ALBENIZ, LINCETTO: PIANO SOLO

ALBENIZ, LINCETTO: PIANO SOLO (CVLD256)

HD REMASTERED FROM ORIGINAL ANALOG TAPE

ISAAC ALBENIZ
Recuerdos de viaje
01 - En el mar, 5:52
02 - Leyenda, Barcarole, 4:34
03 - Alborada, 4:53
04 - En la Alhambra, 3:53
05 - Puerta de tierra, 3:38
06 - Rumores de la Caleta, 3:25
07 - En la playa, 5:17
ADRIANO LINCETTO
Schizzi per pianoforte (1989)
08 - Preludio, Lento espressivo, 2:17
09 - Notturno, Andante sereno, 2:28
10 - Lento espressivo, 3:49
11 - Allegramente scanzonato, 1:02
Tot. Time: 41:12

The recording was made using the 1/4” two tracks master Teac 2-B RTR, at 38 cm/sec. on August 1997 at Taio Public Auditorium, sheltered between the refined and snug silences of the Trento’s Alps. HD digital remastering by Marco Lincetto was made at Velut Luna Studio, in Casalserugo, on June 11, 2014, using Velut Luna Analog Console and stereo Ad converter Prism Sound Ad-2 Dream set at 24bit/88.2kHz

Production: Velut Luna
Executive Producer: Marco Lincetto
Musical producers: Marco Lincetto
Recording, mix and mastering engineer: Marco Lincetto
Photos: Marco Lincetto
Design and layout: L’Image
Sales manager: Patrizia Pagiaro

Isaac Albeniz
Excellent Catalan pianist, Isaac Albeniz had a rather lively life. After he studied piano with Marmontel at the Paris Conservatory and with Mendizabal at the Madrid Conservatory, he escaped from home to undertake the concert career as he was still very young. Travelling a lot of countries such as South America, the United States, England and Germany, he could experiment with the most various experiences. Finally, in 1878, he could crown his dream of becoming a pupil of Liszt, and therefore he followed him in Rome and in Budapest. From the moment he met the famous virtuous and composer, Albeniz became highly interested in composition; the first compositions clearly biased from the lisztian poetics belong to these years. In the decade between 1880 and 1892 he devoted himself to teaching, maintaining at the same time the concert activity and also enlarging his recital repertoire with his own compositions. In 1892 he was in London, where he could benefit by the financial supports of the patron-banker Francis-Money Couts. He settled in Paris since 1893 and there, in the full maturity, his composer talent finally succeeded to express (Iberia, his probably best known and important composition, date back to this period). The friendship and the closeness with the best characters of the French musical world of the time, evidently exerted a powerful influence on Albeniz: Faurè, Debussy, Dukas, Chausson. Unfortunately, a large amount of his work is gone lost. Yet a lot of compositions - principally composed for his instrument, the piano - remain still unpublished or unacknowledged. Curiously, in popular imaginary the name of Albeniz is often joined to the guitar; this is due to his Spanish origin, but, above all, to a lucky set of his pieces transcriptions for the six strings instrument, made by celebrated guitarists. The set of compositions proposed in the present CD is, according to the writer’s opinion, particularly significant and exemplifying of the Albeniz poetics. The evocative and strongly descriptive tones allow a significant unveiling of the author’s many life experiences.

Adriano Lincetto
Maestro Adriano Lincetto - the title is not underlined by chance, as we will see forward - was born in Padua on October 7, 1936, and there he died in tragic circumstances on April 24, 1996. During these sixty years, he matured a great experience in music, which, since his earliest infancy was in absolute his principal life-fellow. Notwithstanding his humble origin, his iron will (he worked by day as messenger to pay himself the piano lessons) and his real natural talent allowed him to graduate brilliantly in only seven years with full marks and honours at the Conservatory of music of Padua under the leadership of Maestro Silvio Omizzolo. His reserved and intimately modest character didn’t let him develop the concert career that in the Sixties his talent could have offered him: in fact, in spite of successful tournées as solo and in chamber formations as well - performed not only in Italy but mainly in Switzerland and in France (let us mention some cheered radio recordings for ORTF, for the French National Radio, and for the Swiss Radio) - in the middle Seventies he retired from the scenes to devote himself to teaching and composition. His collaborations with some celebrated opera singer open another - and somehow unsolved - important chapter: we mention above all Lucìa Valentini Terrani, that he discovered and ranged to the world-wide success that everybody knows, and the baritone Antonìo Salvadori. Once more, in 1972, his excessive modesty and perhaps his excessive attachment to his roots induced him to renounce to the role of substitute director and singer trainer that he was offerered by the new managers of the prestigious Metropolitan Theatre of New York, which was at that time in a phase of administrative re-organisation after a crisis period: it is curious to recall how it happened that, after his refusal, a young American talent, James Levine, was chosen, with the outcomes that everybody knows. For the great love he had for music, in his more intimate and familiar meaning, he parted his life in two main activities: the public one, the teaching (he has been piano professor at “his” Padua Conservatory since 1966 till his death) and the other one, intimately private, the composition. Lincetto wrote mostly for himself, and more often for his musician friends, certainly not for popular acclaim, money and rich premiums. This modus operandi, mirror of his real and pure artistic nature, allowed him to “... getting out of the parody of the so called artistic world - at his turn a grotesque and lethal parody of what is generally understood for world – without caring any suggestion, imposition and criterion that came from that parody of art. His rescue, and that of whoever listens to his music, is in the balance in which he has lived and composed, beyond old and new things…”, as famous philosopher and Rumenian musicologist Radu Lidjienko wrote about him some time ago. Adriano Lincetto really wrote a lot music for orchestra, soloists, choir, the most different musical assembles and for various instruments such as the mandolin and the “Alps horn”; on the contrary, he scarcely wrote for piano solo. Besides the composition on this recording, we mention also “I Momenti Musicali” and some other minor composition powerfully conditioned by the chopínìan poetics, composed in youth and wholly dedicated to the wife, at that time his fiancée.

Alberto Boischío
Alberto Boischio is an old, but young pianist. He has dedicated all his life until today to the piano, without forgetting his family, his wife and, since one year, his little son Matthew. Yet the piano represents his entire life and we do hope that it will keep on being like that, for the unconditioned opinion we have in his talent: beyond of every useless chronicler list of premiums, titles and whatever more today the “intelligentsia”, the aristocracy of the music-world seems to request to give the licence of great performers.