"With Piricone a artist has been found, who the sonatas of Mozart, Clementi, Beethoven and Giacomo Gotifredo Ferrari (op. 10, no. 3; first studio recording) is playing like telling stories, musically sensitive and captivating."
Die Toonkunst (DE), 05-1-2018An imaginary trip, once again, on what is Early Music today, on how it could manifests, its meanings, and the issues related to "text and context" integrated to an informed performance practice. We give chance to our imagination to explore, rebuilt paths and disclose them, as we cannot necessarily index what exactly happened with the most [extensive and] accurate modern microscopic precision.
It surely was an interesting journey on being aware of the need to take into account compromises and variables; to realise how each of us has an inner voice and, likewise, the composers, the interpreters, the instruments. Last but not least the instrument builders at that time who had to deal with the progressive and unceasing tasks demanded by the society and users of the time.
One thing seems still to have credit: Variety rules many aspects of musical life, in the late 18th century and the beginning of the 19th century. Together with a profound transformation of the social and cultural structure of the time, this would probably lead to the individualism which we like to recall as Romanticism. Variety is found in instrument making, in conceptual performing approaches, defining in the specific case different “piano schools”, in compositional forms and within the same accustomed stylistic form; in sound production concepts between instrument families and within the same instrument itself. One could probably go on and on to a such a degree, trying to define and list peculiarities which might make us loose the sense of perspective.
Understanding the relation and the interrelation of all of these issues, validating heritage and legacy in the historical frame, may give us the mindfulness and make us realise how crucial is at some point to zoom out and harmonise contents and containers, utensils and matter in order to gain back the unity of the overall topic.
All these ingredients, and more, form and give dimension to the final result which in its single segmentation would not serve otherwise a purpose - if any, nor any aim to make Early Music today. With this perspective I wish the listener would approach this audio work, as a never-ending process rather than a dogmatic statement. I wish you all a good listening journey.
[Antonio Piricone]
Prijswinnaar Antonio Piricone voert werken uit van Mozart, Clementi, Beethoven en Ferrari op fortepiano
Veelvuldig prijswinnaar Antonio Piricone voert op dit album werken uit van Mozart, Clementi, Beethoven en Ferrari. Piricone is een Italiaanse musicus wiens persoonlijke benadering, zowel als pianist als exponent van historische klavierinstrumenten, steeds meer internationaal de aandacht trekt. Piricone is gespecialiseerd in Oude Muziek, uitvoeringspraktijken en historische klavierinstrumenten. De werken op dit album worden uitgevoerd op een fortepiano uit 1826, gebouwd door Carlo de Meglio.
Wolfgang Amadeus Mozart, whose actual name is Joannes Chrysotomus Wolfgangus Theophilus Mozart, was a composer, pianist, violinist and conductor from the classical period, born in Salzburg. Mozart was a child prodigy. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Along with Johann Sebastian Bach and Ludwig van Beethoven, Mozart is considered to be one of the most influential composers of all of music's history. Within the classical tradition, he was able to develop new musical concepts which left an everlasting impression on all the composers that came after him. Together with Joseph Haydn and Ludwig van Beethoven he is part of the First Viennese School. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. From 1763 he traveled with his family through all of Europe for three years and from 1769 he traveled to Italy and France with his father Leopold after which he took residence in Paris. On July 3rd, 1778, his mother passed away and after a short stay in Munich with the Weber family, his father urged him to return to Salzburg, where he was once again hired by the Bishop. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death.
With Piricone a artist has been found, who the sonatas of Mozart, Clementi, Beethoven and Giacomo Gotifredo Ferrari (op. 10, no. 3; first studio recording) is playing like telling stories, musically sensitive and captivating.
Die Toonkunst (DE), 05-1-2018
Antonio Piricone plays piano works from around 1800 on a clearly younger historical pianoforte. This gives classical and classicist works their very own warmth and a South Italian bright sound.
Klassik.com, 24-12-2017
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