PRESS REVIEWS 2003
... This is the third "portrait" that VideoRadio dedicates to Andrea Bacchetti.
He does it with live recordings: three snapshots that give the CD a lively and extemporaneous
tone, now nuanced like that of a Monet painting, now sharp like that of much informal art.
The comparison is not free. Because Bacchetti is a very sensitive interpreter, capable of
reshaping music in the moment: now suspending the Sonatas Mozart's K330 and K570,
now throwing or pouring the timbres on the canvases of Berio's 6 Encores. ...
Videoradio / 000456 / Distribution: Fenice Diffusione Musicale / 2000, 2001 / DDD / Live
Booklet: good / italian
artistic judgement:
technical judgement:
Videoradio / 000456 / Distribution: Fenice Diffusione Musicale / 2000, 2001 / DDD / Live
Booklet: good / italian
artistic judgement:
technical judgement:Compact Choises
AMADEUS - January 2003, Massimo Rolando Zegna
FULL ARTICLE (italian)
... One among the most interesting and asserted performers of the new
generations, Andrea Bacchetti proposed an approach between Bach's 5th English - and
French Suite and some short pages by Chopin ... The vision of Bach's universe seemed
totally played on an accurate calibration of the structural tensions and extentions,
through a plastic and living phrasing, which followed the slightest folding of the
spirit itself. The passages were then - as in the English Suite BWV 810 - from the
brush-carved sharp articulation of the Courante, to the clear closeness of the Sarabande,
inner meditation which the use of the pedal made more and more ascetic, eventually
concluded by the brilliant virtuosism of the Gigue. A completely different dimension
occurred in the French Suite BWV 816, which calm and soothing atmospheres took life
through the vitality of the poliphonical lines, built in a constant and reciprocal
sinergy and projected towards the climax of the final Giga, where the sound actually
got the power of a radial expansion.
The same phrasing mobility - together with an overaccurate attention to the sound stratification - were audible even in the Chopin's pages, pure music arabesques, vibrating with levity and visionary timbric intuitions. A gorgeous success and a noticeable Bachian encore.
The same phrasing mobility - together with an overaccurate attention to the sound stratification - were audible even in the Chopin's pages, pure music arabesques, vibrating with levity and visionary timbric intuitions. A gorgeous success and a noticeable Bachian encore.
The pianist Andrea Bacchetti plays in Hotel Bauer's lounge
Il Gazzettino - January 3rd, 2003 (L.M.)
Andrea Bacchetti christened the new cycle organised by the Friends of
Music ... Debussy was the highlight of the second half of the program, whilst the first
one has been dedicated to Bach ... The flavour of the sharp contrasts between the scores
of the two Bach's Suites seemed to find a counterpoint in Filippo del Corno's "Un
luogo quieto" (in its first execution ever in Palermo), sharp as well in the
definition of the contrasting sounds. Bacchetti's rationality, shown with accuracy and
neatness during Debussy's scores choice, with a careful pedal usage in "Pour le
cinq doigts", revealed the pianist's predilections, involved with authentic elan
and estimable security as well as with sharpness of contrasts.
Bacchetti: "elan" and rationality
Giornale di Sicilia, Palermo - January 29th, 2003 (Sara Patera)
To give back to the Bachian writing new shapes and colors. The Suites
are actually considered as a collection of dance musics, that's right, but they've lost
the memory of the times and the events which generated them, together with the sound
atmosphere which collected them. It's really as if the ancient dance rythms could throw
themselves in our time, thanks to a extremely refined timbrical research and to a sound
weight which grows more and more perceivable, but also to a complete deletion of the
original context ... The Suites become then a living - and in the same time an intimate
world, eventually resembling to an interior monologue, in which the echoes of the
different voices of a single personality still riverberate, whilst present and past melt
themselves in the same memory's dust. And it's, again, as if Bach suddenly took off his
powdered wig, letting his brown hair transform him in a younger and most human being.
As a matter of fact, it's not accidental that, after eighty wonderful and gleaming minutes
of Bachian music, absolutely out of the programme, the young pianist?s fingers are able
to find again on the keyboard the mellow and lingering notes of a well renowned Gershwin's
song, which succeeds in gathering more enthusiasm from the audience, as well as an utmost
long applause which explains far better than any other comment the intimate relation
existing and growing between he who plays and those who listen.
Bach our contemporary
Il Resto del Carlino, February 12th, 2003 (Sergio Garbato)
... The English and French Suites by J.S. Bach ... a whole universe
always waiting to be further discovered and in which Bacchetti dares to enter with
religious accuracy, freedom and courage ... The approach is exquisitely pianistic,
thanks to the dynamical choices, soft and vanishing, extremely controled but in the
same time with a richful texture, and thanks to the phrasing which doesn't refuse the
typical features of the instrument (legatos and staccatos actually played on an
expressive key). What comes out is a high and profound reading, of a enormous tymbrical
dignity, of an almost out-of-time stylistical purity ...
Bach's style lives back on the piano - English and French Suites performed by Bacchetti
Il Giornale di Vicenza, February 14th, 2003 (Cesare Galla)
... Solid, granite-like, unrelenting during the Intermezzi, but peculiar,
unconventional and brilliant in the Variations, the great pianist managed to enter the
linguistical maze of the Romantic Apostles, sustained by a profound cultural view;
everything is perfectly balanced, the proportions are fulfilling completely the romantic
style dictates. Full and complete sound in all the dynamic range, malleable in the definition
of the instrumental colors, stregthened by a solid rythmic enriched by well-balanced agogic
variations, Bacchetti lives actually in a symbiotical way with his instruments, from which
he obtains the maximum performance with the minimum effort; his interpretation is performed
with his whole body, above which he sets his will.
Karajan's most preferred pupil performs this evening at Lessona's lyceum
La Nuova Provincia di Biella, February 22nd, 2003 (Elena Giachero)
... The ultimate Masterwork, the 4th Concert, was committed to Andrea
Bacchetti, extremely dedicated to draw the poetic atmosphere of the piano and in the same
time to enhance the delicate, secluded efficacy of an intimate dialogue with the Orchestra,
made up by tiny and mesmerising details ... towards the joyous and sweeping final Rondo'
Vivace, which celebrates a piano Art in which the plain lyricism is put apart by an
extraordinarily energetic Bravura. A very musical performance, obviously well-analyzed and
fully deserving the convinced applauses which cheered it.
Planet Beethoven between passion and poetry - Success for the Concerts at the Fiera
Il Giornale di Vicenza, April 11th, 2003 (Cesare Galla)
... Con un sonido limpio y transparente, un mecanismo virtuosista pero
desnudo de vanidad, un criterio personal y al mismo tiempo riguroso, Bacchetti deja
asomar su sensibilidad musical poco amiga de excesos. Así sus suites de Bach (la francesa
en sol mayor o la inglesa en mi menor) entendidas con sobriedad estilística pero
enteramente desde el piano, llenaron la primera parte del programa y valieron al pianista
genovés muy largos aplausos.
Los hubo, muy justamente, para los Encores del fallecido Luciano Berio, siempre capaz de soluciones originales. No de otra manera creó su inmensa y perfecta obra Mozart, que nos llegó en una preciosa versión de la Sonata en do mayor, y otra, más íntensa por la demanda de los pentagramas, de la Fantasía en re menor. Para final, una de las más hermosas sonatas de Prokofiev, la número 4 en do menor, (D'aprés des vieux cahiers), estrenada por el mismo compositor en Petrograd. Bacchetti desentrañó toda la complejidad de su contenido. Las ovaciones se multiplicaron y dieron lugar a un par de propinas.
Los hubo, muy justamente, para los Encores del fallecido Luciano Berio, siempre capaz de soluciones originales. No de otra manera creó su inmensa y perfecta obra Mozart, que nos llegó en una preciosa versión de la Sonata en do mayor, y otra, más íntensa por la demanda de los pentagramas, de la Fantasía en re menor. Para final, una de las más hermosas sonatas de Prokofiev, la número 4 en do menor, (D'aprés des vieux cahiers), estrenada por el mismo compositor en Petrograd. Bacchetti desentrañó toda la complejidad de su contenido. Las ovaciones se multiplicaron y dieron lugar a un par de propinas.
Categoriá totalizadora - Ciclo de jóvenes intérpretes
El Pais, Madrid - June 26th, 2003 (Enrique Franco)
... This afterthoughts disappear as soon as the twenty-six-years old
Andrea Bacchetti plays the first chords. Bach's 4th English Suite sounds very concentrate,
majestic, with convincing, measured variations - no "historical" Bach, but
an enthralling one. Bacchetti is very keen on reciprocal relationships when he plays
Schumann's Intermezzi Op. 4 ? the first score of this musician which was inspired by
Jean Paul's novels and Bach's counterpoint. You can argue about Bacchetti's single
Tempos, but not on the fact that he provides the audience with a well-thought and
sensible performance, technically flawless, of this Schumann unforgivably neglected
by other pianists. Bacchetti performs thereafter some Scriabin's Preludes and Studies
in an astonishing calm and quiet way. The fact that he prefers to play four early
scores by Scriabin's son, Julian (who died, drowning, when he was eleven-years old),
allows us to throw a glimpse towards an impromptu relationship between father and son.
Prokoviev's 4th Sonata represents the spellbinding ending of the Husumer Raritaten
2003. The pianist manages to develop his constructions and his colours in a structured
and sensible way, able to transform even which appears weak and almost air-thin in a
bright and glowing steady presence. We will surely hear about Bacchetti in the future.
Let's hope here in Husum as well.
Piano-Excursus and pianist's nature
Kieler News, Husum - August 26th, 2003 (Michael Struck)
... It has to be pointed out the debut at this Festival - which celebrated
this year its 40th Anniversary - of the young Genoese pianist Andrea Bacchetti, with a
recital which recorded an even and well-deserved personal success ...
Cervo's Festival: forty years of tradition and debuts
Il Secolo XIX, Genoa - August 27th, 2003 (Edwin W. Rosasco)
El del Concierto para piano y orquesta n. 2 de Agustín González Acilu
(Alsasua, 1929), es juicio por completo favorable y positivo ... Luego, y como logro
todavía más sustancial, el Concierto de piano de Acilu representa el salto definitivo
entre sus dos concepciones capitales y sucesivas de entender y exponer con racionalidad
el discurso musical. Si, como el propio autor explica, en su etapa anterior - con ejemplo
claro en su Primer Concierto de piano de 1977 - apoyaba la búsqueda de aquella racionalidad
en subjetivas valoraciones conceptuales de ideas-fuerza, la alcanza ahora en el Segundo,
y con redondos resultados, a través de soluciones puramente físico-sonoras y orgánicas.
La primicia, que fue recibida muy favorablemente por el público de la sala Argenta, con
Acilu en el escenario, fue ofrecida en versión perfectible, pero suficiente para captar
los propósitos creadores y de escritura del autor. Ese joven, singular y ya estupendo pianista
que es Andrea Bacchetti (Génova, 1977), habia preparado en poco tiempo un cometido nada
convencional, más "concertante" que propiamente solista ...
Segundo y solido
Scherzo - nr. 179, October 2003 (Leopoldo Hontañón)
... Der Abend begann wie erwartet: Andrea Bacchetti, 26 jahre alt, ist
von mehr zierlicher Gestalt und besitzt bestimmt keine "Löwenpranke"; Liszt
zu spielen, dürfte für ihn ein Problem sein.
Doch seine Interpretation des Mendelssohnschen 1° Klavierkonzertes gefiel und heimste reichen Beifall ein. Das Werk ist auch auf ihn zugeschnitten: Virtuose Brillanz, die sogleich nach wenigen Taktern, einsetzt, geistreiche und meisterliche Durchführung, durchsichtig herausgespielt und am Schluss eine imponierende auskomponierte Kadenz, die sogleich in den zweiten langsamen Satz überführt. Hier kommt nun das (gute) deutsche Gefühl auf: (Bruckner und Mendelssohn lebten nicht nur im gleichen 19. Jahrhundert, sondern schufen - jeder auf seine Weise - romantische Musik, die in ihrer "Deutschen" Art sonst nirgendswo so komponiert wurde): Ein sehr kantables sangbares Thema, gespielt von den Bratschen und Celli, untermalt mit (Wald)hornklängen, darüber zarteste Klavierfigurik, die Bacchetti so liegt - auch die beiden letzten Zugaben von Scott Joplin und Claude Debussy zeigen dies - hinzu kommt ein technisch rasant gespielter Prestosatz, eine beeindruckende Leistung ...
Doch seine Interpretation des Mendelssohnschen 1° Klavierkonzertes gefiel und heimste reichen Beifall ein. Das Werk ist auch auf ihn zugeschnitten: Virtuose Brillanz, die sogleich nach wenigen Taktern, einsetzt, geistreiche und meisterliche Durchführung, durchsichtig herausgespielt und am Schluss eine imponierende auskomponierte Kadenz, die sogleich in den zweiten langsamen Satz überführt. Hier kommt nun das (gute) deutsche Gefühl auf: (Bruckner und Mendelssohn lebten nicht nur im gleichen 19. Jahrhundert, sondern schufen - jeder auf seine Weise - romantische Musik, die in ihrer "Deutschen" Art sonst nirgendswo so komponiert wurde): Ein sehr kantables sangbares Thema, gespielt von den Bratschen und Celli, untermalt mit (Wald)hornklängen, darüber zarteste Klavierfigurik, die Bacchetti so liegt - auch die beiden letzten Zugaben von Scott Joplin und Claude Debussy zeigen dies - hinzu kommt ein technisch rasant gespielter Prestosatz, eine beeindruckende Leistung ...
Perlendes Klavierspiel und grandioser Orchesterklang
Augsburger Allgemeine - October 7th, 2003
... The majestic season's opening organized by the Friend of Music - to
high-quality concerts within one week - found its climax at the Filarmonico with an
enchanting and precious evening, enriched by a performance of mesmerising elegance.
On stage, one of the most interesting young Italian talents, Andrea Bacchetti, who
proposed - accompanied by the Orchestra di Roma e del Lazio directed by Jül Jia - two
of the most brilliant scores by Felix Mendelssohn, clear and outstanding masterworks ...
Bacchetti succeedes in picking the inner nature of this music with a sharp, almost istinctive style. Thus we can enjoy a flawless and outmost delightful performance, which explores the music patterns that only the real virtuoso can afford; the touch is diamond-accurate, the sound is sweet and translucent at the same time, spellbinding but well-measured. Mendelssohn's themes are the overjoying outburst of an invention that he managed to share with essential easiness. The whirling scales, the arpeggios and the inner agility are not only flat decorations, but real elements of style, enriched at the same time with musical thought.
The final result is a shining brilliance, elegant and substantial which bends itself in the concert's main direction - Andante - and spreads in the most extreme moments a solar and flamboyant energy.
From his podium, Jü Lia leads and goes along this energy; he carefully considers the dynamics, enhances the most timbric moments articulating them with effective efficacy, challenges the Roman orchestra for an accurate, penetrating and vibrant performance. After the Capriccio brillante op. 22, typical concert score which dares nonetheless to explore complicated expression lines (and Bacchetti doesn't leave himself over to a meaningless exteriority, playing a mean overwhelming piano), convinced applauses and cheerings, rewarded by the young Genoese artist with three encores: two sparkling Bach's gigues - majestic in their brilliance - and a Chopin's study focused - on the contrary - only on the pure sound.
Bacchetti succeedes in picking the inner nature of this music with a sharp, almost istinctive style. Thus we can enjoy a flawless and outmost delightful performance, which explores the music patterns that only the real virtuoso can afford; the touch is diamond-accurate, the sound is sweet and translucent at the same time, spellbinding but well-measured. Mendelssohn's themes are the overjoying outburst of an invention that he managed to share with essential easiness. The whirling scales, the arpeggios and the inner agility are not only flat decorations, but real elements of style, enriched at the same time with musical thought.
The final result is a shining brilliance, elegant and substantial which bends itself in the concert's main direction - Andante - and spreads in the most extreme moments a solar and flamboyant energy.
From his podium, Jü Lia leads and goes along this energy; he carefully considers the dynamics, enhances the most timbric moments articulating them with effective efficacy, challenges the Roman orchestra for an accurate, penetrating and vibrant performance. After the Capriccio brillante op. 22, typical concert score which dares nonetheless to explore complicated expression lines (and Bacchetti doesn't leave himself over to a meaningless exteriority, playing a mean overwhelming piano), convinced applauses and cheerings, rewarded by the young Genoese artist with three encores: two sparkling Bach's gigues - majestic in their brilliance - and a Chopin's study focused - on the contrary - only on the pure sound.
Bacchetti, technique and brilliance, full acknowledgment to Mendelssohn's style performed with great elegance
L'Arena, Verona - October 15th, 2003 (Cesare Galla)
... Andrea Bacchetti, exuberant and deep-layered pianist younger-than-thirty,
is offering to Vicenza's audience the integral version of these Suites (twelve altogether),
and last Thursday he performed the second concert (on a total of three), inserted in the
programme of this Quartetto&Amici season ... Originally written for the harpsichord ... these
Suite find in the piano the authentic revelation media, and Andrea Bacchetti is fully aware
of this. His approach is free, but with no licences, all based on an internal rigueur which
finds in the touch, in the rhythm, in the tempo choice the real inner core of an analytical
interpretative conscience. There are expression freedom and atistic sensibility as well: the
sound is probingly controlled, the melody always surges with fascinating clearness, the
counterpoint entwines on itself with praiseworthy evidence. The left hand is sharp and
accurate, exuberant but always controlled; the right one draws with elegance the never-ending
patterns of this precious music motherlode. The final result is of a peculiar maturity and
abundance, at the same time extro - and introverted, enlivened by the sparkling curiosity of
a discover, "told" to the audience with a spellbinding immediacy ...
Bach's universe in a piano keyboard
Il Giornale di Vicenza - November 29th, 2003 (Cesare Galla)
... Bach's scores enjoy an accurate and at the same time warm performance.
Listening to a slow tempo of the English Suite, I suddenly understood from where do certain
Chopin's inflections and why the great Polish composer did love Bach so jealously ... After
Bach it's the turn of Francesco del Corno, contemporary composer. His score, "Un luogo
quieto" (A quiet place), reminds us of Satie and certainly owes more than something
to the Debussys...great dynamic sense, a light and sensible touch during the "pianissimo"
and above all with rigueur ... The feeling is that of an extraordinary musician, totally
concentrated on his own art. Completely focused - with no lack of sensibility whatsoever - on
the slow scores and during the quiet moments, he bursts out showing an astonishing technique,
although never circus-like; the arpeggio glittering cascades and the fast scale lose their
"finger training" characteristic. In a scenario overwhelmed with so-called virtuosos,
speed-lovers (who are actually only very hurried), Bacchetti "looks for" the notes
in the slow scores with pathos. It's absolutely obvious that the Artist is well aware of the
"plastic" sense in that sound magma, and he is aware as well that he is able to
exploit it in order to make music. A concert which revealed an artist filled up with personality;
we will hear about him for a long, long time.
Rare bravura concert at Roccella Jonica Auditorium
Il Quotidiano, Roccella Jonica - December 7th, 2003 (Bruno Giurato)
The twenty-six-years old Andrea Bacchetti (Venice Prize 1996) presented
the most interesting programme, dedicated to Bach, Berio and Chopin. In a French Suite
the soloist comes out into the untouched polyphony and in the sharpness of the instrumental
scores: a well-rationalised Bach, drawn with flawless coherence. More radical and extreme
the version of Berio's two "Encores", with their concise bell-sounds and their
chord polyphonies; unvarnished and elegant Chopin's versions. ...
A tribute from the Venice Prize
Il Gazzettino, Venice - December 19th, 2003 (Mario Messinis)
TOPANDREA BACCHETTI Official Web Site