Carlo,who in his formative years performed regularly in the Ghione Theatre choosing stimulating programmes from his vast repertoire most of them available now on you tube.
It was on the occasion of the Keyboard Trust Festival in Aquila in May 2013 that we met Carlo again .We were there to bring some music into the lives of that earthquake stricken city,in a hall designed by Renzo Piano given to the populous by the city of Trento.I think we managed to give some hope and joy not only to the people of Aquila but also to Carlo who was with his dying mother.
A Mass for his mother today was followed by music – Carlos own particular way of honouring his beloved mother.
Two pre world premieres, nothing less,prior to the official world premiere at theLincoln Centre this coming Autumn.
For Carlo has in the past year given a series of major recitals in New York,Vienna and Prague hailed by the critics and colleagues alike.
Adolphe,an American composer,had imagined how Chopin would have perceived his Nocturnes and Mazurkas if he had lived in New York .Some beautiful sounds and vaguely recognisable the Mazurka op 17 n.4 in between jazz idioms .
This was followed by a monumental performance of the Chopin 24 Preludes .It was as though Chopin this time had paid a visit to Bonn,Wonderful cantabile tone and sense of balance but not a trace of the sentimental that can very often belittle this masterpiece. Never has the 9th or the 20th Preludes sounded so Beethovenian in it majestic architectural shaping.The dotted rhythms in the 3rd , 9th and elsewhere very similar to Rubinsteins way of slightly accenting the short notes ,obviously originating from the Polish dance rhythms.The pivot point of the Preludes in Carlo’s highly stimulating and original reading being n.17 leading after a transcendental 22nd octave prelude inevitably leading on from the most noble and majestic 20th prelude that I have ever heard .The ending of course, at this point had all the heroism of the Revolutionary