Brahms the Progressive, Vol. 2 Pina Napolitano

• Anton Webern (1883 - 1945): Concerto for Nine Instruments, Op. 24:
• 1 Webern: Concerto for Nine Instruments, Op. 24: I. Etwas Lebhaft 03:09
• 2 Webern: Concerto for Nine Instruments, Op. 24: II. Sehr Langsam 03:19
• 3 Webern: Concerto for Nine Instruments, Op. 24: III. Sehr Rasch 01:25
• Johannes Brahms (1833 - 1897): Piano Concerto No. 2 in B-Flat major, Op. 83:
• 4 Brahms: Piano Concerto No. 2 in B-Flat major, Op. 83: I. Allegro non troppo 18:36
• 5 Brahms: Piano Concerto No. 2 in B-Flat major, Op. 83: II. Allegro appassionato 09:48
• 6 Brahms: Piano Concerto No. 2 in B-Flat major, Op. 83: III. Andante 12:35
• 7 Brahms: Piano Concerto No. 2 in B-Flat major, Op. 83: IV. Allegretto grazioso - Un poco più presto 09:56
• Total Runtime 58:48

Info for Brahms the Progressive, Vol. 2

For the exceptional Italian pianist Pina Napolitano, there is no better way of looking at art and history than through the lens of inverted time, from the present to the past. This is what Schoenberg invites us to do in his essay, 'Brahms the Progressive', in which Brahms, often considered a musical "conservative", becomes instead the father of modernism. This provides the inspiration behind this album, the sequel to 'Brahms the Progressive' Volume 1: traversing time in two directions, looking at Brahms from the perspective of the modern Viennese, and looking at the Second Viennese School from the perspective of Brahmsian romanticism.

For Pina Napolitano there are romantic echoes in the works of the Second Viennese School; an enormous expressive force distilled and compressed, all the way up to Webern's rarefied language where even the silences are charged with music and significance. And on the other hand she has always perceived Brahms's music as a magical prism, in which an entire musical past (encompassing Bach, Beethoven, Chopin, Schumann) merges together, before breaking off into rivulets that will give birth to 20th-century music.

Whereas 'Brahms the Progressive' Volume 1 focussed on solo piano repertoire, Volume 2 expands into the realm of the concerto. Pina Napolitano is joined by the Lithuanian National Symphony Orchestra and conductor Modestas Pitr 279;nas for the sparkling, kaleidoscopic 'Concerto', Op. 24 by Webern and the expansive, delectable Piano Concerto No. 2 by Brahms. Both works, as Pina Napolitano puts it in her artist statement in the album booklet, possess "the same deep structures and musical logic. They address the same problems of musical construction: the perfectly economic use of classical forms, the absolute concision the presentation of musical material in crystal-like formations"

Listening to these works side by side illuminates both in new ways, creating two-way context as these masters seemingly reach out to one another across time, Brahms anticipating Webern and Webern, via his teacher Schoenberg, acknowledging Brahms, the progressive.

Pina Napolitano, piano
Lithuanian National Symphony Orchestra
Modestas Pitrėnas, conductor

Pina Napolitano
made a splash with this debut CD in 2012: Norman Lebrecht shortlisted it for his Sinfini Music Album of the Year; Guy Rickards in International Piano Magazine called the CD “outstanding”, citing the “tensile strength to her playing that is distinctly hers”, and Calum MacDonald in BBC Music Magazine gave it five stars for its “rare penetration, understanding, grace and elegance”.

Pina Napolitano is, through her teacher Bruno Mezzena, a grand-student of Arturo Benedetti Michelangeli. Her recent focus has been the music of the Second Viennese School, which she considers not as a primarily intellectual venture, but a highly emotional and expressive one – “wholly saturated with expression” (Österreichische Musikzeitschrift), a “perfect conjunction between microcellular dissection and almost heartbreaking expressive sensitivity” (Ritmo), a “heady romanticism both irresistible and unsettling” (Arts Desk).

She is especially interested in the retrospective view looking from today, via early modernism, at the works of the romantic and classical period. She enjoys programming the music of Schönberg, Berg and Webern alongside works of Mozart and Brahms for instance. Not only does she impress her public with intellectual clarity, elegance and beauty of tone, but also with her virtuosity and an unusual feat of memory: she plays everything by heart – not to impress her public, but to create an atmosphere of utmost concentration, that, in her own experience, captures the public’s intense attention throughout.

Her second disc Elegy was built around the Schoenberg and Bartok Third Piano Concerto. “Pina Napolitano allows the listener to be able to feel utterly at home in the work with what seems like little effort” (Gramophone), “a performance as musical as it is crystalline” (Thierry Vagne), “proof that dodecaphonic music can be both melodic and moving” (Graham Rickson), “a little as if we were dealing with scores of the nineteenth century reshaped into modern works” (Crescendo), “an account no less impressive than Uchida’s or Brendel’s…” (Guy Rickards, Musical Opinion).

Her enthusiasm for the Schönberg concerto led to the commission of a chamber reduction of the work, arranged by Hugh Collins Rice, which she premiered at the Ehbarsaal in Vienna in February 2015 with the New Vienna International Symphony Orchestra, under the baton of Georgi Nikolov. The arrangement was performed in Italy with Colibrì Ensemble in 2016, with Yoichi Sujiyama directing, and in 2017 with Facade Ensemble with Benedict Collins Rice directing for a tournée of performances in England stopping at Oxford’s Sheldonian, Cambridge West Road Concert Hall, and London Cadogan Hall. She will record the arrangement in January of 2020 with Musica Ricercata and Gabriel Bebeselea, and she is programmed to perform the full original version in February 2020 in Milan with Orchestra Sinfonica LaVerdi with Pietro Borgonovo directing.

Her third disc Brahms the Progressive explores the connections between late Brahms and the Second Viennese School. “Napolitano’s touch, which is at once forceful and seductive, helps bind everything together on this very enjoyable disc,” (Michael Church, BBC Music Magazine), “a masterful disc… where the fullness of timbres is matched only by the mastery of musical conception” (Thierry Vagne). “Superbly produced, recorded and with carefully considered repertoire, this is a disc of intense, infinitely rewarding music… This is great Brahms, up there with Gilels” (International Piano). “These seven beautifully played works seek to illustrate the titular essay by Schoenberg… The segue from his Op 27 Variations back into the tonal paradise of late Brahms is poignant” (Sunday Times), ” what a magical transition!…” (Gramophone), “the deep Brahmsian affinities of Berg and Webern feel neither forced nor artificial” (Diapason 5*), in a performance of “incredible sensitivity, understanding, elegant and expressive playing…” (MDR). Her “aerial playing, especially noticeable in Berg’s sonata No. 1, works wonders… Through this disc, the pianist tells us that the past never dies. And we can only agree…” (Hebdoscope). “Echoes of the past and reflections on modernity are at once conservative in form and progressive in style” (PianoNews). In a raving review of her performance at St John’s Smith Square Mark Berry wrote “Nothing was overstated: instead, we were made to listen.” The disc was awarded the 2018 August “Record Geijutsu” in Japan, 5 Stars in UK’s International Piano Magazine, and Five Diapasons in France.

After studying with Giusi Ambrifi in her native Caserta near Naples, she attended masterclasses with Tibor Egly, Bruno Canino, Alexander Lonquich, Giacomo Manzoni, and Hugh Collins Rice. She graduated in Piano Solo Performance and in 20th-Century Piano Music with Bruno Mezzena at the Pescara Music Academy. She also earned two B.A.s from the University of Naples “L’Orientale” in Classical Philology and Slavistics, and then a doctorate in Slavistics with a thesis on the poetry of Osip Mandel’štam which won the 2011 Italian Slavists’ Association prize. She published an article on the Šostakovič cycle Op. 143 “Six poems of Marina Cvetaeva” in which she explored the connections between the poetic and musical text, and she translated for the first time into Italian the notebooks of Marina Cvetaeva for Voland Edizioni, awarded the 2014 “Premio Italia-Russia. Attraverso i secoli” for best debut translation at a ceremony at Villa Abamelek, the Russian Embassy, Rome. Her book Osip Mandel’štam: i Quaderni di Mosca was published by Firenze University Press in 2016 in the Studi Slavistici series.

Her music has been broadcast by Radio France Classique and Rai Radio 3, and presented live multiple times by BBC3, Rai Radio 3, including for the Concerti del Quirinale. Alongside her performance activity, she has taught at the Conservatorio Santa Cecilia in Rome, the Istituto Statale Superiore “Gaetano Braga” in Teramo, and she currently teaches at the Conservatory of Vibo Valentia, as well as regular masterclasses in Europe and Russia. She offers quarterly workshops in translations at the Istituto di Cultura e Lingua Russa, Rome on literary translation from Russian to Italian, and continues to work as a literary translator. She frequently serves as a jury member to international competitions.

Her next solo album, to be released in 2020, will be entitled Tempo e Tempi, and will feature Elliott Carter’s Night Fantasies and Two Thoughts about the Piano, alongside Beethoven’s Sonatas Opp. 110 and 111. This season will also hear her perform Brahms Piano Concerto No. 2 in Spain and Lithuania, to be recorded together with the Webern Concerto Op. 24 with the Lithuanian Philharmonic Orchestra with Modestas Pitrenas directing.

This album contains no booklet.