PRESS REVIEWS
LUCIANO BERIO, PIANO WORKS
The idea that the authors of the postwar vanguard had an aversion to the piano, because
of its bulky historical inheritance, is one of those commonplaces we should polish off. Their fund
in fact is never lacking of piano pieces and least of all Berio's one, who never obeyed to the presumed
dogmas of that season. Here he is, then, the young, clever player, Andrea Bacchetti, who revives the
5 titles for piano solo: they are pieces which cover 50 years of activity of Ligurian composer (from
the 40s to the 90s) where a sharp imagination is supported by the refractions of the harmonic/timbre
plan. Bacchetti, among other things, matured the performance working in close contact with the master. ...
Luciano Berio, fantasy in five pieces - "Andrea Bacchetti revives the pianist's compositions"
Corriere della Sera, June 9th, 2004 - E. Gir.
... This very recent Decca CD, perhaps among the first ones presents a wide selection
of Luciano Berio's only pieces for piano. Difficult music? Not at all.. And this is the first
surprise. The others come opening the libretto. And not only for the player's name, Andrea Bacchetti,
who is more and more mature and becoming a reference point of Italian pianismo. Carmelo di Gennaro,
a musicology of worth, a Berio's deep connoisseur besides a friend wrote the complete and easy to be
read notes of accompaniment. Another sweet: the marketing manager of the CD is the great Giovanni
Mazzucchelli, president of Quartetto Society and of Rossini Academy of Busto Arsizio. This is not
enough, other well-known names for those who feed on Musica appear on its pages: Mirko Gratton,
executive producer, and engineer Giulio Cesare Ricci who, with Paola Maria's assistance, placed at
disposal the fine art of his Fonè to record the recital at Imola Academy, with Master Franco
Scala's authorization. Very beautiful, really everything was beautiful. Andrea Bacchetti's piano does
not play in front of the speakers, like many others do, but inside and behind them, so that he lets
Berio's fine notes a universal life and a unique color. This music is not heavy at all: it's the player's
merit, and of the fact that it was recorded with the author's supervision. ... Thanks to Andrea Bacchetti
we discover Luciano Berio's wonderful world. Thank you, really thank you to everybody.
Classical
La Prealpina, June 11th, 2004 - Giancarlo Angeleri
... an important CD, certified by the esteem Berio felt for Andrea Bacchetti, whose singular and precocious
musical intelligence ha had understood, after listening him in Saltsburg, in 1989, and then he had invited
him to face his piano compositions. A prestigious and demanding viaticum ...
The classical at the disco - Berio's estrous piano
Gazzetta di Parma, June 14th, 2004 - g.p.m.
Bacchetti was a tiny child, he could not reach the pedal with his feet, and yet he amazed the audience playing
with a strong technique and a stubborn confidence. A little Mozart, moved people said coming out of Verdi Hall
of Milan Conservatory. Years went by. Bacchetti did not get lost, like it happens to many genius-children. He
still has a technique that is very agile, dry, and strong because of a lucid rationality. He oriented his fund
with intelligence. Here he is in a proper and beautiful homage to Berio, with the scores which are set in
chronological order ( Petit Suite pour piano, Five Variations, Sequence, Rounds, Six Encore pour Piano ),
in a CD that confirms the imaginative originality of the Master's writing and the liveliness of piano, the
instrument still boasting the greatest literature, that has been unbroken from '800 to the present.
Bacchetti is very rigorous in his execution. He has the strictness of the young. In the libretto he quotes Berio's indications for a not romantic, cold and impassible performance. How sly is Berio!
Cathy Berberian was his greatest player: Andrea, listen to her. She has got a smile behind each note.
Bacchetti is very rigorous in his execution. He has the strictness of the young. In the libretto he quotes Berio's indications for a not romantic, cold and impassible performance. How sly is Berio!
Cathy Berberian was his greatest player: Andrea, listen to her. She has got a smile behind each note.
The CDs of the Sun - Luciano Berio, Piano works
Il Sole 24 Ore, June 20th, 2004 - Carla Moreni
Andrea Bacchetti today is 27 years old but for Genoese people keen on Classical music
is difficult to separate his face and name from the memory of that only 13-years old pianist who,
in 1991, astonished the audience of GOG in a Mozart concert offered by Carlo Felice Ensemble.
Since that day much time went by, Andrea Bacchetti grew up not only as far as age is concerned.
He grew up as a player and today he comes back to the fore publishing a very difficult and beautiful
CD: "Luciano Berio: piano works", by Decca. A precious CD, that rose from the long and loving haunt
that Bacchetti kept with the composer from Imperia (diedlast May), and that was built, note after note,
following his encouragement and his advice. An homage to the invention that starts from Petit Suite
pour Piano (1947), goes on with Five Variations (1953), with the Sequence IV (1965),
with Rounds (1967), and ends with Six Encores pour Piano, cameos of invention that cover
a lapse of time between 1966 and 1990.
Bacchetti, how was this CD born?
«It was born from the interest for the composer but, also and perhaps above all, from an affective matter. I met Berio in 1989 in Saltsburg, I was 11 and he was the guest composer of that year; he listened me play and he wanted to know me. For me that meeting represented a turning point. Berio guided my studies taking an essential role in my formation as a player.»
How did he it?
«Driving me to study those authors who hide in themselves what he called "the germ of musical revolution". Authors very beloved by Berio, like Boulez, Bach, Mozart, Debussy, Ravel, Strawinsky, Webern ...»
Bacchetti, how was this CD born?
«It was born from the interest for the composer but, also and perhaps above all, from an affective matter. I met Berio in 1989 in Saltsburg, I was 11 and he was the guest composer of that year; he listened me play and he wanted to know me. For me that meeting represented a turning point. Berio guided my studies taking an essential role in my formation as a player.»
How did he it?
«Driving me to study those authors who hide in themselves what he called "the germ of musical revolution". Authors very beloved by Berio, like Boulez, Bach, Mozart, Debussy, Ravel, Strawinsky, Webern ...»
Homage to Luciano Berio
An interview with the Genoese pianist for the publication of the CD dedicated to the big Master
Il Secolo XIX, June 22nd, 2004 - Andrea Casazza
This CD of Berio's music for piano (in the centre Rounds, the Five
Variations and the Sequence IV, between Petit Suite and Six Encores
stand out in relief) can be an effective way to open the doors of the most radical contemporary
music also to the audience of not-initiated people: first because the player, the very young
Andrea Bacchetti born in Genoa in 1977, is out of any vanguard "manierismo" and - yet he
has been Berio's disciple since he was 12 - get to this music with a different and original
sensitiveness, mastering with a rush and an amazing exactness a style and a new technique; then
because the choice (among the important things only the Sonata per piano of 2001 is absent) is
arranged with wily taste of "progressioni" and "accostamenti" (parallels).
My advice is to begin the listening from the "Encores", a little collection of encores, quick pieces where the lightings and the glitters of Berio's piano invention are concentrated on few minutes of immediate seizure for the wise, very measured contacts with tradition then is better to go to the "Petit Suite pour piano", by a 20 years old Berio (1947) in love with Ravel, it's clear, who already possessed that extra fine handicraft that will be one of his favorite field of culture; so, after you learnt to know him well, you can face the most difficult pages, the 50's and the 60's, in particular Sequence IV: at once, it seems that somebody gagged the most eloquent among the instruments, the piano, so much restrained and implicit the groups or bunches of sounds (not chords) sound... For Berio an important homage one year after his death, for Bacchetti a demonstration of very sure maturity.
My advice is to begin the listening from the "Encores", a little collection of encores, quick pieces where the lightings and the glitters of Berio's piano invention are concentrated on few minutes of immediate seizure for the wise, very measured contacts with tradition then is better to go to the "Petit Suite pour piano", by a 20 years old Berio (1947) in love with Ravel, it's clear, who already possessed that extra fine handicraft that will be one of his favorite field of culture; so, after you learnt to know him well, you can face the most difficult pages, the 50's and the 60's, in particular Sequence IV: at once, it seems that somebody gagged the most eloquent among the instruments, the piano, so much restrained and implicit the groups or bunches of sounds (not chords) sound... For Berio an important homage one year after his death, for Bacchetti a demonstration of very sure maturity.
Classic Notes - When Berio was in love with Ravel
La Stampa, June 26th, 2004 - Giorgio Pestelli
Italian Universal got together three years ago Luciano Berio and a talented soloist,
Andrea Bacchetti, to record the composer's piano work. The happy intuition was the circumstance,
with Berio's death, of a sort of Baedeker to the stylistic evolution of the author, from Neoclassicism
like Nino Rota's of "Petite Suite" to the serial writing of "Five Variations", to
the stubborn virtuosities of Luftklavier's "Six Encores".
Cd Classic - Berio's piano
L'Espresso, nr.26 July 1st, 2004 - Riccardo Lenzi
... In any time, but in particular in ‘900 and contemporary music, the store dues a share -
variable but not little - to the interaction between the composers creativity and the player's
availability ...
Also Luciano Berio cultivated this relationship for a long time, a relationship which ended in the cycle of the fourteen Sequences: the goad of such an exacting musician, who is ready to get to the limits of mistreatment towards his performers in order to get always the best from them ... Perhaps it is less known, but not for this reason less important and even touching, if you refers it to a man who passed off to be surly and difficult, a so called "didactic" projection, an educative versant, of which a young Genoese pianist, Andrea Bacchetti, certainly got a benefit. Now a CD with Berio's pieces for piano is going to be published in Bacchetti's executions recordings that already circulated in a semi-private form, now get in a accurate technical guise to the ultimate consecration of Decca label (a very rare fact for an Italian artist).
Music composed with the big builder's ratiocination and forethought, leaves room to the person who plays it projected towards utopia, confirming that all funds - and this player more than others - need interpreters rather than executors. Andrea Bacchetti finds a way, that is certainly different from the one practiced by the traditional torchbearers of the contemporaneousness, but his own way, a credible, individual, poetic one, which he likes symbolizing in the light "puntilismo" of Brin, the first of the Six Encores.
Also Luciano Berio cultivated this relationship for a long time, a relationship which ended in the cycle of the fourteen Sequences: the goad of such an exacting musician, who is ready to get to the limits of mistreatment towards his performers in order to get always the best from them ... Perhaps it is less known, but not for this reason less important and even touching, if you refers it to a man who passed off to be surly and difficult, a so called "didactic" projection, an educative versant, of which a young Genoese pianist, Andrea Bacchetti, certainly got a benefit. Now a CD with Berio's pieces for piano is going to be published in Bacchetti's executions recordings that already circulated in a semi-private form, now get in a accurate technical guise to the ultimate consecration of Decca label (a very rare fact for an Italian artist).
Music composed with the big builder's ratiocination and forethought, leaves room to the person who plays it projected towards utopia, confirming that all funds - and this player more than others - need interpreters rather than executors. Andrea Bacchetti finds a way, that is certainly different from the one practiced by the traditional torchbearers of the contemporaneousness, but his own way, a credible, individual, poetic one, which he likes symbolizing in the light "puntilismo" of Brin, the first of the Six Encores.
Cds & Media - Berio and Bacchetti
In a CD the composition for piano that the pianist studied with the composer
Il giornale della Musica, nr.78 July, - Giorgio Pugliaro
After commemoration and regrets, here is the joyful time of artistic meditation.
The occasion that is represented by this piano route - which was drawn by Bacchetti with rare
love and patience - goes in the right direction. There is a store of heated musical variety (and
in its middle we can easily put the two extraordinary works of the 60s, Sequence IV and
Rounds, which were made glimmering of colors and of expressive impatience by the execution)
that rewards creatively sumptuous seasons, which let us understand how much awareness the author's
writing was rich of and how much richness a deep and ardent (and also technically very tough and
easy) player can offer to the listening. The series of the last pieces is more enigmatic and
sophisticated, if we like: a bit because they cover years that are far by birth but homogeneous for
piano sensitiveness, a bit because the blaze of intelligence, of colorist imagination and of musical
richness of the first, Brin, which dated 1990, would be enough by itself to put Berio among
the big piano composer of the century and to assure to Bacchetti's performance (which is supported by
a seizure of sound of a particular grain timbre-acoustic) a special attention.
CD Reviews - That heated Sequence
Decca (Universal Distribution), recorded 2000-2001, lasting 44' 
Suonare, 10th Year, nr.97 July/August 2004 - Angelo Foletto
... these recordings offer very satisfying outcomes, a result also of the regular
relationship of the young player with the composer and of his critic scrutiny, that is anything
but indulgent, like who knew him knows well. In fact you can grasp all the exactness of the focus
of Berio's particular piano version: it winds through a space that, after the young keen "Petite
Suite", amazed in its neoclassical neatness, seems to draw the diagram of something playful and
adventurous at the same time.
Bacchetti proves to be very sensitive in his following and at the same time translating into sound these always sharp experimentations, in the "Five Variations", in the 4th Sequence in that creative tongue twister that Rounds is, without speaking about the spirit which whom he plays that fleeting Encores, slightly charming pages, in the mobility of the spectrum they compose and that Bacchetti defines singularly with infallible swiftness.
Bacchetti proves to be very sensitive in his following and at the same time translating into sound these always sharp experimentations, in the "Five Variations", in the 4th Sequence in that creative tongue twister that Rounds is, without speaking about the spirit which whom he plays that fleeting Encores, slightly charming pages, in the mobility of the spectrum they compose and that Bacchetti defines singularly with infallible swiftness.
CD Reviews - Berio, Piano Works
Decca 476194 (Universal) - lasting 44' 
Classic Voice, August 2004 - Gian Paolo Minardi
Andrea Bacchetti goes back almost fifty years of contemporary Italian music, years that
are re-built through the extraordinary creative parabola of the Ligurian composer who died last year
in May, Luciano Berio.
«The meeting with Berio influenced my musical life in an extraordinary way» Bacchetti said. ... The artistic homage the young artist pays to his master benefits from the deep and favorite research that Bacchetti carried on in close contact with the author, exploring each expressive shade and, above all, trying to go inside the innovative mark that characterized Berio's work.
«The meeting with Berio influenced my musical life in an extraordinary way» Bacchetti said. ... The artistic homage the young artist pays to his master benefits from the deep and favorite research that Bacchetti carried on in close contact with the author, exploring each expressive shade and, above all, trying to go inside the innovative mark that characterized Berio's work.
Listening - A tribute to the innovator: a pianist's praise to his master
MF Milano Finanza - Gentleman, nr. 42 August 2004 Andrea Milanesi
Bacchetti, how was this CD born?
«On Berio's advice I started studying his music already in 1990 ... I started recording it in 1998. Berio told me: "Do it, and then bring it to me". I prepared the master and then I went to Florence in his study to make him listen to it.
He told me it was not good, I had played the pieces like I felt them ... then he explained in a detailed way how they had to be played. In 2000 I recorded the CD again, CD that was later published by Decca.» ...
Contemporary music finds difficulties to get its voice listened to. Why doesn't the audience love it?
«Berio used to say that contemporary music is an "elite", it is not for the mass, it is not a tenor singing romances in a stadium. ... The language is the matter. You can't listen to it with the parameters of traditional classical music. What is important is the effect that it gives. And if it is written by geniuses like Berio, Boulez or Sciarrino it assures great emotions.»
«On Berio's advice I started studying his music already in 1990 ... I started recording it in 1998. Berio told me: "Do it, and then bring it to me". I prepared the master and then I went to Florence in his study to make him listen to it.
He told me it was not good, I had played the pieces like I felt them ... then he explained in a detailed way how they had to be played. In 2000 I recorded the CD again, CD that was later published by Decca.» ...
Contemporary music finds difficulties to get its voice listened to. Why doesn't the audience love it?
«Berio used to say that contemporary music is an "elite", it is not for the mass, it is not a tenor singing romances in a stadium. ... The language is the matter. You can't listen to it with the parameters of traditional classical music. What is important is the effect that it gives. And if it is written by geniuses like Berio, Boulez or Sciarrino it assures great emotions.»
Meeting with Andrea Bacchetti - Homage to Berio
Suonare News, September 2004 Filippo Michelangeli
The young Andrea Bacchetti has always had Luciano Berio's esteem, at first as a tout
court player, then as an interpreter of his own pages... Andrea Bacchetti believes in this music,
and this is a good fact, because otherwise he couldn't play it; above all he couldn't play it so well,
with this perfection of reading and this speaking coherence. I don't know if one could do better.
The CD is accompanied by loving and grateful notes of the player himself, and by a Carmelo Di
Gennaro's hagiography. ...
CD Reviews
BERIO. Petite Suite, Five Variations, Sequence IV, Rounds, Six Encores
Editor's choice CD CLASSICS - Artistical: 9 Technical: 9
Compact Disc Classics, September 2004 Riccardo Risaliti
Andrea Bacchetti was very bound to Luciano Berio, who came from Liguria like he is.
Berio, who had felt this young small, nervous, pianist's music intelligence, had invited him to
face his compositions, to study them under his own guidance, to become the owner of a fund with
whom he got the Special Prize Gulbenkian Fondation at Micheli contest in 2001. ... Bacchetti
offers a very rigorous anti-romantic but vivid performance (mindful of Berio's recommendations:
"Try always to play everything like it is written, even if the metronomes seem impossible;
then, the important thing is what will come out"), a performance that can always see the
sharp inventive imagination, the infinite "refractions" of the harmonic and timbre
schemes. Bacchetti shows a perfect agreement with Berio's language ...
Musica's Reviews
BERIO. Petite Suite, Five Variations, Sequence IV, Rounds, Six Encores
DECCA 476194 - DDD 43:33
Musica, nr. 160, October 2004 Gianluigi Mattietti
A Decca CD of very recent publication, it confirms the story of a love at first sight.
In 1989, when he was 12, Andrea Bacchetti holds a recital in Saltsburg. Luciano Berio is present
and he becomes his "maitre a penser". The pieces he recorded, forty years of instrumental
though, are studied under the author's guidance. They are a homage and they are his witness and memory.
ELLE AGENDA MUSICA, Classic - Luciano Berio, Piano Works, DECCA
ELLE, November 2004 (E.A.)
... the recording witnesses the deep agreement between the author and one his elective
players. The "colouristic" splendor of Petite Suite, the driving vehemence of
Sequence and Rounds, the sophisticated virtuosity of the six final pieces would be
enough to put Berio among the great composers of our time. And to confirm that Andrea Bacchetti's
sensitiveness and expertise put him in the foreground among the executors of present-day music.
CDs of the month, chosen by © - Bacchetti plays Berio
© Classica - November 2004 redazione
This CD, which was recorded between August 2000 and August 2001 in Imola, is a homage to Master Luciano
Berio's skinless and it's totally dedicated to his composition for piano. ... An approval to Andrea
Bacchetti's extraordinary cleverness ...
Classic Music - Luciano Berio PIANO WORKS
Musical Quality 8,5/10 - Technical Quality 8/10
Suono, November 2004 Rocco Mancinelli
The favourite relationship that Andrea Bacchetti could keep with Berio is known. With
this CD Bacchetti pays homage to the composer and to the master that had so much importance for
his professional growth offering a choice of his pieces for piano. ... In the cover notes Bacchetti
make us remind how much Berio taught him about the style of execution of the so-called contemporary
music and this recording expresses, even at the first listening, all the attention and depth of the
interpretative work. ... with a self-devotion that we could define "total" Bacchetti aims
at mirroring the virtuosity of Berio's writing in a limpid virtuosity of execution.
COMPACT Choices, by Massimo Rolando Zegna - BERIO. Piano Works
Decca / 476194-4 / Universal Music Italia Distribution / 2000, 2001 / DDD
booklet: good (italian) - Artistic score: Technical score:
Amadeus, December 2004 c.f.
Andrea Bacchetti met Luciano Berio in Saltsburg in 1989, ... and that was the beginning
of an incessant and important haunt; we can say that Bacchetti directly learnt from the composer
just that music ... that now he commits to a beautiful Decca CD, as a homage to Berio two years
after his demise ... there is the whole Berio, his "phonic greed", the coexistence of
tradition and exsperimentalism ...
Bacchetti remains faithful with great cleverness to the master's precept: "detachment, emotions that were looked for in immobility and there were found", and "a witty and aggressive touch". A landmark reading.
Bacchetti remains faithful with great cleverness to the master's precept: "detachment, emotions that were looked for in immobility and there were found", and "a witty and aggressive touch". A landmark reading.
Classic - Bacchetti, the young genius repeats Berio's lesson
Il Giornale, May 27th, 2005 Alberto Cantù
Eighth edition of "Amadeus Record Price", an initiative which aims to bring to
the notice the most important recordings choosing among the ones reviewed in the twelve issues of
the magazine published in the previous year. The editorial office selected the five finalists for
each of the five categories: Ancient, Symphonic and Chorale, Chamber, Lyric and Contemporary. ...
A jury consisting of Duilio Courir (artistic and cultural Director), Gaetano Santangelo (editorial Director), Massimo Rolando Zegna (Editor of record reviews section), and of three specialized assistants of the sector, (Cesare Fertonani, Nicoletta Sguben e Ruben Tedeschi) ... is appointing the winner of each category ...
A jury consisting of Duilio Courir (artistic and cultural Director), Gaetano Santangelo (editorial Director), Massimo Rolando Zegna (Editor of record reviews section), and of three specialized assistants of the sector, (Cesare Fertonani, Nicoletta Sguben e Ruben Tedeschi) ... is appointing the winner of each category ...
Amadeus Record Price 2005, The finalists - BERIO. Piano Works
Finalist in "Contemporary" Section
Amadeus, June 2005 newsroom
... The further value of the recording is brought about by Andrea Bacchetti's performance,
a 28 years old pianist who can be right considered a faithful and competent performer of Berio's pages ...
in several occasions the Master himself showed his complacency for the way Andrea Bacchetti performed his
pieces, and that is with "a style - like the genoese pianist explains - lacking of
phrasing, ... no freedom, immobility, that is to say coldness and impassibility in front of the musical
line, that becomes modern since lacking of expression". ...
A very clever performer at keyboards, Andrea Bacchetti, who was elected as a "cantore" by Berio when he was very young ... he assimilated the voice and reproposes it with great skill and absolute fidelity.
A very clever performer at keyboards, Andrea Bacchetti, who was elected as a "cantore" by Berio when he was very young ... he assimilated the voice and reproposes it with great skill and absolute fidelity.
Reviews - Record Magic for Luciano Berio
La Cronaca di Mantova, September 9th, 2005 Roberto Chittolina
... Decca CD dedicated to Luciano Berio's musics for pianoin Andrea Bacchetti's
execution, a young yet already great Italian pianist ... after his Master's death some pieces became
classic and Bacchetti is the only one (of a certain generation) who was able to meet Him and play them
with Him. ... He really plays like an old pianist, with great measure and confidence, always attentive
and reflective ... he plays in a wonderful way, with a beautiful sound and with a musicality that is
always controlled by intelligence. ...
Personalities - Luciano Berio's omnivorous music
MUSICA E SCUOLA, 19th Year nr.19, November 15th, 2005 Laura Ruzza
... the young pianist Andrea Bacchetti has a clear touch, a phrasing that is given to
"embroidery", a precise sense of dynamics: his "pianismo" is played on rationality,
on the search for the infinite possibilities of the single sound, where sensitivity is dominated by
the very lucid control of colour and shading. Bacchetti is an architect of sound and his Berio fits
like a glove. A record you can't miss.
Classical Music - Luciano Berio's Piano Works by Andrea Bacchetti, Decca
Cittànuova, nr.23 December 10th, 2005 Mario Dal Bello
Es por todos sabido que Luciano Berio mimaba especialmente sus obras para piano ... esta relación con el piano
llevó también a Berio a relacionarse habitualmente con pianistas - tanto jóvenes como consagrados. ... Algo así
ocurrió a menudo con Andrea Bacchetti, a quien conoció cuando éste aún tenia doce años. La musica de este disco
esta supervisada por el proprio maestro y es "el testamento humano y artístico del hombre y del músico".
... No tiene desperdicio el disco. Es un muestra controlada por Berio de lo que significaba el piano para él, y
una versión magistralmente interpretada de algunos de los fragmentos pianísticos más interesantes del siglo XX:
La relación ya antes comentada entre los protagonista del compacto, ademas, lo convierten en un modelo de
interpretación a imitar.
Novedades Discograficas - Testamento vital: Luciano Berio, Andrea Bacchetti, piano
Decca 476 194 DDD, 43'33 minutos
mundoclasico.com, texto publicado el 22.10.2007 - Roberto Díaz
... un disco con varia peculiaridades. La primera y más evidente es la selección, muy acertadamente presentada,
cronológicamente, ya que de esta maniera es posible la observancia del lenguaje del compositor en todas sus etapas.
... La segunda peculiaridad es la voz del intérprete, Andrea Bacchetti, quien conoció a Berio y no solamente eso,
si no que trabajó con él y tuvo el privilegio de que el mismo compositor fuera su consejero durante la grabación
del CD (2000-2001). Claro, la exclusividad parece servida. El pianista funde sus intereses interpretativos con
los del autor y obtiene un resultado que para muchos puede ser el definitivo: las versiones que el proprio Berio
hubiera querido plasmar si hubiera tenido el nivel instrumental requerido.
De esta maniera la audición parece aún más recomendable. Pero por si esto fuera poco, apuntar que Bacchetti, sabedor en todo momento de lo que tiene entre manos, plasma con veracidad y pulcritud todos los minuciosos detalles propuestos en la música de su compatriota. El pianista se involucra con convicción, y recrea los efectos requeridos ... Bacchetti ejecuta vorazmente y con precisión: el intérprete "vive" las inquietudes del compositor y eso se percibe en las versiones. ...
De esta maniera la audición parece aún más recomendable. Pero por si esto fuera poco, apuntar que Bacchetti, sabedor en todo momento de lo que tiene entre manos, plasma con veracidad y pulcritud todos los minuciosos detalles propuestos en la música de su compatriota. El pianista se involucra con convicción, y recrea los efectos requeridos ... Bacchetti ejecuta vorazmente y con precisión: el intérprete "vive" las inquietudes del compositor y eso se percibe en las versiones. ...
Reseñas - Berio: Petite Suite, Cinque Variazioni, Sequenza IV, Rounds, 6 Encores
CD Compact - n. 221 Julio/Auguste 2008 - Emili Blasco
... un disco con varia peculiaridades. La primera y más evidente es la selección, muy acertadamente presentada,
cronológicamente, ya que de esta maniera es posible la observancia del lenguaje del compositor en todas sus etapas.
... La segunda peculiaridad es la voz del intérprete, Andrea Bacchetti, quien conoció a Berio y no solamente eso,
si no que trabajó con él y tuvo el privilegio de que el mismo compositor fuera su consejero durante la grabación
del CD (2000-2001). Claro, la exclusividad parece servida. El pianista funde sus intereses interpretativos con
los del autor y obtiene un resultado que para muchos puede ser el definitivo: las versiones que el proprio Berio
hubiera querido plasmar si hubiera tenido el nivel instrumental requerido.
De esta maniera la audición parece aún más recomendable. Pero por si esto fuera poco, apuntar que Bacchetti, sabedor en todo momento de lo que tiene entre manos, plasma con veracidad y pulcritud todos los minuciosos detalles propuestos en la música de su compatriota. El pianista se involucra con convicción, y recrea los efectos requeridos ... Bacchetti ejecuta vorazmente y con precisión: el intérprete "vive" las inquietudes del compositor y eso se percibe en las versiones. ...
De esta maniera la audición parece aún más recomendable. Pero por si esto fuera poco, apuntar que Bacchetti, sabedor en todo momento de lo que tiene entre manos, plasma con veracidad y pulcritud todos los minuciosos detalles propuestos en la música de su compatriota. El pianista se involucra con convicción, y recrea los efectos requeridos ... Bacchetti ejecuta vorazmente y con precisión: el intérprete "vive" las inquietudes del compositor y eso se percibe en las versiones. ...
Discos criticas de la A a la Z - Berio pianístico: "Andrea Bacchetti y Berio; muy buena química"
Andrea Bacchetti, piano - Decca 476 194 43'33 DDD A
Ritmo - diciembre 2008 - D.C.S.
There is an eerie similarity between tris recording of Berio piano music by Andrea Bacchetti ant the one by Andrea Lucchesini
I reviewed here last January and have included in this year's Critics' Pick. Berio's piano legacy is in good hands. Once again,
we have a brilliant Berio protege who has a delicate touch, a keen sense of Berio's remarkable spatial effects, a generous
splash of poetry even in the most dissonant pieces, and a warm recording so illuminate all these qualities. ...
Reviews: Berio, Piano Pieces
American Record Guide - January/February 2009 - Sullivan
... This kind of music suits Bacchetti's lightening technique very well, and serves to introduce his reliable sense of taste
and touch in the way he portrays each musical picture with ideal weight or wit.... Andrea Bacchetti's playing is full of
sparkle and lively, poetic energy. What I like about his playing throughout this disc is the feeling of a synergy with the
music, to the extent that the musical language sounds like a familiar narrative or discourse. It's like when you hear
Shakespeare played by actors for whom the bard's verse is as natural as the flow of blood through the veins. When presented
with such symbiotic ease the difficulties of the language fall away, leaving the listener able to concentrate on and revel
in the unfolding drama. ...
Reviews: Luciano Berio
www.musicwebinternational.com - May 2009 - Dominy Clements
There is a revealing comment in Andrea Bacchetti's memoir of Luciano Berio, included in this CD's booklet, where the
then-teenaged pianist-he met and began an informal study with the composer at the age of 12-gave a performance of the
six brief "encores" and was told by Berio that his playing was "too romantic, not aggressive enough."
This criticism gave Bacchetti a direction he followed throughout his continued preparation of these works, and which
characterizes his approach on this disc (which was recorded between 2000 and 2001) - a vigorous, nearly athletic attack
that emphasizes the music's angularity, abrupt shifts, and dramatic contrasts rather than its innate lyricism. ...
BERIO Petite Suite. 5 Variazione. Sequenza IV. Rounds. Brin. Leaf. Wasserklavier. Erdenklavier. Luftklavier. Feuerklavier
www.fanfarearchive.com - Sept/Oct 2010 - Art Lange
Andrea Bacchetti's written introduction spells out his close association with the composer of these pieces. There is
much to admire here, certainly, but Bacchetti does not quite come out on top of the pile. The Petite Suite was written
in 1947, when Berio was still at the Milan Conservatory. The influences here are primarily those of Ravel and Prokofiev,
as Carmelo di Gennaro so rightly points out in his booklet notes. As a sequence of miniatures (Prelude; Petite Air I;
Gavotte; Musette; Petite Air II; Gigue), they are a constant source of delight, especially in such a light-fingered
performance as Bacchetti's. The "Petite Air I" certainly breathes the rarified, fragile air of Impressionism
through and through. Bacchetti seems completely at home here. Dating from six years later, the Cinque Variazioni are
serially composed. Yet Berio's essentially lyrical nature shines through. The piece begins in a whisper yet soon moves
toward Webernian disjunctions that go hand-in-hand with a Boulezian complexity. What becomes increasingly obvious as
one listens is that Bacchetti is as equally at home in the liquid, beautiful, calmo sections as he is in the
harder-hitting, more aggressive louder passages. It is precisely this combination that makes him so amenable to Berio's
music. ...
BERIO Petite Suite. 5 Variazione. Sequenza IV. Rounds. Brin. Leaf. Wasserklavier. Erdenklavier. Luftklavier. Feuerklavier
www.fanfarearchive.com - Sept/Oct 2010 - Colin Clarke
TOPANDREA BACCHETTI Official Web Site