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| Details / Tracklist: |
: The Breakers, Newport / 8 July 1996 ()
: Prelude And Fugue For Organ In D Major, BWV 532 ()
: Fantasie In C Major, Op.17 ()
1-6: Valse De L'op?ra Faust, S.407 - Paraphrase On The Waltz And Duet From Act II Of The Opera "Faust" (9:28)
1-7: Walzer In A-flat Major Op.40 No.12 (2:50)
1-8: Der Rosenkavalier, Waltz Paraphrase (6:00)
1-9: Valse-Caprice (No.2) D'apr?s J.Strauss Jr. - Paraphrase Based On "Man Lebt Nur Einmal!" Walzer, Op.167 (6:20)
2-1: Die Fledermaus - Symphonic Metamorphosis On Themes ILG 41:2 (7:56)
2-2: Encore: Waltz No.1 In E-flat Major, Op.18 "Grande Valse Brillante" (4:22)
: The Breakers, Newport / 13 July 1996 ()
: Piano Quintet In F Minor, CFF 121 ()
: Wakehurst Tent, Newport / 12 July 1997 ()
: Quintet For Piano And Winds In E-flat Major, Op.16 ()
: Ochre Court, Newport / 10 July 1996 ()
: Theme With Variations In A Minor ()
3-2: Valse-Caprice In D Major, Op.4 (A Tempo Rubato Non Troppo Mosso) (7:02)
: The Elms, Newport / 16 July 1997 ()
: Waltzes (16), Op.39 (Solo Piano Version) (18:48)
: Marble House, Newport / 16 July 1997 ()
: Bagatelles (6), Op.126 (16:43)
: Piano Sonata No.26 In E-flat Major, Op.81a "Les Adieux" ()
: Ochre Court, Newport / 13 July 1997 "Chopiniana" ()
: Four Preludes, From Op.28 : ()
: Three Waltzes : ()
: Two Nocturnes : ()
: Four Etudes, From Op.10 : ()
: Four Mazurkas : ()
4-18: Polonaise No.1 In C-sharp Minor, Op.26/1 (Allegro Appassionato) (5:24)
4-19: Ballade No.3 In A-flat Major, Op.47 (Allegretto) (7:10)
: Encores: Two Waltzes : ()
: The Breakers, Newport / 15 July 1997 ()
: Prelude And Fugue In E-flat Major, BWV 552 "St. Anne" ()
: Piano Sonata No.21 In B-flat Major, D.960, Op.Posth. ()
5-7: Encore: Moment Musical No.3 In F Minor, D.780, Op.94 (1:41)
: The Breakers, Newport / 10 July 1998 ()
: Piano Sonata No.13 In A Major, D.664, Op.Posth.120 ()
6-1: 6 M?llerlieder Von Franz Schubert, S.565 : 2. Der M?ller Und Der Bach ("Die Sch?ne M?llerin", D.795 No.19) (4:11)
6-2: 12 Lieder Von Franz Schubert, S.558 : 7. Fr?hlingsglaube (D.686) (3:16)
: 3 ?tudes De Concert, S.144 ()
6-6: Hungarian Rhapsody No.12 In C-sharp Minor, S.244/XII (8:30)
: 4 Impromptus, D.899, Op.90 ()
: Piano Sonata No.2 In G-sharp Minor, Op.19 "Sonata-Fantasy" ()
6-13: Encore: Waltz No.7 In C-sharp Minor, Op.64/2 (2:47)
: Alice Tully Hall, New York / 6 April 1997 ()
: Prelude And Fugue In E-flat Major, BWV 552 "St. Anne" ()
: Piano Sonata No.2 In G-sharp Minor, Op.19 "Sonata-Fantasy" ()
: Piano Sonata No.2 In B-flat Minor, Op.36 (2nd Version, 1931) ()
7-8: Encore: Waltz No.2 In A-flat Major, Op.34/1 "Valse Brillante" (4:40)
7-9: Encore: Waltz No.6 In D-flat Major, Op.64/1 "Minute Waltz" (1:36)
7-10: Encore: Song Without Words In C Major, Op.67/4 "Spinning Song" (1:38)
7-11: Encore: Waltz No.7 In C-sharp Minor, Op.64/2 (2:54)
7-12: Encore: Etude De Virtuosit? In F Major, Op.72/6 (1:39)
7-13: Encore: Waltz No.1 In E-flat Major, Op.18 "Grande Valse Brillante" (4:08)
7-14: Encore: Moment Musical No.3 In F-minor, D.780, Op.94 (1:42)
: Alice Tully Hall, New York / 11 March 1998 ()
: Piano Sonata No.31 In A-flat Major, Op.110 ()
: Fantasie In C Major, Op.17 ()
8-8: Encore: Etude No.4 In C-sharp Minor, Op.10/4 (1:58)
8-9: Encore: Romance In F-sharp Minor, Op.28 No.2 (Einfach) (3:25)
8-10: Encore: Waltz No.6 In D-flat Major, Op.64/1 "Minute Waltz" (1:37)
8-11: Encore: ?tincelles, Op.36 No.6 (From: 8 Morceaux Caract?ristiques) (1:36)
8-12: Encore: Seguidillas, Op.232 No.5 (From: Cantos De Espa?a) (2:40)
8-13: Encore: Vocalise, Op.34 No.14 (3:31)
8-14: Encore: Waltz No.7 In C-sharp Minor, Op.64/2 (2:54)
: WGBH Boston Radio "Classical Performances" By Richard Knisely ()
9-1: Introduction (1:06)
: Fantasie In C Major, Op.17 ()
9-5: Interview With Sergio Fiorentino ()
9-6: Waltz No.1 In E-flat Major, Op.18 "Grande Valse Brillante" (4:21)
9-7: Waltz No.7 In C-sharp Minor, Op.64/2 (3:03)
9-8: Signing-Off (1:09)
: WGBH Boston Radio "Classical Performances" By Alan McLellan ()
9-9: Introduction (0:59)
9-10: Ballade No.4 In F Minor, Op.52 (11:01)
9-11: Closing Commentary (0:41)
: Sergio Fiorentino Plays Yamaha Disklavier ()
9-12: Nocturne No.8 In D-flat Major, Op.27/2 (5:20)
9-13: Waltz No.5 In A-flat Major, Op.42 "Grande Valse" (4:39) |
 | | Extra-Infos: |
.. 1996-97-98 |
| | Description: | Sergio Fiorentino wurde vom Newport und New Yorker Publikum sofort geliebt. Kritiker aus Boston und New York schrieben, dass sein Spiel eine Rückbesinnung auf das goldene Zeitalter von Lhevinne, Godowsky und Rachmaninoff selbst war.
Sergio war groÃ?zügig mit seiner Zeit, seiner Kunstfertigkeit und seiner Sorge um andere. Seine Künstlerkollegen beim Festival verehrten ihn; ein erfahrener Pianist wollte sogar nach Neapel reisen, um bei ihm weiter zu studieren. Er war der Traum eines Impresarios: Er spielte immer wie ein Gott und hatte keine versteckten Pläne für persönliche Schwierigkeiten. Seine Bedürfnisse waren einfach: eine leichte Mahlzeit und ein Glas Cola. Er war tadellos gekleidet, obwohl sein Konzertanzug die Jahrzehnte überdauerte. Das Festival schenkte ihm einen neuen Frack, den er dankend annahm und der ihn nun daran erinnert, dass er sein allerletztes Konzert in diesem neuen Anzug spielte. Tatsächlich war das allerletzte Stück, das er öffentlich spielte, beim Newport Music Festival --- Beethovens Sonate Op.26, die prophetisch die "Marcia funebre sulla morte" enthält. - .. 1996-97-98Dr. Mark Malkovich III wrote of Sergio Fiorentino: "Sergio Fiorentino was one of the greatest pianists I have ever heard. I realize that this is a big statement, especially since my listening and loving pianists over a period of over half a century. I heard Backhaus, Cherkassky, Kapell, Landowska, Moiseiwitsch, Schnabel and Solomon. I knew Horowitz personally. And I introduced to America in their debut recitals such pianistic luminaries as Bella Davidovich, Andrei Gavrilov, Jean Philippe Collard, Mikhail Pletnev, Igor Zhukov, Ekaterina Novitskaya, Maria João Pires, Andrea Lucchesini and more than twenty others. I returned to America after absences of many decades such artist as Maria Tipo, Magda Tagliaferro, Dubravka Tomsi, Vlado Perlemuter and Dame Moura Lympany. But it was Sergio Fiorentino's return after forty odd years of first playing in New York City that brought me the greatest satisfaction and moved me deeply... Sergio was immediately loved by Newport and New York audiences. Critics from Boston and New York wrote that his was a throwback to the golden age of Lhevinne, Godowsky and Rachmaninoff himself. Sergio was generous with his time, his artistry and his concern for others... He was an impresario's dream: always playing like a god with no hidden agenda of personal difficulties... " The present release features 9 albums of live recordings made between 1996 and 1998.24 bit 96kHz remaster
Audio Source: Radio Broadcasts & Original Masters
Total Time 673:02
Recorded live:
The Newport Music Festival 28th Season
at [l1547079] on 8th July 1996 (tracks 1-1 to 2-2)
at Ochre Court on 10th July 1996 (tracks 3-1 to 3-2)
at [l1547079] on 13th July 1996 (tracks 2-3 to 2-5)
WGBH Radio Boston Broadcasts
on 12th July 1996 (tracks 9-1 to 9-8)
at [l436085], New York
on 6th April 1997 (tracks 7-1 to 7-14)
The Newport Music Festival 29th Season
at Wakehurst Tent on 12th July 1997 (tracks 2-6 to 2-8)
at Ochre Court on 13th July 1997 (tracks 4-1 to 4-21)
at [l1547079] on 15th July 1997 (tracks 5-1 to 5-7)
at The Elms on 16th July 1997 (tracks 3-3 to 3-18)
at Marble House on 16th July 1997 (tracks 3-19 to 3-27)
at [l1358153] 1997 (tracks 9-12 to 9-13)
at [l436085], New York
on 11th March 1998 (tracks 8-1 to 8-14)
WGBH Radio Boston Broadcasts
on 14th April 1998 (tracks 9-9 to 9-11)
The Newport Music Festival 30th Season
at [l1547079] on 10th July 1998 (tracks 5-8 to 6-13)
DAT master-tapes copies provided by Dr. Mark P. Malkovich III, owned by Sergio Fiorentino (CD1 - 6)
Private in-hall DAT recordings made by Donald "Don" Hodgman (CD7-8)
Sergio Fiorentino's private Archive copies, courtesy of Ernst A. Lumpe (CD9)
Mistake in booklet: On the disc tracks 4-5 and 4-7 are the other way around, i.e. 4-5 is the Waltz No.2 and 4-7 is the Waltz No.1"Live In USA 1996-97-98" on CD captures pianist Sergio Fiorentino in a series of rare live recordings from American concert stages. Across these performances, the Italian virtuoso reveals the full breadth of his musical personality: noble, architecturally clear readings stand alongside moments of spontaneous risk-taking, delicate pianissimo shading and eruptive climaxes. The album focuses on his core repertoire from the great Romantic and early modern masters, allowing listeners to experience how Fiorentino shapes long musical lines, balances structural clarity with emotional intensity and maintains an almost vocal singing tone in the upper registers of the piano. The live character of the recordings preserves the atmosphere of the hall, the energy of the moment and the direct communication with the audience - small details such as breathing pauses, longer silences and organic tempo shifts contribute to an authentic, unvarnished concert experience. For collectors and newcomers alike, this CD offers a concentrated portrait of a pianist whose art has always been valued by connoisseurs for its depth, integrity and freedom from superficial showmanship.
Sergio Fiorentino (1927-1998) is regarded as a cult figure among piano aficionados - a "pianist's pianist" whose reputation has grown steadily through studio and, above all, live recordings. Known for his natural technique, warm, noble sound and refusal to indulge in empty virtuoso effects, he devoted himself above all to the Romantic tradition. His interpretations have long circulated as insider tips and have contributed to a renaissance of interest in his work among historically minded listeners, critics and young pianists. This live album continues that legacy by highlighting the qualities that made his playing unique: an ideal blend of intellectual control and lyrical spontaneity.
The CD is released by Rhine Clas, a label that has made a name for itself with carefully curated, often rare classical recordings. With a clear focus on artistic substance and high archival and production standards, Rhine Clas tends to favour projects that preserve important concert moments and historically interesting interpretations. Instead of chasing short-lived trends, the label invests in detailed remastering and well-researched releases that appeal to listeners interested in long-term musical value and authenticity. "Live In USA 1996-97-98" fits perfectly into this philosophy, presenting preserved concert documents in a sound quality that allows the listener to come as close as possible to the immediacy of the original events. | | | Manufacturer No.: |
RH15 |
| Product Safety
Responsible Person for the EU:
Bertus Musikvertrieb
Bertus Musikvertrieb
Akeleibaan 59, 2908 KA Capelle aan den Ijssel, NL
service@bertus.com | |
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