Complete piano works volume 4 (2003)

Rossini

Paolo Giacometti

‘Quelques riens pour album’, ‘An album of trifles’, is the enigmatictitle which Rossini gave to this colorful collection of 24short pieces, the first 18 of which you can hear on this recording.The title is characteristic for his personality, euphemisticand full of self-mockery. Here once again is the older Rossini,who spent his final years in Paris, producing an abundance ofsmall-scale, highly personal character pieces which he jokingly called ‘Péchés deVieillesse’, or ‘Sins of Old Age’. The album already occupies a special place within thisconsiderable body of works, not least because it contains 24 pieces, a number whichevokes Chopin’s 24 preludes, which Rossini surely knew, not to mention Bach’s‘Wohltemperierte Klavier’. Rossini, moreover, was also a great admirer of Bach’s music,as witnessed among other things by his support for the then recently initiated publicationof Bach’s complete works by the Leipzig Bachgesellschaft.It would be easy to assume that Rossini had initially intended to make use of all 24 keys;but he must have abandoned this project at some point, because the collection containsseveral pieces in the same key. Nevertheless the relationships between the pieces arestronger here than in his other albums, and the pieces themselves are frequently smallerin scale. Even more strikingly, most of them do not have individual titles, making themless independent of each other.

There are a couple of exceptions: for example, no. 12 (Danse Sibérienne) is a wildSiberian dance, no. 15 (Petite Galette Allemande) is a tasty German cake, and there is awhole story behind no. 16 (Douces Réminiscences, offertes à mon ami Carafa pour lenouvel an 1866, .….Oh fricaine!!!). At the very moment of the extremely successful premiereof Meyerbeer’s ‘l’Africaine’, Rossini’s good friend Carafa made a desperaterequest for funds. Rossini told him to come back the next day and gave him this piece totake to the publisher in exchange for payment. Probably he thought that the punning title would immediately awaken the publisher’s association with the wildly successful opera,so that the publisher would immediately and unquestioningly give Carafa the money, notrealizing that the piece had nothing at all to do with the opera.

The ploy was successful,and Carafa was rescued, if only temporarily.The incident speaks clearly of the irony that Rossini threads through these pieces, ironyaimed sometimes at the audience, sometimes at himself; surely it is aimed at the pianistas well, for his technique is put to the test, sometimes to an absurd degree.A good example is the last piece. After a charming introduction, Rossini subjects thepianist to a test of endurance with endless quantities of rapidly repeated chords in theleft hand. I can imagine one of Rossini’s famous parties, with the composer havingdecided to tease some poor pianist after dinner in order to see if he can really play aswell as everyone says he can. The smile on his face would probably have been evenbroader at that moment if he had known that this challenge would still be taken seriouslya century and a half later.

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Paolo Giacometti

Paolo Giacometti performs all over the world as a soloist and as a chamber musician, both on period and on modern instruments. He was born in Milan, Italy in 1970, but has been living in the Netherlands from his early childhood. He studied with Jan Wijn at the Sweelinck Conservatorium Amsterdam, where he graduated with the highest distinction. Also Gyorgy Sebök was an important source of inspiration and had a significant influence on his musical education. Paolo Giacometti has won many prizes at both national and international competitions. He has played with renowned orchestras under distinguished conductors such as Frans Brüggen, Kenneth Montgomery, Laurent Petitgirard, Michael Tilkin and Jaap van Zweden. Apart from his activities as a soloist, Paolo Giacometti’s love for chamber music has resulted in a successful co-operation with leading musicians such as Pieter Wispelwey, Gordon Nikolich, Alois Brandhofer, Janine Jansen, Bart Schneemann and Viktoria Mullova. Paolo Giacometti is a much sought-after musician at chamber music festivals in Europe, Canada and the United States. He has performed in concert halls all over the world including the Concertgebouw (Amsterdam), Teatro Colon (Buenos Aires), Wigmore Hall (London), Théâtre du Châtelet (Paris) and Seoul Arts Centre (South Korea). Paolo Giacometti records exclusively for Channel Classics. His impressive discography has been widely acclaimed by the international press. His recordings include Rossini’s complete piano works, a remarkable project that started in 1998 and was completed in 2007. In Rossini’s homeland critics say: "... Rossini has finally found his pianist ...". For the third recording of this series Giacometti was distinguished with the Edison Classical Music Award 2001. His recording of Schumann’s Humoreske, Fantasiestücke and Toccata has received the BBC Music Magazine’s Benchmark and Performance of Outstanding Quality distinctions. His recording of the Dvorák and Schumann piano concertos have been acclaimed by Gramophone as "... one of the best concerto disks I have heard in a long while ...".  Among Paolo Giacometti’s chamber music recordings, a recording with works by Schubert with cellist Pieter Wispelwey has received the Choc du Monde de la Musique and Luister 10 awards, while another recording with works by Chopin, Fauré and Poulenc, also with Pieter Wispelwey, has been awarded the Diapason d’or.  Paolo Giacometti is also a dedicated piano professor at the Robert Schumann Musikhochschule Düsseldorf.

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Complete piano works volume 4 (2003)

Rossini

Paolo Giacometti

    NRC

Giacometti volgt Rossinis grillen op de voet. Klassieke Zaken (..) het vierde deel van het complete pianowerk van Rossini, dat hij op briljante wijze speelt

    Luister

Paolo maakt een waar feest van deze kleurrijke serie meesterstukjes dan weer ironisch, dan weer uitbundig, ingehouden een verrukkelijk album. Pianowereld (Giacometti maakt met zijn pikante articulatie en subtiele rubato iets prachtigs .

    Volkskrant

op zijn kopie-Erard vleugel (1837) beweegt hij zich met fluwelen hand tussen de uitersten van Scumann-achtige lyriek en salonmuziek.

    Tijdschrift Oude Muziek

Paolo Giacometti treft de uiterst delicate sfeer in elk stuk volledig met een weldadige virtuositeit en quasi nonchalence op het juiste moment. Hij weet als geen ander hoe verstoring van dat evenwicht het integere betoog, dat deze stukken naast alle knipogen wel degelijk hun spanning verleent, om zeep zou brengen. Noblesse komt verder vooral van de Eard uit 1837, met een licht gevoileerde toon en de vreugde waarmee Giacometti de kleurenpracht ervan benut.

    Sydney Morning Herald

The real appeal is Giacomettis playing, which seems exactly in tune with the composers intensions. Great recorded sound. Recommended!!

    Americal Record Guide

Rossini referred to these as "sins of his old age." Paolo Giacometti brings out their winking wit and youthful playfulness. Paolo has the right touch, balance, and sense of humor to perform these

Complete piano works volume 4 (2003)

Rossini

Paolo Giacometti

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18003: Complete piano works volume 4
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1.
Allegretto
Rossini
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Allegretto moderato
Rossini
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3.
Allegretto moderato
Rossini
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Andante sostenuto
Rossini
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Allegretto moderato
Rossini
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Andante maestoso
Rossini
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Andantino mosso
Rossini
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Andantino sostenuto
Rossini
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Allegretto moderato
Rossini
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Andantino mosso
Rossini
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11.
Andantino mosso
Rossini
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12.
Allegretto moderato (Danse Sibérienne)
Rossini
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Allegretto brillante
Rossini
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Allegro vivace
Rossini
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Petite Galette Allemande, allegro brillante
Rossini
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16.
Douces réminiscenses, andantino
Rossini
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Andantino mosso quasi allegretto
Rossini
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18.
Andantino mosso
Rossini
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