Live in studio at Cappella di S.Martino, Campiglia dei Berici (Vicenza, Italy). October, 1997 Brevi e piacevolissime canzoni tratte dal repertorio polifonico tardo medioevale e rinascimentale inglese, francese e italiano interpretati da una formazione vocale composta da sei solisti, tre donne e tre uomini, in grado di proporre una tale varietà di timbri e colori che non fanno rimpiangere l'assenza di strumenti comunemente intesi. Alcuni brani, molto noti, sono divenuti patrimonio storico della musica europea. Short and very pleasant songs taken from the late polyphonic repertoire of the English, French and Italian Middle Ages and Renaissance. All the pieces are interpreted by a vocal band of six soloists, three women and three men, capable of proposing such a great assortment of different timbres and musical colours that you will not even notice the absence of instruments. Some of the most famous pieces have already become part of the historical legacy (heritage) of European music.
MUSICA PER DUE PIANOFORTI - VOL. 2
CLASSIC FROM 20th CENTURY: original compositions by Sergej Rachmaninov Teresa Trevisan and Filippo Trevisan, Grandpianos 20 Bit Digital Recording. Live in studio at Modigliani Auditorium (Padova, Italy) / Studio Zanta, Camponogara (Venezia, Italy). March - December, 1997 Composizioni per due pianoforti di S. Rachmaninov Original compositions by S. Rachmaninov for two pianos
FRANK, DEBUSSY, RAVEL: SONATAS FOR VIOLIN AND PIANO
Original compositions by Cesar Frank, Claude Debussy, Maurice Ravel Domenico Nordio, violin / Massimo Somenzi, Grandpiano 20 Bit Digital Recording. Live in studio at Teatro Torresino (Padova, Italy). March, 1998 Three sonatas for violin and piano by three superb composers. Frank displays an extreme control of solid musical structures that vary from passionate and glorious moments to static and lyrical ones. The sonata by Debussy, written in 1916-17 and third of an incomplete cycle of six, is a realistic and sober piece that represents a clear rupture with Romantic eloquence. Ravel's sonata, of 1927, expresses the author's capability and desire to go beyond his innate instinct.
CLASSICAL FROM 20th CENTURY: original compositions by Tommaso Vittorini, Giorgio Gaslini, Corrado Pasquotti, John Rea, Terry Riley, Ex Novo Ensemble, John Celona. Ex Novo Ensemble: Daniele Ruggeri, flute / Davide Teodoro, clarinet / Carlo Lazari, violin / Giovanni Petrella, viola / Carlo Teodoro, cello / Aldo Orvieto, piano / Nunzio Dicorato, percussions / Special guest: Pietro tonolo, sax / Conductor: Claudio Ambrosiani / 20 Bit Digital Recording. Live in studio at Studio Papillons (Padova, Italy). January, 1998 At the beginning of the 90s the International Centre of Instrument Research of Venice, directed by Claudio Ambrosini, promoted a project whose aim was to encourage the exchange and mutual integration among different instruments and cultures. This project was called, significantly, "Ouverture" alluding to the strong desire to "open" and stimulate the communication between different worlds and traditions, from ethnical music to jazz, progressive, etc...
ALBENIZ, LINCETTO: PIANO SOLO
â€œRecuerdos de Viajeâ€?, Isaac Albeniz; â€œSchizzi per pianoforteâ€?, Adriano Lincetto Alberto Boischio, grandpiano 20 Bit Digital Recording. Live in studio at Taio Public Auditorium (Trento, Italy). August, 1997 Isaac Albeniz, in his widely famous composition, masterfully performed by Alberto Boschio. The CD also includes some formerly unreleased pieces by the prematurely deceased M° Adriano Lincetto.
ROTA, FRANCAIX, MARTINU - TRIOS FOR PIANO, FLUTE AND VIOLINS
Classical from 20th Century: music from Nino Rota, Jean Francaix, Bohuslav Martinu. Trio Marinetti: Lorella Ruffin, grandpiano / Stefani Maffizzoni, flute / Riccardo Malfatto, violin 20 Bit Digital Recording. Live in studio at "Large Empty Hall" (Padova, Italy). February, 1999 The Marinetti Trio mean to express through "...force, love, courage, cunning and rude will, without hesitation nor rest, by fury, impatience, running at a breakneck speed..." their dynamic, plastic, blazing hot concept of Music.
CLASSICAL FROM 20th CENTURY: original compositions by Claudio Mandonico Orchestra di Mandolini e Chitarre CittÃ di Brescia, Claudio Mandonico, conductor / Alessandro Bono, solo guitar / Ugo Orlandi, solo mandolin / Elena Contin, solo flute / Quintetto a Plettro Raffaele Calace 24Bit / 96 kHz Digital Recording. Live in studio at Rehearsal Hall (Brescia, Italy). October - November, 1999 This CD will be a great and sweet surprise for anyone who will listen to its fantastic content. A new concept of band joining in plectrums and several guest instruments (flutes, harmonica, solo guitar, percussions). The notes range from the atmosphere of great Authors of film music to classical chamber pieces to authentic explosions of rhythm and joy. A sumptuous journey that makes its way along a path of diverse genres like stomp, blues, mambo and concludes with a peculiar "Elegy and Dance" for solo guitar and orchestra.