SIMILAR ALBUM: bit.ly/-NAIPES
'Pianette' consists of a collection of solo piano compositions inspired by dreams and the bucolic fantasy of mechanical toys, the dolls, the essence of the circus and the puppets.
"Pianette is one again a milestone in the music genre" Gezeitenstrom Musik
Textura Mag. wrote: "A prettier collection of solo piano pieces than this new set by Bruno Sanfilippo would be hard to imagine"
"Bruno Sanfilippo has made my favourite work of his with ‘Pianette’. It’s unashamedly new-classical in its composition, eerie with its tense production and melodic dissonance and oh so subtle in how it uses the piano to create mechanical life. The piano is easily one of the most expressive instruments on Earth, so playing these two ideas off against each other has created an inspired album of muted greatness" by Simon Smith · Higher Plain Music
"La fragile esistenza delle bambole di porcellana, il fascino dei giochi meccanici, l'intima tristezza del clown che si esibisce in un circo, sogni dimenticati. A questo mondo è dedicato il nuovo delicato e intenso lavoro di Bruno Sanfilippo, tracce densamente abitate dalla tenerezza del ricordo legato alla magia che affollava il mondo di chi, ormai adulto, ha scordato di esser stato BAMBINO" by Rockerilla Mag.
"There is something comforting about starting the new year with a Bruno Sanfilippo release. January 1, 2018 saw the release of the single “Doll” followed by the albums “Unity” and “inTRO – Remastered and Expanded”. For January 1, 2019 Sanfilippo unveils his new album “Pianette” which includes “Doll”.
In previous reviews I have touched on Sanfilippo’s history and importance. At the age of 53 he shows no sign of slowing down and is able to balance being a prolific artist with being a consistently good one as well.
From the outset with the title track, Sanfilippo introduces a rich piano sound, one that has the starkness of the instrument removed, giving a slightly foggy, cloaked, but warm feel. The title track is romantic in its playing with Sanfilippo creating tones that are both deep, but also shimmering. Some solo piano pieces can use repeating structures or motifs to tell their story. With “Pianette” Sanfilippo has taken the listener on a journey while retaining small pieces of repeating motifs a signposts of the journey.
“Doll” the track is a meditative rolling piece that has a beautiful tone alongside its controlled playing that, while conveying an intention it is never forceful nor laid back. There is an organic feel to it with the slight sound of the parts of the piano (possibly hammers or dampers – being a non musician I can only guess). There is a certain degree of romance to the music, but also a feeling of hope. At no times is it melancholic, but just a pleasure to listen to. The feeling is of a musician in control of their art and this ease that he has comes across in the enjoyment for the listener.
“La Mariposa” picks up the speed and intent with long fluid lines before mixing with parts of sublime beauty and expressive playing. The feeling of the playing feels like moving from contemplation to whole-hearted joy.
“Marionette” at times sounds like piano and strings duo, but that is probably just the mics picking up the sound of the piano strings. With this track Sanfilippo attacks the piano, but not in a violent way. Some piano pieces such as this benefit from the artist fully committing themselves to the piece and with “Marionette” Sanfilippo does that. The weight and pressure applied to the keys results in a track that is insistent, emotive and follows a strong narrative with Sanfilippo’s playing emphasising the feeling embedded within the piece.
“Paloma” has a kind of swagger in the playing as if the music is moving side to side, buffeted by waves. I get the feeling of improvisation in the piece because of the way it moves. It could be that the subject to which it refers to is one of a distant memory and the movement of the piece indicates the mists of time and the effect memory plays upon people. By the end of the track the playing has become more focused and without the swagger of the opening. Possibly the memories have become more pronounced?
“Multicolour” feels like the listener is transported back in time to a more innocent period. A nice balanced mixture of hope and melancholy comes through in the playing, with the sound having an almost echoic quality and the piano feeling like it’s in a room by itself. The progressions are rhythmic and playful with a feeling of Sanfilippo being so comfortable that the music is playing itself.
“Empty Circus” and the following track “Tin Soldiers” shows a depth and control to the playing. By utilizing space and timing the mood that feels deeply introspective is held perfectly allowing for maximum impact. The music has a gentle rolling, flowing feel with a combination of fragility and strength being shown at different parts of the track. By making the piece minimal, Sanfilippo is able to extract maximum feeling from it.
“Wooden Toys” continues the romance heard throughout the album with a piece that sounds like a look back to a childhood with affectionate feelings. The music makes me feel like it is a balance of affection for a childhood toy mixed with the slight sadness that returning to such a fond time and place cannot happen.
“Dreams of an Elephant” sounds like a fairy tale. The tones of the piano are fragile and shimmering. The way the piece moves through its movements with a recurring theme gives it a cinematic and could be used in a nature documentary. It’s the kind of piece where you can look at the music and without a doubt state that the composer is adept at expressing a narrative through notes.
“ClarOscuro Solo Piano Version” sees a stripped back and shorter version of the track that appeared on the album of the same name. Minus the strings the track has the same sweeping beauty, but the stripped back nature has you focusing wholly on the piano. While the strings are missing there is still an epic feel to the track, which is dripping in emotion. The meaning behind the title is a reference to in art the use of contrasts between light and dark. This comes across in the music with its balance of deeper tones and light fragile ones interacting throughout the piece.
“Goodness” is a four-minute mini epic that nicely brings the collection to completion. Feeling like it has a post rock structure more than a modern classical one, it is a moving, winding piece of solo piano that takes you on a journey. The pacing and at times minimal playing elevates the piece and provides the contrasts for the music when Sanfilippo is in full flight. While the previous track was a reduction of sorts with the stripping back of the string section, this particular track is a piece that you could see being re-worked and expanded it on which would further increase the pleasure you get out if the piece. This is the type of track best suited for the end of a record as it leaves the listener in a good place with an expectation of where the artist will take them next. Analog mastered by Ian Hawgood with stunning package art by Larissa Kulik, with additional graphic design and layout by Nikki Snow, as well as art direction by Ximena Contreras, this album will not disappoint fans of Bruno Sanfilippo. I recommend listening in small batches to enjoy the beauty of the album. This album is available on CD/Digital with Sheet Music also available for those so inclined or talented. by Drifting, Almost Falling.
"Within the large family of composers of modern classical music, Bruno Sanfilippo is one who has taken the good habit to release, with a certain regularity, nice and elegant records. In 2018 we appreciated his intriguing and relatively experimental work named Unity and now, just at the beginning of the new year, we enjoy his brand new LP, named Pianette, which is more close to that current of minimalism that has been so successful in the recent years.
Sanfilippo’s biography says that the Argentinian musician graduated from the Galvani Conservatory in Buenos Aires with a degree in Musical Composition, and that since his early years he was influenced by classical composers such as Satie, Debussy and Ravel. In 2000 Sanfilippo left his native Country and moved to Barcelona, where he effectively started his career as composer. He evidently adapted the style of the masters to the simpler and more commercial tastes of the current audience of listeners and, as a matter of fact, all of his records have the merit of an absolute ease of listening. This approach is fully confirmed in Pianette. If, one one side, this is partly due to the essentiality of the pieces he wrote for the album, on the other hand it demonstrates the ability of Sanfilippo to compose melodic motifs that are fascinating and pleasant despite their intrinsic simplicity.
The attentive listeners, and especially those who have had any direct experience with the piano, will easily understand, however, that much of the charm and delicacy of Pianette are due to the soft and delicate effects that are applied on Sanfilippo’s instruments, in particular the subtle echoes and the mechanical repetitions that are generated on each note he plays. These, which appear at first as just small alterations of the sound of the piano, in the end contribute significantly to the dreamy atmospheres of the songs, and fill the void that we would hear between the notes if the same melodies were played on a non-prepared instrument. Beyond this effect, however, the melodic development of the songs of Pianette is extremely good, as well as the sensibility that’s used by Sanfilippo to move between major and minor scales. I believe that this specific aspect of his music is brilliant, and effective, and it has nothing to do with the “smart” mechanisms that he uses to process and improve the sound of the piano.
One of the things that I appreciate the most of Pianette is the general sense of kindness and elegance that emerges from the songs of the album. There is a stylistic coherence between the tracks that doesn’t become boring repetitiveness, and it’s really a pleasure to play the record in the background while we are busy in other activities. There are of course a few tracks that stand out over the others and which may capture our attention from what we’re doing in that moment. These include the first two songs of the album: the title track and the beatiful piece Doll, which is maybe one of the best of the entire album. The last song of the LP, named Goodness, highlights that capacity to move between major and minor scales that I was introducing before.
At the same time though, there are still a few pieces in Pianette which approach that dangerous boundary which exists between minimalism and extreme simplicity. But fortunately there is always something special in Sanfilippo’s music which precludes his songs to stay on the wrong side of the line" S.B.G by Guerino Giancola
"Kennt ihr das Gefühl, wenn in einem Film die Musik so unfassbar schön und packend ist, dass das visuelle Element komplett in den Hintergrund gerät und man sich vollends auf die Musik konzentriert?
In solchen Momenten besteht bei mir immer die Gefahr, dass ich mich in der Musik verliere und somit fast die Handlung des Films nicht mehr mitbekomme. So in etwa müsst Ihr Euch 'Pianette' von Bruno Sanfilippo vorstellen.
Wie ein Soundtrack zu einem melancholischen Film, den es nie gab. Vom ersten Klang des Pianos ist man gefangen in einer wundersamen Welt und der Komponist versteht es, über knapp 44 Minuten einen Spannungsbogen zu kreieren der jedem Fan der modernen Klassik die Tränen in die Augen treiben wird.
Schönheit und Größe werden hier als gleichberechtigte Zutaten perfekt zusammengeführt.
Der Opener und Titelsong versetzt einen in einen Trance-ähnlichen Zustand – ein Zustand der absoluten Entschleunigung gepaart mit wunderschönen Klaviermelodien die Melancholie atmen, aber niemals depressiv wirken. Leidenschaft und Wehmut werden hier auf schöne Art und Weise vertont. Das darauffolgende 'Doll' entführt einen in eine Märchenwelt – fast wie eine alte Spieluhr werden hier die Melodien auf dem Klavier gespielt. Verträumt und romantisch werden in dem Stück packende Melodien zum Besten gegeben.
Das recht kurze 'La Mariposa' wirkt seltsam verspielt und optimistisch und man wünscht sich es würde noch länger dauern. Bruno Sanfilippos spielerische Qualitäten werden hier absolut deutlich. Kein Ton zu viel und keiner zu wenig – ein perfekter Song.
'Marionette' hingegen wirkt irgendwie traurig, fragil und mächtig zugleich. In diesem Song wirken die dynamisch gespielten Parts wie eine Welle kurz bevor sie bricht. Mächtig. Das ergreifende 'Multicolor' bleibt sofort im Ohr hängen und überzeugt einen mit weiten Tonfolgen. 'Empty Circus' klingt genau so wie sein Titel und ich stelle mir vor wie ein Clown nach der Vorstellung alleine in der Manege steht. Mit einer Träne im Auge. Das Stück ist wirklich traurig.
Das zerbrechliche 'Tin Soldiers' wirkt in seiner Gelassenheit wie das Ende eines langen Tages. Ruhe kehrt ein und man entspannt.
Einzelne Songs aus diesem Meisterwerk hervorzuheben ergibt eigentlich keinen Sinn – dieses Werk ist dafür gemacht um es an einem Stück genießen zu können.
Es schimmert durchgehend eine Art von Hoffnung durch 'Pianette'.
Bruno Sanfilippo glänzt auf seinen Stücken sowohl mit seiner Virtuosität als auch mit seinem unglaublichen Gespür für harmonische Melodieführungen. Dabei atmen alle 12 Stücke eine besondere Intimität – der Hörer / die Hörerin scheint fast mit Herrn Sanfilippo im selben Raum zu sitzen. Fans der ruhigen Pianoklänge kommen hier absolut auf ihre Kosten. Erscheinen wird „Pianette“ am 1. Januar 2019 und ist damit das erste Highlight des neuen Jahres. Klare Kaufempfehlung! by Pretty in Noise
"Meistens wird der argentinische Pianist und Komponist Bruno Sanfilippo der zeitgenössischen klassischen Musik zugerechnet. In die Ecke gehört er genauso (oder genauso wenig) wie Chilly Gonzales, Hauschka oder Keith Kenniff, der seine verträumten Klavierstücke unter dem Namen Goldmund veröffentlicht. Es gibt inzwischen eine ganze Reihe von Klaviersolisten, die ihre Einflüsse durchaus aus der Klassik beziehen, vor allem Frédéric Chopin und Erik Satie sind als Paten oft rauszuhören, gelegentlich auch Philip Glass und Steve Reich. Ob man das aber jetzt im eigentlichen Sinne klassische Musik nennt oder eher Instrumentalpop oder noch mal ganz was anderes, ist eine sehr akademische Frage. Auf seinem neuen Album "Pianette" entwirft Sanfilippo Miniaturen, sehr zart, sehr behutsam, über ein freundliches Adagio geht es nie hinaus. Melodien doppelt er gern in Oktaven, darunter perlen sachte die Akkorde, manchmal steht er mit einem Bein schon halb im "Ave Maria". Er zeigt zwar weder den Mut von Hauschka, noch den Witz von Gonzales. Aber Romantiker, die sich an ihrem Soundtrack zur "Fabelhaften Welt der Amélie" langsam sattgehört haben, könnten mit "Pianette" glücklich werden" Süddeutsche Zeitung by Max Fellmann
"Nei suoi prolifici itinerari tra minimalismo neoclassico e modernità elettronica, Bruno Sanfilippo ripiega adesso sull’essenzialità del pianoforte per dare libero sfogo agli aspetti più istintivi e candidi della ispirazione.
Lo stesso compositore argentino presente infatti “Pianette” come una raccolta di pièce derivanti da una comune matrice concettuale, che lega sogni e fantasie bucoliche al mondo incantato delle bambole e dei giochi meccanici. Meccanici e perfetti nelle loro ripetizioni sono appunto i movimenti che generano i suoni del pianoforte, le cui armonie diventano a loro volta magiche e immateriali come i sogni. Non è nemmeno necessario scorrere titoli quali “Doll”, “Marionette”, “Wooden Toys”, “Tin Soldiers” o “Dreams Of An Elephant” per cogliere l’immaginario sotteso a tutti i dodici brani: fragile, sognante ma anche in qualche misura spettrale.
Scivolando idealmente sulle superfici levigate di bambole antiche o insinuando le proprie risonanze tra ingranaggi misteriosi, le note stillate dal pianoforte di Sanfilippo creano un microcosmo di delicata quanto irreale perfezione. Proprio la consapevolezza adulta della natura fantastica di un mondo popolato da simulacri e sogni infantili dotano le composizioni di “Pianette” di una sottile inquietudine, pressoché indistinguibile dalla loro aggraziata natura armonica.
Alla ricorrente ripetitività dei dischi di “piano solo”, Bruno Sanfilippo oppone così la rigenerante freschezza di una capacità espressiva, nell’esecuzione e nelle tecniche di registrazione, che con estrema naturalezza traduce l’immaginario in suono. by Music won't save you