2 Video Clips
"La Leggenda del Pianista Sull' Oceano" / Legend
piano transcription of a
theme from one of his famous film musics
"Indagine su un cittadino al di sopra sospetto" / Investigations
against a citizen above suspicion
of a theme from
one of Ennio Morricone's famous film musics
of a Marionet
" Marche fuinèbre
Live in concert
Orquestra de la Comm.de
Madrid./ V.P. PerezD. Madrid, 27.12.19
Concert f.Pedal Piano & Orchestra
Enescu Philh.Orch./ D. Gimenez
Bucarest, Feb 2018
Klavierkonzert Nr.1, Op.25
Orq. Sinf. de Galicia/ V.P. Perez
La Coruna, May 2018
Orch. I Virtuosi
| W.A. Mozart
Piano Concert KV 271,
Variations sérieuses, d-moll, op. 54
Pedal Piano Recital
Live in Pordenone
Passacaglia , c-moll, BWV 582, KV
Documentary / Interview
London Philh. Orch.
|History, properties, mechanic
Über den Pedalflügel
Visit in his atelier
from: "Amazing Human Beings"
Grand Prélude op.66, n.4 pour piano pédalier,
L'oeil et l'oreille
4 films d'Anne
Sur le travail et la musique
de Jean Jacques Lemêtre
Piano Sonatas as "MINI OPERAS"
" For him, Mozart is probably above all the genious opera composer.
Thus, he staged with a somnambulistic technical perfection four of
his piano sonatas as quasi mini-operas.
Through his vital playing without pauses between the movements, he
let each sonata appear as only one single arc of tension.
Moreover, he succeeded to characterize the individual motifs and themes
so plastically, that the imagination of the auditor was able to shape them
to interesting persons, interacting within a consistent plot.
That way, in the opening Sonata Es Major, KV 283, one felt as if transposed
into a bucolic pastoral scene from Arcadia, before the closing great C
Minor Sonata evoked existantiel “Don-Giovanni”-like drama.
Whereby the final movement, unusually torn by numerous fermatas and
breaks, left an exceptionally deep impression."
Schwetzinger Motzartfest / Rhein-Neckar Zeitung 2020
Mozart’s Piano Sonatas: BEHIND GATES
OF PARADISE - SHADOW WORLDS
" In the opening Adagio [...] the door to a brighter world is opening.
And with Roberto Prosseda, she does it in a particularly suggestive way.
But [he] wants [...] to convey more than that. Such as, that behind Mozart’s
Gates of Paradise shodaw realms Mozartfest Schwetzingen 2020, Mannheimer
Morgen /Schwetzinger Zeitung, www.morgenweb.de/schwetzinger-zeitung
opening up. [...]
With him, the C Minor Sonata from 1784 is a powerful, commanding Unisono
motto, a “knocking of fate at the door”, almost anticipating the heroism
of Beethoven. [...]
The Adagio of his encore, Mozart’s D Minor Fantasy, is so expressive,
that again another door opens: this time into the emotional world of Romanticism."
Mozartfest Schwetzingen 2020,
Mannheimer Morgen /Schwetzinger Zeitung, www.morgenweb.de/schwetzinger-zeitung
Concerts for two pianos
"... they plunge with lust and playfulness
into the technically truely difficult challenges […] their
intonations is breathing juvenile freshness and naturalnaess.
A plea for the early Mendelssohn, convincing and worth listening to."
VIRTUOS, PASSIONATE, DRAMATIC
" These works are very seldom played - this recording demonstrates,
that it is worthwhile.
Mendelssohn's writing for both the piano parts is virtuos, passionate,
Ammara and Prosseda are really playing as an integrated whole,
both their sounds narrowly hug each other.
Exciting the sound of the pianos: silvery, smoothly, however
powerful. " Takt1
Fortunately, the Italian Pianist
and Mendelssohn specialist Robrto Prosseda has now recorded it with
" A doubtless masterpiece, and highly virtuos […]
As always, when it concerns Mendelssohn, Prosseda plays 'histroically
informed', even though not in an exaggerating way. The 2 pianos
are brandnew with parallel strings, which is very narrow to the sound
at the time of Mendelssohn.
But, above all, Prosseda puts a major importance on the ambiance, […]
What was important for him, that were the high spirits of this
music, it's cheerfulness and liveliness, it's enjoying the funny side."
Movie & Music
Günter A. BUCHWALD
World Premiere of the new symphonic music
Fireworks of sound colors – epic
silent movie congenially mirrored”
“The internationally renowed expert for silent movie music
has composed a music, which does more than only illustrate or accompany:
it is a sounding element which carries and transports the story.
In classical manner, Buchwald assigns to
each character a musical theme – with the Tarantella
moving upwards in mostly chromartic steps, he succeeds to musically
draw an amazing portrait of the main
character – utmost ear-catching quality!
Buchwald plays with musical colors, with ever new combinations
of instruments, he creates ‘couleur locale”. When it becomes courtly,
harpsichord, harp and transvers flute are at work; if it becomes more
burlesque, clarinet and bassoon set the tone. […] he includes
modulated sequences into sounding friction spaces, remains flexible
in changes of style and form […]
And finally his charming and subtle way of using quotations:
[…] whether it’s the fateful beginning of Tchaikovsky’s 4th Symphony,
or the Tsar’s hymn for Russia, or a short quotation out of a James-Bond-classical,
when Casanova once again fools his captors: Buchwald brilliantly succeeds…”
| Two can play as one
" ... A piano-duet partnership that sparkled with virtuosity
and convinced with refined musicianship. The two pianists were the
husband and wife team of Alessandra Ammara and Roberto Prosseda, both
versatile and virtuoso pianists in their own right.
It may be a cliché to say that it was a marriage
of two minds playing effortlessly as one but in this case it was
a resounding success.
[…] Mendelssohn’s recently discovered
Fantasie in D minor. This substantial work written by the 14 year
old boy composer in 1824 is a truly important addition to the catalogue.
[…] Thanks to the duet team for introducing us to this marvellous hitherto
unknown work and I urge you to seek it out in their recording released
by Decca in 2015.
[…] a panoply of colours, immense
grades of touch, all manner of subtle pedalling and dynamics
I can only add a loud
bravo. NCPA Mumbai
f. Violin & Pianor
Violinconcert D Minor
Mintz] falls into an inspired dialogue
Compared with their duo colleagues Kremer/Argerich
and Isabelle van Keulen/Ronald Brautigam, Prosseda and Mintz choose
moderate tempi for all 3 movements, but their play is however buoyant
and full of spontaneity and freshness, without drifting into an etude-like
style as Kremer/Argerich do in the final movement.
In the D Minor Violin Concert, Mintz likewise
does not force the pace in the outer movements and is excelling with
a warm tone and beautiful cantilenas. Pianist Magazin, 9/19
Shlomo Mintz and Roberto Prosseda
play with nice contrasts, fine nuances and an overall gripping rhetoric.
Prosseda in particular plays with a sparkling, very spontaneous sometimes
even frenetic vitality. At the same time the performers perform with
real seriousness: nothing seems exaggerated, and the music gets a very
natural youthful lightness ..."
" ... Shlomo Mintz is still the
same. Still this phenomenal technic and the brilliant sound. That
is his image de marque. Rounded and full, rich in overtones.
has an unerringly sure musical instinct, his way of playing
only suits his own taste, but he is obviously always exactly right
A musician with much musical knowledge
and an infinitely rich experience.
(Violin Concert B Minor / SWR 8/19
f. piano 4 hands & 2 pianos
" Is there
another single-disc recording of all five of the complete original
pieces composed by Mendelssohn for piano duet and two pianos? If
so, I doubt if it’s as good as this with Roberto Prosseda, tireless
champion of the composer, joined here by his wife Alessandra
[...] ‘one of the most interesting rediscoveries of Mendelssohn’s
works that have been made in recent years’
the echt Mendelssohn,
glorious melodies and brilliant writing despatched con amore
e con spirito by Ammara and Prosseda.
a significant and
rewarding addition to the Mendelssohn discography. "
Prosseda presents outstanding pianism and artistry.
His interpertations are stylish and perfectly crafted,
with many dynamic shadings and fine articulation. They are maticulous,
but never mannered and perfectly convey the varying character of Mozart’s
sublime music. […] a recording of benchmark quality.
American record Guide,
„... to let work the unequal temperament, that
tuning system which had been developed by F.A. Vilotti [...] in 1779. What makes it spezial, are
the relativley pure, but significantly unequal major thirds
in keys with few accidentals. [...]
The result certainly attracts attention:
Instead of supporting a soft phrasing with much legato, agogics
and articulation seem extremely flexible – with gripping dynamik,
rapid tempos and rough edges and flaws in abundance.
That way, Prosseda manages to quasi unite
the Mozart approach of the exegetes of the original sound, K.
Bezuidenhout and R. Bräutigam, only to immediately transmit
it to the modern grand piano.
In this sense, he succeeds to expand the discographic
Piano News, M. Frei
Unique art: reduction and pureness
generating an increasing gain in colors and atmospheres, which
makes Mozart sonatas sound tremendously new under Prosseda’s hands
Absolutely convincing, how Prosseda is obtaining
interpretive volts out of humbleness and unobtrusiveness, how
he’s able to gain accents out of the harmoniously flowing balance
of his play.
This is music making without pathos and artificiality,
and yet we find most subtle decorations and little cadenzas.
With this recording, Prosseda celebrates working
upon musical details and the hidden inner life of these works.
One of the most exciting Mozart editions of
the last years...
" As in the former parts of his Mozart edition,
Roberto Prosseda plays again a Fazioli grand piano, tuned with
the so-called Valotti tuning from the time of Mozart. [...]
This way, the sound becomes more colorful,
at some moments more intensely glowing, the harmonies have
a more immediate effect.
As for example in the Allegretto of the F
Major Sonata, in the middle section of which Prosseda connects
the gentle melody of the right hand with almost dancing accents
of the left hand – seldom heard like that!
If we consider the whole cycle, already the
first parts were convincing all around. And that is here seamlessly
Prosseda’s smoothly flowing, but also flexible
touch, his utmost sparely, almost ascetic use of the
pedal, his lively articulation and the measured way historically
informed playing is applied on the modern piano make of this recording
one of the most exciting Mozert editions of the last years. [...]
There are many pianists, who consider Mozart’s
piano concertos to be fare more important than the sonatas,
With his complete recording, Roberto Prosseda
proves that these works are certainly much more.
One might speculate, how many time Roberto
Prosseda has invested to achieve this form of naturalness.
He unites many elements required for a moving Mozart performance:
liveliness and esprit, but also the art of forming shadows; a crystal-clear,
sharply defined touch und the ability to build arioso lines, even
WDR 3, CH. Vratz
Roberto Prosseda speaks
" Accomplished accomplishment. With his new
double CD, Italian pianist Roberto Prosseda completes the
complete recording of the piano sonatas by Mozart.
Again, the result sets standards.
[ ... ]
it’s a pity, that Prosseda's complete recording of Mozart's
piano sonatas is now accomplished. But, there are other
piano works by Mozart waiting for his interpretation: variations,
fantasies and other jewels. Which, I am sure, Prosseda will
make sparkle, too! "
hr2 Kultur, Klassik-Tipp
" Italian pianist Roberto Prosseda displays
the potential of Mozart’s late piano sonatas.
Does the world really need another complete
recording of Mozart’s piano sonatas?“, someone may ask. Answer:
yes, but this only applies, in case it is as outstanding as the
one presented by Italian pianist Roberto Prosseda.
Also on his third album, which concludes
the cycle, the 43 years aged shows on the wonderfully sounding
Fazioli grand piano what this music is made of.
Prosseda’s Mozart has esprit and temperament,
he is brilliant and at the same time full of great depth of
feeling, he is determined by the classical sens of form, but
does not deny, however, the early romantic buds in the slow movements.
The sound culture, for example, with
which he approaches the „Adagio“ of the „Jagdsonate“, is
phenomenal, but nevertheless his play is never
" ... With
the well-established Residentie Orkest Den Haag and
it’s chef Jan Willem de Vriend, [Prosseda
recorded both the mature piano concerts
in G Minor and D Minor in an electrifyingly fresh,
impetously pushing forward and historical austere interpretation,
giving two masterpieces of the early Romantic a dynamic
and exciting sound form.
NDR Kultur, CD-Neuheiten
That he resists the current prevailing
trend to historical fortepiani and prefers to elaborate
in a crystal-clear way his always concise articulation
on a modern Fazioli, underlines the timeless modernity and virtuosic
brillance of these eternally young concerts, which develop
in a genious way the human face of Mozart’s heritage they’re carrying
inside. ... "
Crescendo, A. Csampai, "Empfehlungen"
... ] With a sublime technique, he steps
back behind the music, lets melodies shine, brings light on the positive
character of both the concerts with pearling elegance, musical sense and
Just the same way, he celebrates the soft
and fines tones and always keeps the right balance with
the sensitive „accompaniment“ of the Residentie Orchestra.
A tonally and musically rewarding CD."
piano news 3/19
" ... Already the
beginning of the 1st concerto is a little firework,
vibrating and pulsing. Prosseda is really pushing the orchestra.
Not always the orchestra and the soloist are united
that way concerning grasp and form.
What wealth of colors
Prosseda is able to conjure from the keys
is also demonstrated in the slow mov of the 2nd concerto.
The "Rondo brillant"
lives up it's name - performed with shimmer
and glimmer and grip [...]
Prosseda, de Vriend
and the Residentie Orkest present Mendelssohn's virtuose
score as if it would all be totally easy."
Roberto Prosseda is entering Mendelssohns 1st concerto
with an impetuous thrust forward.
And the Residenzorchester
Den Haag picks up the main theme of the piano concert
with the same passion.
Here, musicians being
on the same wave length have found together.
It’s beautiful to listen,
how they complement each other and with which flexibility
in tempo pianist and orchestra are tossing balls back and
Many pianists underestimate
the piece and perform it with superficial brillance.
That’s not so case with
R.P! No sign of virtuosic end in itself. His Mendelssohn
is carefully elaborated. With his excellent technique,
he cares for a maximum sound tranparency.
So light and airy, so
precise and elegant J.W. de Vriend makes the orchestra
playing when it accompanies the piano, so grippingly
and passionately he builds the tutti passages, with buoyant
sound and thrilling energy.
Played that way, Mendelssohn’s
piano concertos are an utmost pleasure.
[the 2nd concerto]
... presents a
middle movement, which belongs to the most beautyful inventions
of the composer. Here, we meet the Mendelssohn of „Songs without
Words“ together with a Prosseda, who finds the exactly right
tone between simplicity and deep emotion.
As Robert Schumann said upon Mendelssohn:
„ It is, as if one shakes a tree – the ripe, sweet
fruit falls down readily.“ These fruits are promising
pleasure without regrets. I guarantee.
HR 2, CD-Tipps,
Concert f.Pedal Piano
|What an extraordinary
concert. Rarely have I entered a hall with such
a buzz going on around the stage, though one glance was
enough to see what warranted such attention: the towering
edifice that is a pedal piano. [...]
Gounod’s Concerto for Pedal Piano and
Orchestra is a four-movement work in the genial style of Saint-Saëns:
I mused whether the solo part could be played on an organ
With busily buoyant
outer movements, an ebullient Scherzo (placed second)
and a sombre slow movement – heralded by a mournful horn
refrain – this is very enjoyable music.
Prosseda is a persuasive
exponent of both instrument and piece and it was fascinating
to see his nimble footwork – from the start, after a suitably
bombastic orchestral introduction, the pedal piano’s first
entry is for feet alone; and near the start of the Finale,
there’s a sprightly fugue: right-hand first, then left, finally
feet. Both as a performance and a spectacle this worked a treat,
and there was no surprise that the enthusiastic reception resulted
in an encore. I’d certainly welcome another hearing.
Prosseda & LPO,
Royal Festival Hall London, 14.11.18
a fascinating journey of discovery with Roberto Prosseda with his
appearance with the London Philharmonic introducing the pedal piano
to London audiences.
It was in the beautiful
Adagio and in the Schumann encore – the fourth of
the six Canonic studies for pedal piano – that one could
appreciate to the full the supreme artistry and superb sense
of style of Roberto Prosseda.
In fact, I was witness
backstage to the orchestral players coming one by
one to congratulate Roberto especially for the beauty of his
performance of the Schumann encore.
Praise indeed coming
from his colleagues in the London Philharmonic.
We await many new discoveries
from Roberto Prosseda in London on his remarkable
journey in the music world, where he delves with such intelligence
and artistry .
Prosseda’s introduction with three 'kanonische
Etüden" by R. Schumann already demonstrates
the rich and brilliant sound capacities of the double
the instrument is impressionating right away.
The massive deep pitch triggers a variety of overtones
which gives the sound an surprising brilliance.
It's an acoustic expansion in 2 directions - down
to a striking bass and up to the finest sound colors
- with an overwhelmingly brilliant result. Mosel Musikfestival
" ... Prosseda takes Gounod's piano work out
of it's shadowy existence and reveals
a completely new view upon the French composer,
free from any Kitsch."
" ... Diese Stücke enthalten
vielleicht nicht die revolutionärste
Musik für dieses Instrument, aber charmant, ausdrucksstark
und abwechslungsreich - und deshalb eine Entdeckung wert
- sind sie sicher!
unrecorded Sonata for Piano Duet is a
first-movement Tarantella rivals Rossini for invention
and wit. The Schubertian Adagio makes full use
of the piano’s registers without ever sounding too
thick, while the Presto Finale (sound clip) features
dashing unison octave runs, surprising harmonic detours, and
dramatic use of dynamics that foreshadow Gounod’s future
prowess as a man of the theater.
to say, Prosseda’s masterful technique and
innate idiomatic flair bring each and every piece to
characterful life. ... "
Und dann gibt
es die 6 Präludien und Fugen [...]
genial komponiert und manchmal auch überraschende
seiner schönen Fazioli bringt Prosseda
fließende, poetische und technisch gut kontrollierte
Aufführungen dieser zu Unrecht vernachlässigten
Stücke von Gounod.
" Prosseda doesn't face these little pieces
with nonchalance, as if they were products
of lower quality put on the trash table. He
takes them as serious as if they were treasures from
the jewelry department.
dexterity, assignment of voices or tempi:
Prosseda considers these works […]
documents of a great composer […]
Nothing is painted
over, alienated, backcombed or blowed up.
Roberto Prosseda does not let himself taken by
the poetry of Gounod's piano work, but takes them by
their depth - at times elegiacly singing, at times softly
sparkling - and never exaggerating.
With such style competence, he definitely does justice
... He plays the sonatas with such dedication and verve, as if he wants to
contradict all those, who're maintaining that Mozart's sonatas are only a
pale shadow of his concertos.
Mozart is requesting "con spirito",
Prosseda supplies! And he does as well, in
case "maestoso" is requested as in the A Minor sonata
- which for Prosseda means that he's allowed to detect
minuscule melancholic islands.
recording is increasingly turning out
to be the modern piano equivalent to Bezuidenhout's
" Mozart’s piano
sonatas in perfection. Roberto Prosseda enthuses with his 2nd album
And here it is again. This very
particular sound, this very special play. Roberto Prosseda
has this natural musical intuition for Mozart, this freshness,
this spontaneity. […]
Already Prossseda’s first album
had enthused me. And this one does it once again. […]
Prosseda convinces with freshness,
spontaniety and little improvisations.
Is Roberto Prosseda allowed to do so? I think,
yes, he is! These are the liberties
who make something new, fresh out of well-known
familarities. Which open our ears and catches our attention.
Mozart himself has been a great improvisator, who
never slavishly sticked at his own score. And that is exactly
what makes his music even more lively. […] I’m already looking forward to the 3rd album.
… this was a completely new experience for me: possibly a new Mozart
enthusing the virtuoso decorations
and variations. One could easily imagine, that
Mozart could have done decorations the same
[Concerning the] Valotti
tuning, there might be people, suffering
from an absolute pitch, who consider the sound
impure, but what counts, is the fact that, this way,
tensions are created, savored and eased, which makes the
play vital and colorful as seldom heard before.
This is the way one plays Mozart
in 2018. " MDR
… Roberto Prosseda is a subtle and sophisticated
mind at the keys.
His articulation is incredibly carefully and lovingly,
and on top of it, he offers a great many of sound colors
in piano and pianissimo passages. Particularly special
is his art of ornamentation. Again and again, he takes
the liberty to add little and elegant excursions, which are
not written in the score. Prosseda does that the way Mozart
certainly did it at his time.
He improvises and ornaments stylistically correct
and is not slavishly following the text - Mozart
would certainly have liked it. “
|" [...] He especially makes clear,
that Mendelssohn is not a Kitsch-composer!
His play is so clear, that even on modern pianos,
the sound possibilities of the 19th century remain
still apparent. Prosseda discovers middle voices
and second lines, integrates them intelligently and takes
transitions with great care.
At the same time, he renounces to giant rubati and
doses the use of pedal.
His sparkling touch (which also distinguishes his
recent Mozart recordings) is always convincing.
In summa, Prosseda
achieves a major success: he combines
a sens for melodic arcs with intelligent increasements
(as for example in the 1st Fugue from op.35) and he shows,
how subltly Mendelssohn joins contrasts.
[...] a music
which, almost like Chopin, tells stories in an utmost
small space. … “
has recorded these pieces with supreme
pianistic mastery, but also, however, with
a sens for the respective microcosm, the atmospherique
picture into which he engages himself for every piece
– how small it may be.
His range reaches from brilliant virtuosity
through pensive moments with long lasting tones
to playful roguishness or also melancholic moments.
Playing Mendelssohn is difficult [...]
is exactly what makes this complete recording
so worth listening. An immense empathy, an
outstanding refinement of play and the deep understanding
of the music arising from the knowledge about Mendelssohn
as a human being.
An unconditional recommendation
for this 10 Cds-Box, not only because of the
actual uniqueness with reference qualities."
1 - 6
“ … a
performance which sets, more
uncomprimisingly than all his spiritual
predecessors, on sensible articulation and phrasing,
colourfulness, agility and flexibility.
However, the instrument he chose
was not a historical fortepiano, but
a Fazioli grand piano from 2015, delicately
tuned in one of the historical unequal temperaments, which
allowed him to realize amazingly well Mozart’s piano writing
in a lean way, with an extreme richness of nuances and a soft
piano down to a breathed-like pianissimo.
Thus, he realized an interpretation
[…] which is free from professoral or
historicizing rigidity, but still less from
the smart ‘modern’ one-track-ideology with which Mozart
can still often be heard.
On the contrary, I have the impression
that, here, it has been succeeded to
convey the whole musical wealth of these Sonatas
more lively and more powerfully than ever.
Prosseda always remains close to
the text, but presents it by a colour
palette applied in an excitingly imaginative
way and constantly opening new perspectives: a recording
which has to become a new reference.
Ingo Harden, Fono Forum
" ... the choice
of the instrument plaid a major role.
Even though he plays a modern grand piano, it’s
mechanic and soundboard allow him to explore effects reminding
a pianoforte. And moreover, he chose the tempered Valotti
tuning still common in the 19th century.
of these 3 elements for the recording of the first 6 piano sonatas
leads to an extremely remarkable and impressive sound experience.
really looking forward to how the pianist
will approach the next works by the Salzburg
master. " DR-Kultur
" ... the sound world is fascinating:
a multi-textured tapistry woven by an empowered
soloist... " Int.
"... Gounod's music for
pedal piano: great stuff! [...]
is really a revelation ..."
Classics Today / Major Discoveries
the very jolliest of piano and orchestra recordings
that had come my way for some time [...]
a real winner
[...] an unexpected delight."
heart, soul and feet: Italian pianist
Roberto Prosseda revives a lost art, recreating
the haunting melodies of a pedal piano
is the almost architectural quality
of the sound, created by the interplay of the
two vertically stacked soundboards. .. "
Wall Street Journal
... charming and witty, sometimes massive
and sometimes delicate.
Prosseda plays all of the
solo parts with Gallic elegance ... "
(...) There were
many more beautiful moments in Merkavot by the Israeli composer
Betty Olivero. In its first movement, quiet communications
among solo strings survived sudden single events:
percussion impulses or huge chords that had a somewhat
Messian- like shine and seductiveness, but within a far
more fluid musical world. The second, with warbling flute
and clarinet, the constant, again swayed and bulged unpredictably.
Here was one composer to ask back
New York Times
The combination of the old German
film Der Golem from 1920 with the music written by the
Israeli composer Betty Olivero, has created a whole
which is bigger than its components. The sounds not only
enrich the film, they are magnificent music which combines
the Klezmer elements with the Baroque, all plane without any
disguise, to create a convincing sound."
The major discovery was Betty Olivero`s
Batnun, a single-movement
Concerto for double bass and orchestra that stands
as one of the few fully convincing solo pieces for double
bass I've encountered (...)"
Olivero`s song-cycle, Cantes
Amargos, is one of the most beautiful works
of its kind heard in recent memory
In Olivero's hands, the
commanding, insisting. It cries for God
in a protest manner, with the pain of dissonant
chords, with Piccolo and Bells and screaming strings.
A heart penetrating scream, an unforgettable music. (...)Presenze by
Olivero was thrilling with its wonderful
bravery and its orchestral and melodic innovation."
ensemble presented the world premiere of a profoundly beautiful
work by the Israeli composer Betty Olivero Achot
Ketana ("In Memoriam"). A mezzo-soprano intones a Hebrew
prayer from 13th century Spain to music based on the opening
harmonies and gestures of Bach's "Chaconne" for solo
violin. The piece is full of echoes: three solo violinists
and a clarinetist stand behind the string ensemble, introducing
ideas and providing commentary, all directed by Olivero's
sense of drama and precision of ear." Globe
"Sarah & Hagar"
f. 2 Sopranos & Symph. Orch.
World Premier, 29.5.2019
Düsseldorfer Symphoniker/F. Bloch
Marisol Montalvo &
Desprez & Leonardo da Vinci in Berlin"
f. Chamber Ensemble
World Premier, 28.6.2021
with ensemble unitedberlin
Konzert f. Violine & Klavier
3.Satz, Allegro Molto
Flanders Symph. Orchestra, Jan Latham-Koenig
Piano Sonatas 13-18
Sonate Nr.14 in c-moll, KV 457, Molto Allegro
Sonate Nr.18 in D-Dur,
KV 576, Allegretto
Sonate Nr.17 in B-Dur,
KV 570, Adagio
Piano Sonatas 7-12
Sonate Nr.7 in C, KV 309, Rondeau Allegretto
Sonate Nr.9 in D,
KV 310, Presto
Sonate Nr.10 in D,
KV 330, Andante Cantabile
Nr.11 in D, KV 331, Andante Gracioso
Nr. 12 in F, KV 332, Allegro
Marche Funèbre d'une Marionette, d-moll,
Méditation sur le 1er Prélude de Bach, C-Dur,
La Veneziana (Barcarolle), g-moll, CG 593
f. Klavier & Orchester Nr.1,
Op.25, 1st mov.,
f. piano & orchestra, op.40, 2nd
Residentie Orkest, Jan Willem de Vriend
| Roberto PROSSEDA
f. piano 4 hands
& 2 pianos
in D Majorr f. 2 pianos, 3. Prestissimo
in D Minor f. 4 hands, 3.Molto Allegro
A Midsummet Nights Dream:
Music f. piano duet
Secundo Quartetto per
Reiter" * 5th mov
"Scherzo (SHoA2)" *
2006, Nomos Quartett
"Terra + Mare"
Orchestra del Maggio Musicale
Fiorentino, Zubin Mehta
for solo flute"
Nel vento, con Ariel
Roberto Fabbricciani, flute
"Mendelssohn at the Jewish Museum Berlin"
Live recording 2016
Live recording 2015
|INTERVIEWS / WRITINGS
music in the 21st century
Yale School of Music
Music of my life
w. J. Nichols
Upon Mozart Sonatas
Silent Movie & Live music
JOUER AVEC LA MUSIQUE
JJ Lemêtre et le Théâtre