Reviews | PORTFOLIO 2019
#43/2019 (CAN)
  
31 December 2019 | Mark Ainley | THE PIANO FILES | Favourite Releases of 2019
The Rhine Classics label has set a high standard for their releases of various historical performers, with productions featuring two pianists in particular capturing my attention this past year (originally planned for 2018, these sets in fact came out this past Spring). First off is an utterly mindblowing release of the complete Rachmaninoff solo piano music by Italian master pianist Sergio Fiorentino, an artist I came to know through the great German collector Ernst Lumpe, to whom the piano world owes a huge debt of gratitude for coaxing the master out of retirement and ensuring that his last decade of concerts was recorded. In this set, we find in absolutely stunning sound quality Fiorentino’s masterful traversals of Rachmaninoff’s solo works, the golden sheen of his sound and refinement of his nuancing as captivating as his passionate and intelligent interpretations. Truly a must-have for every Rachmaninoff fan and every Fiorentino fan – which should equate with every lover of great piano playing! (Their release of a 1998 Fiorentino recital in Taiwan is another must.)
The label continues its tribute to the obscure and rather mysterious pianist Pietro Scarpini with a stellar release of 12 CDs of ‘Discovered Tapes’ featuring works ‘from Baroque to Contemporary,’ both solo and with orchestra. Their previous releases of this unique pianist were exemplary as well – the Busoni Concerto is a real favourite – and this set includes a stupendous Prokofiev Second Concerto with the great Mitropoulos in better sound than any previous release, as well as dozens of never-before-released recordings. His solo Prokofiev is equally captivating, as is his Bartok Third Concerto and so much else. His fusion of intellectual and robustness makes for captivating listening. That legendary New York Prokofiev Second Concerto – on Youtube, from a different source tape (not as good as what is available in this set) – gives a taste of the magical pianism in the Scarpini release. |
#42/2019 (FR)
 28 December 2019 | Maciej Chizynski | ResMusica | À emporter, CD | L’œuvre pour piano seul de Sergueï Rachmaninov par Sergio Fiorentino À l'automne de sa vie, Sergio Fiorentino enregistre l'intégrale de l'œuvre pour piano seul de Sergueï Rachmaninov, caressant l'oreille par la netteté du toucher comme par la simplicité. Sergio Fiorentino_Sergueï Rachmaninov_Rhine ClassicsUn souffle divin se diffusait dans l'Auditorium Domenico Scarlatti RAI à Naples et animait Sergio Fiorentino lorsqu'il donnait au public, en septembre 1987, ces récitals entièrement dévolus à la musique de l'un de ses compositeurs préférés, transférés au disque à partir de bandes originales par Emilio Pessina. Fiorentino en connaît par cœur chaque note, paraît-il, ainsi que chaque pause, et il nous désarme par la sincérité et la suavité de ses interprétations, baignées de délicatesse et de couleurs lumineuses. Déjà dans la lecture du Prélude en ut dièse mineur op. 3 n° 2, on perçoit cette ampleur du geste quasi épique, de même que cette approche picturale qui rendent sa virtuosité complètement innocente face au ton grave du discours, mais qui nous font penser aussi à la majesté de la Russie tsariste. Les sons mis en valeur dans la main gauche, renvoient à la sonnerie des cloches des églises orthodoxes semblant pressentir l'épouvante qui se répandra sur leur pays et fera fuir Sergueï Rachmaninov à l'Ouest. Cette intégrale nous permet de tracer l'évolution de l'écriture du compositeur, influencée, dans sa jeunesse, par l'œuvre de Piotr Ilitch Tchaïkovski (Morceaux de fantaisie op. 3, élaborés en 1892), puis par l'impressionnisme français (Études-tableaux op. 33, façonnées en 1916) et enfin par le néo-classicisme (Variations sur un thème de Corelli op. 42, écrites en 1931). Le caractère descriptif des pages juvéniles s'accompagne avec le temps de plus de clarté et de liberté des textures. C'est ainsi que cette musique devient plus profonde et plus ample, et qu'elle peut sortir de l'élégant salon aristocratique. Dans ses partitions, Rachmaninov repousse par son imagination – d'ailleurs comme Frédéric Chopin, Claude Debussy et Alexandre Scriabine –, les limites du classique et, en quelque sorte, transgresse les possibilités offertes par le clavier. Le jeu de Sergio Fiorentino révèle un extraordinaire sens du panache, de la poésie et du raffinement des couleurs. Comme par magie, ses phrasés chantent avec pureté et douceur, en évoquant toute une palette d'émotions et une multitude d'ambiances. On est saisi aussi bien par les nuances piano, surprenantes de velouté, que par les forte profonds et pourtant jamais criards. Les compléments du programme de cet album sont des ajouts bienvenus car ils nous font réaliser à quel point Sergio Fiorentino est proche de cette musique. Mentionnons encore que le livret joint à ce coffret, renferme les photos de la transcription de la Vocalise op. 34 n° 14, que Fiorentino acheva en 1989. Un beau et généreux témoignage qui ne laisse pas de marbre et qui rappelle l'importance de l'œuvre pour piano de Sergueï Rachmaninov. [MC] In the autumn of his life, Sergio Fiorentino recorded the complete works for solo piano by Sergei Rachmaninoff, captivating the ear with the clarity of his touch and the simplicity of his playing. A divine breath filled the RAI Domenico Scarlatti Auditorium in Naples and inspired Sergio Fiorentino when, in September 1987, he gave audiences recitals entirely devoted to the music of one of his favorite composers, transferred to disc from original tapes by Emilio Pessina. Fiorentino apparently knew every note by heart, as well as every pause, and he disarmed us with the sincerity and sweetness of his interpretations, bathed in delicacy and luminous colors. Even in his reading of the Prelude in C-sharp minor, Op. In No. 2, we perceive the almost epic scope of the gesture, as well as the pictorial approach that renders his virtuosity completely innocent in the face of the solemn tone of the discourse, but which also evokes the majesty of Tsarist Russia. The sounds emphasized in the left hand recall the ringing of Orthodox church bells, seemingly foreshadowing the terror that would spread across their country and drive Sergei Rachmaninoff to flee west. This complete recording allows us to trace the evolution of the composer's writing, influenced in his youth by the work of Pyotr Ilyich Tchaikovsky (Fantasy Pieces, Op. 3, composed in 1892), then by French Impressionism (Études-Tableaux, Op. 33, created in 1916), and finally by Neoclassicism (Variations on a Theme by Corelli, Op. 42, written in 1931). The descriptive nature of the early works is accompanied, over time, by greater clarity and freedom of texture. In this way, the music becomes deeper and more expansive, transcending the elegant aristocratic drawing room. In his scores, Rachmaninoff, like Frédéric Chopin, Claude Debussy, and Alexander Scriabin, pushes back the boundaries of classical music with his imagination and, in a sense, transgresses the possibilities offered by the keyboard. Sergio Fiorentino's playing reveals an extraordinary sense of panache, poetry, and refined color. As if by magic, his phrasing sings with purity and sweetness, evoking a whole range of emotions and a multitude of moods. One is captivated by the surprisingly velvety piano nuances as well as by the deep, yet never shrill, fortes. The extras included in this album are welcome additions, as they reveal just how close Sergio Fiorentino is to this music. It's also worth mentioning that the booklet accompanying this set contains photographs of the transcription of the Vocalise Op. 34 No. 14, which Fiorentino completed in 1989. A beautiful and generous testament that leaves no one unmoved and reminds us of the importance of Sergei Rachmaninoff's piano works. [MC] |
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#41/2019 (UK)
  December 2019 | GRAMOPHONE AWARDS 2019 (pg. 134) | Rob Cowan | REPLAY Masters of the bow | Franco Gulli - reDiscovered
The remarkably communicative violinist Franco Gulli could be as sublimely affecting in Bach (the two solo violin concertos) as he was consistently on the ball in Bartók’s Concerto No 2 (expressive, too, under Mario Rossi in 1959) and Prokofiev’s First (under Sergiu Celibidache in 1957). Gulli, born in 1926, started playing aged five and by the end of the 1930s was expanding his repertoire to embrace Busoni, whose Violin Concerto is represented in a remarkably assured performance from 1997, when Gulli was 70. Of equal artistic import is his 1973 performance of Schoeck’s colourful Violin Concerto. His 1957 account of Lalo’s Symphonie espagnole (four-movement version) has something of Bronisław Huberman’s gypsy-style temperament about it and yet his approach to the standard classics (Beethoven, Mozart and Haydn) is often sublimely beautiful, as is his 1964 account of Viotti’s Concerto No 22, possibly the finest I’ve ever heard. Also included are dazzling Paganini (Concertos Nos 1, 2 and 5) and works by Ned Rorem, Ghedini, Bloch (including a riveting account of the First Solo Suite) and others. This is an excellent, often revelatory collection [...]
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| #40/2019 (UK)December 2019 | GRAMOPHONE AWARDS 2019 (pg. 133) | Rob Cowan | BOX-SET Round-up | Sergio Fiorentino - Rachmaninov Complete Solo Piano Works Live Sergio Fiorentino’s live coverage of Rachmaninov’s complete solo piano music on Rhine Classics presents a different sort of problem, though certainly not in terms of interpretation (most of it was recorded in 1987), which favours a manner of impassioned directness that often recalls the composer’s own playing. True, the piano tone can be brittle, and Fiorentino isn’t always technically infallible, but there’s real fire on display here, especially in the sonatas (No 2 is offered in the 1931 revision) and the two sets of preludes. [...] As to the rest, Fiorentino’s unguarded impetuosity is impressive and there are bonuses with orchestra in the guise of the First Piano Concerto and Paganini Rhapsody. I played these performances many times [...]
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#39/2019 (UK) 17 December 2019 | Stephen Greenbank | MusicWeb International | Franco Gulli - reDiscovered [...] The recordings span a period of forty years from 1957 to 1997 and derive from a variety of sources. What we have are live broadcasts, original masters and studio recordings (LP 33 RPM). The project has been realized under the auspice of Giuliana and the Gulli family. The audio restoration has been expertly achieved by Emilio Pessina, with annotations supplied by Paolo Pessina. [...]
The whole package smacks quality, from the sturdy box to the beautifully produced booklet. Track detail listings and a useful biographical portrait are desirable elements. Violin mavens will be equally drawn to the photos of Gulli with notable colleagues - Oistrakh, Kogan, Szigeti and Stern. Equally attractive are the individual photos of the violinist which adorn all eleven CD sleeves. Sound quality is variable throughout, but this comes as no surprise taking into account the provenance of the recordings. Overall you’ll be more than satisfied. The original master tapes offer warmth and intimacy.
All told, this highly desirable collection offers an amalgam of engrossing repertoire, refined musicianship and passionate commitment. |
#38/2019 (FR)
  Dec.2019/Jan.2020 | Jean-Charles Hoffelé | Classica No.218 (p. 91) | Franco Gulli - The refined bow of the Italian violinist sang like a nightingale and could hatch the spring.
[...] But to take the measure of his art and his repertoire, it is necessary to immerse oneself in the live recordings, from the 1950s to the end of the 1990s, which Emilio Pessina has just assembled in the bounding box set by Rhine Classics, portrait finally faithful of the most belcantist among violinists.
Franco Gulli - Rediscovered. Rhine Classics RH-005 (11CD), 1957-1999, CHOC◗
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#37/2019 (FR) December 2019 | Jean-Michel Molkhou | Diapason No.685 (p.119) |
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#36/2019 (UK) 31 October 2019 | Stephen Greenbank | MusicWeb International | Pietro Scarpini Edition - from Baroque to Contemporary The disconcerting paucity of a commercial discography makes the enterprising Rhine Classics Scarpini Edition, collections of tapes and home recordings of his concerts and radio broadcasts, all the more precious. Two previous volumes focussed on Mozart works (2 CDs) and Busoni & Liszt (6 CDs). [...] This more substantial box titled 'from Baroque to Contemporary' offers a comprehensive retrospective of the artist’s work, embracing music that's familiar in addition to generous helpings of mouth-watering rarities. For me, the whole series has been a voyage of discovery [...] In terms of production quality and presentation, Rhine Classics is once again true to form with this superb collection. The audio restorations are remarkable and the whole Scarpini project has been a labour of love. The beautifully produced booklet photographs add further to the appeal of the package. The Pietro Scarpini Edition is a sterling achievement, which gets my wholehearted recommendation for resuscitating the memory of a long-forgotten artist. |
#35/2019 (UK) October 2019 | Rob Cowan | GRAMOPHONE (pg. 111) | REPLAY More from Scarpini Rhine Classics’ second collection devoted to the potently intellectual piano virtuoso Pietro Scarpini (‘the Rubinstein of contemporary music’) crosses with Documents’ Rosbaud set on the repertoire front with compelling performances of Schoenberg’s Ode to Napoleon (in English this time, with Alvar Lidell) and Pierrot lunaire (with a bittersweet Magda László). Also included is an expressive and alert account of the Piano Concerto under Antonio Pedrotti. Scarpini’s reading of Rachmaninov’s Corelli Variations is the nearest thing I can imagine to a recording by the composer himself (which, as it happens, we don’t have), his style similarly taut and impassioned, the level of concentration awesome. Brahms’s and Prokofiev’s second piano concertos (under Vittorio Gui and Dimitri Mitropoulos respectively) pay particular attention to intelligence, rhetoric and scale, both performances facing the music’s fearsome technical challenges head-on. Six Scriabin Sonatas as well as some Op.11 Preludes and Prometheus (under Piero Bellugi) demonstrate Scarpini’s ability to balance form and content, while his mastery of major Romantic works sheds light on Schubert’s D959 Sonata (more adventurous than austere) and Schumann’s Humoreske. Works by Bach as transcribed by Scarpini and others are also included. The recordings (1950–68) range from acceptable to excellent. |
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#34/2019 (UK) So far, I've savoured the delights on offer in the volumes devoted to showpieces and sonatas. This third volume in Rhine Classics’ Ruggiero Ricci Centenary Edition spotlights the violinist's concerto performances. These derive from live recitals and studio broadcasts aired between 1951 and 1978. [...] An added bonus is that the collection contains some rarities that the artist never set down commercially, such mouth-watering gems as the Paganini Violin Concerto No.6, and those by Ginastera, Jaques-Dalcroze and Carlos Heinrich Veerhoff. [...] The excellent 24bit 96kHz remasterings have been expertly realized by the capable hands of Emilio Pessina. The attractive liner embodies a detailed tracklisting with some nicely reproduced photos of Ricci. There's so much to treasure amongst this collection of immeasurable riches. |
27 September 2019 | Stephen Greenbank | MusicWeb International |
#33/2019 (LU)
 23 September 2019 | Uwe Krusch | Pizzicato.lu | Ruggiero Ricci Centenary Edition -3- sonatas Manchmal finden sich in Beiheften auch bemerkenswerte übernatürliche Erscheinungen. So wird das Werk Introduktion et Tarantella von Pablo de Sarasate mit dem Kompositionsjahr 1899 angegeben, die Lebensdaten des Komponisten aber kurzerhand ins Barock verfrachtet, nämlich 1690 bis 1768 statt 1844 bis 1908. Aber das eigentlich Spannende ist der Überblick über das Kammermusikspiel des Protagonisten Ruggiero Ricci. Dabei agieren auch würdige Begleiter am Piano, wie etwa Carlo Busotti, der Virtuose und Pädagoge war. Die weitgespannten Aufnahmen reichen vom Barock mit Veracini bis Ernest Bloch und decken damit beinahe alle Epochen ab. Auch die Aufnahmedaten von 1952 bis 1986 überspannen eine weite Strecke und von Studio bis Livemitschnitt. Der wenige Text im Beiheft deutet dann noch an, dass Ricci mit seinem Eintreten für die Musik von Paganini ebenso wie Uraufführungen von unter anderem Konzerten von Flury, Ginastera, von Einem und Carlos Veerhoff bis in seine musikalische Gegenwart aktiv war. Dazu passt auch sein Bonmot, ein Spezialist wäre jemand, der alle Musik außer der einen nicht spielen könne. Als Lehrer hatte er anfangs Louis Persinger, der ihn an Fritz Kreisler empfehlen wollte, doch Ricci wählte Georg Kulenkampff und damit eine deutschen Stil, der sein Spiel mit prägte. Hört man sich seine Aufnahmen an, so finden sich sowohl Interpretationen, die heute nicht mehr als adäquat angesehen werden. Dazu gehören die zweite Solosonate und die Duosonate Nr. 3 BWV 1016 von Bach, die mit, nennen wir es freiem rhythmischem Antritt und deutlichem Vibrato auffallen. Wobei auch diese Denkensart nicht völlig aus dem Ruder läuft, wie man bei anderen auch schon wahrnehmen musste. Im Unterschied dazu aber erfährt die erste Solosonate von Bach, übrigens hier Riccis früheste Bacheinspielung, eine durchaus hörenswerte Deutung. Die erste Prokofiev-Sonate erklingt mit einem mit delikatester technischer Finesse gespielten ersten Satz und einem folgenden robusten Allegro brusco, wobei die Sonate alles in allem recht zurückgenommen erscheint. Die erste Sonate von Bloch dagegen wird mit aller Heftigkeit ausgekostet. Die beiden Beethoven- und die Brahms-Sonaten zeigen Ricci als die Linien der klassischen Epoche ausdrucksvoll und geschliffen darbietenden Musiker mit immer feurigem Spiel. Zündend und nochmal die unnachahmliche technische Brillanz auch des Pianisten, hier Ferenc Rados, herausstellend erklingt auch die Saint-Saëns-Sonate und die virtuose, farbintensive und auch noch geistreiche Tzigane. Das Nachbearbeiten der Aufnahmen, mit Belassen von Applaus bei Konzertaufnahmen, hat störende Geräusche minimiert, ohne der Atmosphäre zu schaden. Natürlich werden neben Le streghe in der Bearbeitung von Kreisler auch zehn der Capricen von Paganini geboten, so dass der Einsatz von Ricci für die Werke von Paganini seinen Anteil hat. Diese umfangreiche Sammlung spricht sicherlich in erster Linie Geigeninteressierte an. Aber dank der guten Aufbereitung, der Vielseitigkeit der Auswahl und der durchaus mehr als beachtenswerten Interpretationen insgesamt verdient sie darüber hinaus viele Freunde. [UK] Sometimes, the accompanying booklets contain remarkable, almost supernatural, information. For example, Pablo de Sarasate's Introduction and Tarantella is listed as having been composed in 1899, but the composer's dates of birth and death are simply placed in the Baroque era, namely 1690 to 1768 instead of 1844 to 1908. But the truly fascinating aspect is the overview of the chamber music playing of the protagonist, Ruggiero Ricci. He is accompanied by worthy pianists, such as Carlo Busotti, a virtuoso and teacher. The wide-ranging recordings span from the Baroque period with Veracini to Ernest Bloch, thus covering almost all eras. The recording dates, from 1952 to 1986, also cover a broad spectrum, ranging from studio recordings to live performances. The brief text in the booklet hints that Ricci remained active in the music world well into his own time, championing the music of Paganini and premiering concertos by composers such as Flury, Ginastera, von Einem, and Carlos Veerhoff. This aligns with his bon mot that a specialist is someone who can't play any music except that one. Initially, he studied under Louis Persinger, who intended to recommend him to Fritz Kreisler. However, Ricci chose Georg Kulenkampff, thus embracing a German style that significantly influenced his playing. Listening to his recordings, one finds interpretations that are no longer considered appropriate today. These include Bach's Second Solo Sonata and Duo Sonata No. 3, BWV 1016, which are characterized by a, shall we say, free rhythmic attack and pronounced vibrato. However, this approach doesn't completely go off the rails, as has been observed in other musicians as well. In contrast, Bach's first solo sonata, incidentally Ricci's earliest Bach recording, receives a truly worthwhile interpretation. The first Prokofiev sonata is performed with a first movement played with the most delicate technical finesse, followed by a robust Allegro brusco, though the sonata as a whole appears rather restrained. Bloch's first sonata, on the other hand, is savored with full force. The two Beethoven sonatas and the Brahms sonatas showcase Ricci as a musician who expressively and flawlessly conveys the lines of the Classical era with consistently fiery playing. The Saint-Saëns sonata and the virtuosic, richly colored, and also witty Tzigane are performed with great verve, further highlighting the inimitable technical brilliance of the pianist, Ferenc Rados. The performance is equally captivating, further emphasizing the inimitable technical brilliance of the pianist, Ferenc Rados. Post-processing of the recordings, including the inclusion of applause in concert recordings, has minimized distracting noises without compromising the atmosphere. Naturally, in addition to Kreisler's arrangement of Le streghe, ten of Paganini's Caprices are also featured, highlighting Ricci's dedication to Paganini's works. This comprehensive collection will undoubtedly appeal primarily to violin enthusiasts. However, thanks to its excellent production, the diverse selection, and the overall remarkable interpretations, it deserves a wider audience. [UK] |
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#32/2019 (UK) This is the second of three sets I am in the process of reviewing dedicated to the great violinist Ruggiero Ricci, who died at the age of 94 at his home in Palm Springs, California in August 2012. Rhine Classics timed the releases for 2018, hence their billing as The Centenary Edition. [...] Beethoven is represented by Sonatas 1 and 10, and the pianists are Carlo Bussotti and Ferenc Rados respectively. Each is a partnership of equals, and listening to these glowing accounts makes one regret that the artist never set down a complete cycle. Also with Bussotti, there’s a compelling performance of Bloch's turbulent First Sonata, alternating ritualistic rhythmic intensity with passages of serene surrender. [...] It's a treat to have the Saint-Saëns’ First Sonata, a wonderful work, not programmed enough in my view. [...] This fascinating set offers a veritable feast, covering a wide variety of repertoire. I immediately warmed to the sound quality and balance of all the recordings. All told this is a worthy centenary tribute. |
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#31/2019 (UK) Ricci, intrepid and daring, in the sort of music he excelled in. | If you're a Ruggiero Ricci fan, then the news is good. The Taiwan-based Rhine Classics has released three box-sets of live recitals and broadcasts featuring the violinist, who died in 2012 aged ninety-four. There's a 6-CD box of concerto performances, and two 4-CD sets of sonatas and showpieces. It's the latter I will turn my attention to in this review. [...] It was in the showpiece genre that I first became acquainted with the artist’s playing. The recitals in this new release span forty years, and derive from live concerts and studio recordings set down between 1946 and 1986. Much of the material is appearing on CD for the first time. [...] The recordings have been excellently restored and remastered by Emilio Pessina. All told this is a priceless collection and a valuable addition to the artist's discography. |
29 July 2019 | Stephen Greenbank | MusicWeb International | |
#30/2019 (UK) A superbly realised cycle from a romantic lion of the keyboard. | Over the course of four recitals during September 1987, Sergio Fiorentino performed Rachmaninov’s complete solo piano works. Broadcast live by Italian RAI, Radio 3, the master tapes were retained by Fiorentino, from whose collection they have now been made available in splendid-sounding restorations. They occupy six CDs and are housed in Rhine’s customary sturdy boxes. [...] This excellent package brings together a superbly realised cycle from a romantic lion of the keyboard. |
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#29/2019 (UK) Previous volumes of live material in the Pietro Scarpini edition were reviewed very favourably here. This volume of 12 CDs also includes his only commercial solo piano recordings. They last little more than half an hour in total, an almost incredibly meagre representation given Scarpini’s outstanding gifts. A look at the programme, which runs alphabetically from Albéniz to Villa-Lobos, might suggest standard fare. But Scarpini (1911-97) excelled in major contemporary works too, so alongside staples such as the Brahms B-flat major Concerto and Schubert’s Sonata D959 we find names that resonate and excite, such as Casella, Malipiero, Peragallo, Petrassi, and Sessions. [...] The commercial recordings finish disc 12 and the set. They were of Stravinsky and Bartók and were made in Milan in 1950 for Durium and issued first on 78s and then reissued on both 10” and 12” LPs. The 10” missed off one of the pieces. He plays the Sonata and Piano-Rag-music of Stravinsky with crisp drive, and the Bartók Dances in Bulgarian Rhythm and Sonata with the embryonic command he was soon to show in the Concertos. It’s good to have these examples restored in this way. [...] Whether radio broadcasts, transcriptions, original masters or LPs, the 24bit 96 kHz restorations by Emilio Pessina are as fine as one could wish. This box and its predecessors build up an increasingly irrefutable case for Scarpini’s greatness as an interpreter of a wide swathe of the repertoire. |
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#28/2019 (UK) A splendid and loving boxset. | Franco Gulli (1926-2001) is the latest violinist to be celebrated by Rhine Classics in an 11-CD box that does much to expand his discography in what are, in the main, live performances. [...] Some of the highpoints whether for repertorial or performance reasons include the Beethoven Violin Concerto, Paganini No.5 and Viotti No.22 and all come from the master tapes and have never before appeared commercially. [...] I enjoyed Paolo Pessina’s booklet note very much. Still, the track details are full and clear, and there are some lovely, intimate and evocative photographs of Gulli, one in colour, sourced from the family archives that serve only to enhance this splendid and loving box. |
25 June 2019 | Jonathan Woolf | MusicWeb International | |
#27/2019 (UK) [...] Here we have a selection of broadcast performances made in Lausanne, Paris, Milan and Spoleto between 1949 and 1963. The earliest derive from acetates, with the later Italian inscriptions sourced from original masters. Gitlis is partnered by several pianists, all of whom are sympathetic. Audience presence has been conveyed by the retention of applause, adding positively to the spontaneity and emotion of the live event. There’s the occasional announcement, too. All are making their debut on CD and constitute a valuable addition to the violinist's discography. [...] Gitlis’ technical arsenal is impressive, harmonics, double stops....you name it, it's all there. Sit back and enjoy Moszkowski's Guitarre (arr. by Sarasate), the Wieniawski's Capriccio-Valse, with some seductive glissandi, and a gripping Polonaise No.1. There are two performances of Bartók’s Sonata for Solo Violin, an airing from Paris in December 1951 with an abridged Presto finale, which sounds boxy and a later live recording from Spoleto in July 1963 in much better sound. On both occasions, Gitlis rises to the challenge of this complex work admirably, keeping a tight rein throughout. His playing generates white-heat intensity. This is thrilling edge-of-the-seat stuff. [...] Emilio Pessina has done a sterling job with the audio restoration and remastering, and his potted biography of the artist is warmly welcomed. Included in the booklet is an array of black and white photographs. |
17 June 2019 | Stephen Greenbank | MusicWeb International | |
#26/2019 (IT)
5 June 2019 | Luca Ciammarughi | Radio Classica, podcast TOP-TEN | Franco Gulli - ReDiscovered Top Ten è oggi dedicata a 10 ascolti da un fantastico box Rhine Classics che ci rivela l’arte del violinista Franco Gulli, fra i grandi del Novecento. Top Ten today is dedicated to 10 listenings from a fantastic Rhine Classics box that reveals the art of violinist Franco Gulli, one of the greatest figures of the 20th Century. [LC] |
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#25/2019 (FR) [...] Rachmaninov became his chosen composer over the years, the live recordings of the Rhapsody, the First (in the original version, its final is a madness) and Fourth Concertos, make cry the absence of the Second and Third. Fortunately RAI had asked him for the complete piano solo work, Fiorentino gave it in September 1987 during four nights of pure delirium happily captured. They have just been published, the last victory of a vengeful posterity on this existence which danced with panache over the precipices of oblivion. Rachmaninoff Complete Solo Piano Works Live, Rhine Classics RH-006 (6CD), CHOC◗ 'Live in Taiwan', Rhine Classics RH-009 (1CD), CHOC◗
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#24/2019 (ES) [...] Il recital prende il via con una prodigiosa versione del Preludio e Fuga in Re maggiore BWV 532 di Bach trascritto da Busoni ed elaborato da Fiorentino. [...] ci troviamo di fronte a chi, lungi dall’annoiarci con manie filologiche, usa il pianoforte come tale, e da musicista segnato profondamente dall’intera storia di questo strumento, trascende lo strumento proiettato com’è verso la ricerca di una perfezione formale e spirituale. [...] Possiamo dire che la 110 interpretata a Taipei rappresenta una straordinaria fusione di potenza emotiva e spiritualità. Il Maestro mostra con tocco magico, ricchezza timbrica sonorità sempre ben tornite con bassi mai ridondanti, un Beethoven che si eleva a altezze vertiginose. Un Beethoven attuale. [...] La versione della seconda Sonata di Rachmaninoff sorprende per la maggiore velocità rispetto a sue registrazioni precedenti e per un pathos poderoso. La seconda Sonata di Scriabin brilla di luce abbagliante. I quattro bis suggellano meravigliosamente un recital memorabile. Si deve anche all’eccellente lavoro di restauro e missaggio di Emilio Pessina il pregio di questo CD [...] [...] The recital begins with a prodigious version of Bach's Prelude and Fugue in D major, BWV 532, transcribed by Busoni and elaborated by Fiorentino. [...] we find ourselves before someone who, far from boring us with philological obsessions, uses the piano as such, and as a musician profoundly influenced by the entire history of this instrument, transcends the instrument, projected as it is toward the search for formal and spiritual perfection. [...] We can say that the 110 performed in Taipei represents an extraordinary fusion of emotional power and spirituality. The Maestro displays with a magical touch, rich timbre, always well-rounded sonorities with never redundant basses, a Beethoven who soars to dizzying heights. A Beethoven of the moment. [...] The version of Rachmaninoff's Second Sonata surprises with its greater speed compared to his previous recordings and with a powerful pathos. Scriabin's Second Sonata shines with dazzling light. The four encores wonderfully cap off a memorable recital. The merit of this CD is also due to Emilio Pessina's excellent restoration and mixing work. [GC] |
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#23/2019 (RO) [...] Paolo Pessina signs an all-encompassing presentation of Franco Gulli's artistic life and evolution, entitled The Renaissance of the Italian "Bel Canto" violin tradition, accompanied by numerous archive photos provided by the family and the Accademia Chigiana.[...] Citing him, you are a little surprised at the opinion that Gulli was not an intellectual, but just a musical intelligence. Remarkable and worth reading, to listen carefully to him, are his thoughts about Joseph Szigeti, whom he met in the 1960s, "after many years of concerts as a soloist and chamber musician, when we began a long study and a intimate musical relationship. [...] He has changed my whole attitude towards music, which is why I will always be grateful to him. " "He brought me into the modern era, not only as a repertoire, but also in terms of new musical standards. I consider Szigeti the most modern of our generation of violinists. It was a man who struggled to make music and not just music. Selfishness and what is sometimes called "cult of personality" have been strange to his musical interpretation. He is responsible for the inspiration and interpretation of a great number of new works. [...] I am convinced that under his guidance I have matured substantially." This collection made by Emilio Pessina now demonstrates his words and deserves to be heard. |
27 May 2019 | Victor Eskenasy | Suplimentul de Cultura No.646 | |
#22/2019 (FR) Sergio Fiorentino had, in a sense, given up his career, returning to his role as a professor at the Naples Conservatory, where he continued the teachings of his mentor Paolo Denza, offering his students nothing less than the secrets of Ferruccio Busoni. But he hadn't abandoned his art, giving scattered concerts in Italy, and occasionally in London. Gianni Cesarini dared to propose that he perform the complete solo piano works of Rachmaninov in four concerts—each a week apart during September 1987—and Fiorentino, after some deliberation, had the audacity to accept. This audacious recording has finally been released: pianistic virtuosity is combined with an incredible sense of color, a nobility of style, and an elegance that excludes all pathos. Could this be the finest complete recording ever made of Rachmaninov's piano legacy? The Etudes-Tableaux showcase Fiorentino's understated virtuosity; everything sings from that immense keyboard that elevates the polyphonies and soars the rhythms. Even the Preludes transcend their miniature form to become veritable universes, and the two Sonatas, played entirely with ten fingers, sound like piano symphonies. Yet, it is to the two books of Variations, the fantasy cycles, and the scattered pieces that I constantly return, so much do the poetry of the touch, the elegance of the phrasing, and the sheer evocative power of this high-school art transfigure them. The recording perfectly captures the magnificent wooden Steinway of the RAI Domenico Scarlatti Auditorium in Naples. Rhine Classics adds two substantial bonus tracks. The recording of the original version of the First Concerto, which documents the artistry of the young Fiorentino (it was recorded on September 27, 1958), is remarkable: one must hear how he illuminates the short intermezzo at the end of the Andante, sotto voce, and with what brilliance he carries the Allegro vivace to a fever pitch. Another marvel is the Rhapsody on a Theme of Paganini, recorded this time in the very year he left the Conservatory and returned to the stage, a work of exhilarating fantasy. Concerts resumed in 1991, taking the octogenarian pianist to Taiwan for what was to be one of his final appearances. The highlight of this concert, with its clear yet shadowy sound, is Opus 110, poised between prayer and exaltation, a truly unforgettable spiritual elevation from the moment one hears it. Scriabin's Second Sonata and Rachmaninoff's (still in its second version) further illustrate his Russian leanings, while he makes his keyboard roar just as powerfully in Busoni's spectacular transcription of Bach's Prelude and Fugue in D major, BWV 532, to which he adds his own embellishments. The encores are prodigious: a Moszkowski and a Mendelssohn from another era, and two Waltzes of breathtaking elegance, reminding us of the consummate artistry with which he always played his Chopin. A meticulously produced edition, splendid sound, abundant illustrations, remarkable critical apparatus—a magnificent work by a passionate publisher. I hope that other recordings illustrating the art of this piano giant, whom we never cease to rediscover, will follow. |
26 May 2019 | Jean-Charles Hoffelé | ARTAMAG' - Focus - Le disque du jour | |
#21/2019 (CA) What a glorious set you have produced - to have so many hours of incredible pianism so readily available is a dream come true! Bravo for your amazing work! |
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#20/2019 (CA) An absolutely stupendous production - glorious playing in magnificent sound... such a treasure! |
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#19/2019 (IT) In onda ora con questa pubblicazione rivelatoria [...] una produzione che meriterebbe tutti i premi possibili. Now on air with this revelatory release [...] a production that deserves all the possible prizes. [LC] |
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#18/2019 (UK) [...] The first broadcast comes from Lausanne in September 1949. He plays Hindemith’s Sonata No.3, Szymanowski’s La Fontaine D'Aréthuse and Bloch’s Nigun in typically febrile fashion, his tight, fast, vibrato vesting everything with a real sense of intensity and urgency. That Hindemith second movement therefore is quicksilver and full of youthful life – Gitlis was, after all, only 27 at the time – and the Szymanowski is fervid. [...] There are items from two 1953 recitals. Chausson’s Poème is a valuable addition in this communicative piano-accompanied reading with Odette Pigault and there’s a warm-blooded Achron Hebrew Melody very different from Josef Hassid’s famously passionate 78. [...] Gitlis is still happily with us at the time of writing, one of the last remaining real examples of individualism of both person and performing style. |
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#17/2019 (FR) Almost impossible to comprehend the achievement here. Over a number of days in 1988 Sergio Fiorentino sat down in front of the RAI microphones to record "live" before a public the complete solo piano music of Sergei Rachmaninoff. The master tapes have been found, beautifully remastered by Emilio Pessina and issued in a box set from Rhine Classics. The words "slack-jawed" or "bouche bée" pretty much sum up the feeling I have in. listening to these recordings. Fiorentino has everything it takes to be a great interpreter of Rachmaninoff: awesome technique, unvarying implacable pulse and thrust, beautiful tone, and a complete absence of sentimentality. Moreover such nobility. Fiorentino treats this like great music. In his hands it is. It's all here, folks, the early pieces, the complete preludes and études, the variations, and both sonatas. Critics will pick and gnaw at this and that detail, missing as they usually do the wood for the trees. That's what they consider their job! I will not play that senseless game. I will also not indulge in comparisons. I know them all but this one is truly for the ages. Imcomparable. |
8 May 2019 | Tom Deacon -former Universal Music Group Producer- (facebook page) | Sergio Fiorentino plays Rachmaninoff |
#16/2019 (USA) A sweeping 11 CD retrospective! [...] Having been impressed by Nathan Milstein as a youth, Gulli follows that master’s penchant for driving speed combined with a natural bel canto, aided in these by his 1716 Stradivari formerly owned by Franz von Vecsey. Gulli, incidentally, provides his own cadenzas to many concertos he plays, particularly appropriate in his Mozart “Turkish” Concerto [...] . The sense of stylistic comfort and ease of transition have been with us throughout some 11 hours of playing time on these timeless discs. Some musical assignments become a privilege to have reviewed, and this Gulli set from Rhine Classics is among them. That I will present goodly portions on “The Music Treasury” becomes a pre-determined fact. |
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#15/2019 (FR) Trois mois avant son décès, Sergio Fiorentino donna en Taïwan un récital dont la gravure a (enfin) été éditée en disque. C’est un document précieux, d’autant plus qu’il existe peu d’enregistrements studio de cet artiste. [...] L’interprétation de la Sonate pour piano n° 2 en sol dièse mineur op. 19 d’Alexandre Scriabine s’imprègne, à son tour, de poésie et de lumière, mais également d’une expressivité intense qui assure à cette lecture, malgré un certain resserrement des phrasés dans le Presto, une place près du sommet de la discographie. [...] Three months before his death, Sergio Fiorentino gave a recital in Taiwan, the recording of which has (finally) been released on disc. It is a precious document, especially since there are few studio recordings of this artist. [...] The interpretation of Alexander Scriabin's Piano Sonata No. 2 in G-sharp minor, Op. 19, is imbued, in turn, with poetry and light, but also with an intense expressiveness that secures this performance, despite a certain tightening of the phrasing in the Presto, a place near the top of the discography. [...] [MC] |
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#14/2019 (IT) Stasera “Il pianista” è dedicato a un’imperdibile pubblicazione dedicata a Sergio Fiorentino: un recital che l’immenso pianista napoletano tenne a Taipei nel maggio 1998. Ritorna alla luce grazie all’etichetta Rhine Classics, impegnata nella “Sergio Fiorentino Edition”. Tonight "The Pianist" is dedicated to an unmissable publication dedicated to Sergio Fiorentino: a recital that the immense Neapolitan pianist held in Taipei in May 1998. Returns to light thanks to the label Rhine Classics, engaged in the "Sergio Fiorentino Edition". [LC] |
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#13/2019 (IT)
4☆☆☆☆ | April 2019 | Piero Rattalino | MUSICA magazine No.305 (pg.58-63) | Scarpini e il mito dell'oggettività PIANO: Rhine Classics brings to light a pianist who is now forgotten, but who devoted much of his life to the repertoire of his time. - Scarpini and the myth of objectivity. [PR]
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#12/2019 (UK) Having recently reviewed a 2-CD set of Pietro Scarpini playing Mozart on the Rhine Classics' label, I'm pleased to have the opportunity to do the same for this more ambitious 6-CD set of the pianist's Busoni and Liszt recordings. Once again the recordings derive from 'discovered tapes' and constitute another fascinating volume in their Pietro Scarpini Edition. [...] There are a number of versions of the Fantasia Contrappuntistica, Scarpini opts for the two-piano version and takes both parts, overdubbing them himself in his home studio in 1974. They sound excellent. [...] Scarpini's late Liszt performances offer a wealth of insights. He instils a sense of foreboding in Nuages gris, Unstern! and La lugubre gondola II, whilst En rêve: Nocturne, in his hands, is not only evocative and dream-like but has a bittersweet quality. [...] As an added bonus we have Scarpini's first known recording from 1938, a transcription by Busoni of Liszt’s “Grandes études de Paganini”, No.2 . It's a perfect showcase for the pianist’s scintillating virtuosity. The source is a private 78rpm disc, which has been carefully restored. This set will appeal especially to aficionado’s of great pianism and will be of added value in enhancing Scarpini’s scant discography. The CDs are complemented with a beautifully illustrated booklet. Rhine Classics have carefully restored and remastered these valuable aural documents in 24bit 96KHz sound. This set will appeal especially to aficionado’s of great pianism and will be of added value in enhancing Scarpini’s scant discography. |
1 April 2019 | Stephen Greenbank | MusicWeb International | |
#11/2019 (UK) Rob Cowan welcomes a historic label that has unearted some remarkable treasures. [...] Aldo Ferraresi has a pleasingly seductive sound, its expressive manner an approximate cross between Merckel and Enescu [...] revelatory in the violin concertos by Elgar and Walton. [...] Any conoisseur of the instrument simply has to hear Aldo Ferraresi, and I cannot recommend this set highly enough. | Wanda Luzzato playing most reminded me, in its intellectual rigour and seductive warmth, of Adolf Busch [...] persuasive playing in a unique context. Magical is the word. | Then there is Alfonso Mosesti, the gifted Concertmaster of RAI orchestras, [...] a fine soloist too, another violinist that reminds me of Busch. | Piano-wise Rhine Classics has given us a stimulating six-CD set of Pietro Scarpini playing Busoni and Liszt [...] all played with intelligence and the odd tell-tale flashback to old-world performing gestures. | A double-pack of Scarpini playing Mozart [...] in its finely crafted classicism reminded me of Robert Casadesus. | And lastly Sergio Fiorentino 'Live in Taiwan 1998', grandeur personified [...] raises a storm with the Second Sonatas of Scriabin and Rachmaninov. | So here's to the next Rhine Classics releases, including more Fiorentino and a big box of recordings by the violinist Franco Gulli. I'll be filling you in as soon as they arrive.
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#10/2019 (IT) [...] un grande musicista, capace di evocare atmosfere timbriche antiche e lontane, in un Preludio bachiano dal suono sontuoso e solenne come si faceva ai primi del Novecento, nel fraseggio incantevole con cui viene tratteggiato il tema dell’Arioso dolente nell’Adagio ma non troppo dell’Op.110, oppure nel molle ondeggiare del secondo movimento della Sonata Op.36 di Rachmaninov. [...] [...] a great musician, capable of evoking ancient and distant timbral atmospheres, in a Bach Prelude with a sumptuous and solemn sound as was done in the early twentieth century, in the enchanting phrasing with which the theme of the Arioso dolente is outlined in the Adagio ma non troppo of Op. 110, or in the soft undulation of the second movement of Rachmaninov's Sonata Op. 36. [...] [LS] |
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#9/2019 (UK) Despite his distinguished pianistic achievements, Pietro Scarpini's star never shone as brightly as those of others. He could be accused of hiding his light under a bushel. Why? He shunned commercial recordings but, thankfully, meticulously collected tapes and home recordings of his concerts and radio broadcasts. It’s these that Rhine Classics have carefully restored and remastered in 24bit 96KHz sound. I have to say that, for their age and provenance, the results are impressive. This collection of Mozart performances is just one of several sets which make up the label's Pietro Scarpini Edition. [...] The beautifully produced booklet presents an array of fascinating photos of the pianist. |
19 March 2019 | Stephen Greenbank | MusicWeb International | |
#8/2019 (UK) [...] his playing is equal to the music’s demands, as he draws out the most powerful sonorities from his Steinway, the Fuga emerging in an arc of overpowering splendour. [...] Irrespective of the essentially standard nature of this recital the performances are untouched by routine. Beethoven’s Op.110 sonata is powerfully declaimed, the chording strong, the expressive temperature cumulatively moving after the Fuga has done its work. [...] this recital preserves Fiorentino’s wonderful tone across its range. With fine audio restoration from Emilio Pessina and a good booklet note this release also makes an immediate appeal to the senses. The vitality and intensity of the performances exceed those to be heard in the Piano Classics series dedicated to the pianist; superb though these are, they remain, largely, radio broadcasts. Here Fiorentino is a tiger on the loose. |
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#7/2019 (USA) This restored recital from Taiwan’s Novel Hall captures the Fiorentino at the peak of his form in splendid sound. |
#6/2019 (UK)
 8 February 2019 | Jonathan Woolf | MusicWeb International | Ruggiero Ricci Centenary Edition -3- sonatas [...] this is a good example of Ricci’s sonata art, and perhaps even better is his Prokofiev [No.1], which he never did for a record label. There’s real resinous brusco drive here and the performance is also lyrically aware, and never devitalised by complacent phrasing. [...] The peach here is the Saint-Saëns Sonata No.1 because he never otherwise recorded it. It’s not at all Gallic, so forget the shades of Thibaud or Merckel and enjoy instead a combustible and lively reading. Ravel’s Tzigane is powerfully projected. [...] Heard in 24bit 96kHz mastering, this whole series is dedicated to and realized under the auspices of Ricci’s wife Julia and the tapes have been excellently restored by Emilio Pessina. Full track listings can be found in the most attractively produced booklet, which has a fine selection of images of Ricci.
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#5/2019 (UK)
 6 February 2019 | Jonathan Woolf | MusicWeb International | Ruggiero Ricci Centenary Edition -2- showpieces
Rhine Classics is back in business with a tranche of new releases of which the majority concentrate on the explosive art of Ruggiero Ricci. There are two 4-CD sets devoted to showpieces and to sonatas and a 6-CD set to concertos. [...] The final recital comes from November 1986, in the Teatro Comunale, Monfalcone. It was recorded by Emilio Pessina in situ on tape with Ricci’s permission. This consists of one of Ricci’s great set-pieces, a complete recital of Paganini’s Caprices in an ordering of his devising. [...] This lovingly compiled release has been very well engineered, from disparate source material, and features an attractive, photograph-laden booklet. The 24bit 96 kHz remastering sounds excellent. This is a boon for Ricci collectors.
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#4/2019 (UK) Sporting six CDs this is the largest of the three sets celebrating the centenary of the birth of Ruggiero Ricci. The recordings preserve tuning up and applause and have been remastered in 24bit 96kHz to provide over seven hours of listening charting the violinist between the years 1951 and 1978. Most of the concerto performances are captured live whilst some others are heard in studio readings. Two concertos are heard in duplicate performances; the Brahms and Paganini’s D major, No.1.[...] All three boxes have attractive booklets with full recording details and attractively reproduced photographs. Emilio Pessina’s mastering is first class once again. These three sets, available separately, are a worthy and significant addition to Ricci’s discography. |
31 January 2019 | Jonathan Woolf | MusicWeb International | |
#3/2019 (IT) Ora in onda. Grazie al produttore Emilio Pessina per il restauro e l’editing di questi preziosi documenti! Al “Pianista” oggi ci dedichiamo a un grande interprete storico, Pietro Scarpini, finalmente pienamente valorizzato grazie alla riscoperta e il restauro di sue interpretazioni da parte dell’etichetta Rhine Classics. Now on air. Thanks to the producer Emilio Pessina for the restoration and editing of these precious documents! At "The Pianist" today we dedicate ourselves to a great historical interpreter, Pietro Scarpini, finally fully appreciated thanks to the rediscovery and restoration of his interpretations by the label Rhine Classics. [LC] |
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#2/2019 (RO) 14 January 2019 | Victor Eskenasy | Suplimentul de Cultura No.629 | Revelations at the beginning of the year - Pietro Scarpini Edition: (Re) Discoveries In a volume of memoirs that was also translated in Romania, but in an edition with a limited circulation, Romanian-Italian composer Roman Vlad evokes the figure of a great and original italian pianist, known mostly by professionals and music lovers from the piano world. He is Pietro Scarpini (Rome, 1911 - Florence, 1997). If I talk about him, it is because of the appearance at the end of last year of an excellent edition of his recordings, two sets of eight (6+2) CDs under the aegis of Rhine Classics (RH-007 and RH-014), remastered and presented by a good friend of ours, Emilio Pessina. |
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#1/2019 (CAN) 1 January 2019 | Mark Ainley | THE PIANO FILES | Favourite releases of 2018 | Pietro Scarpini Edition: Busoni & Liszt - Mozart A wonderful end-of-year release from Rhine Classics includes two fantastic sets devoted to the Italian pianist Pietro Scarpini. A wonderful pianist not well represented on records, Scarpini was an elusive figure who played with marvellous tonal colours and disarming directness. One six-disc set focuses on works by Busoni & Liszt (including a stupendous Busoni Piano Concerto in glorious sound) while another two-disc set features his Mozart: glowing, sumptuous, forthright playing of two piano concertos and some solo works. |
