Pianette

Recorded and mixed by Bruno at Onix II Studio · Barcelona
Art Direction by Ximena Contreras [ad21]
Analog Mastered by Ian Hawgood, Warsaw, Poland
Cover image and inside CD & Sheet Music Book by Larissa Kulik
Score arranged by Chelo Alberti
Graphic design & layout by Nikki Snow #BNBA, Moscow, Russia

Release date: 1st January 2019 by ad21

CD:
Bandcamp | StashedGoods | Norman Records | Denovali  | Lykkeling Japan | X-Rec

Also available digitally from:
Bandcamp | Itunes |Amazon.comSpotify | Deezer | Tidal

SHEET MUSIC BOOK
Bandcamp


Pianette
Doll
La Mariposa
Marionette
Paloma
Multicolor
Empty Circus
Tin Soldiers
Wooden Toys
Dreams Of An Elephant
ClarOscuro Solo Piano Version
Goodness

‘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.


Reviews


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!

PrettyInNoise by Jan Platek

2018-01-01T01:00:25+00:00

PrettyInNoise by Jan Platek

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....
Wortspiel mit viel Sinnbildhaftigkeit
Die letzte Review 2018 ist zugleich ein perfekter Einstieg für das neue Jahr. Um ehrlich zu sein, besser kann 2019 nicht beginnen, als mit herzergreifenden Klaviersonaten vom Komponisten Bruno Sanfilippound dem neuen Werk „Pianette“. Es ist ein Album, dass moderne Klassik neu definieren kann, auf eine Weise, wie es nur Musiker können, die ihr komplettes Herzblut in die Kompositionen einfließen lassen. Mit Licht und natürlich die Schatten. Bruno Sanfilippo hat schon viele Alben herausgebracht, doch Pianette avanciert neben „The Poet“ zu seinen persönlichen Meisterwerken vom gebürtigen Argentinier. Das mit Recht, Pianette ist die Seele wahrer Klavierkunst.






Vorstellen muss man Bruno Sanfilippo nun wirklich nicht mehr. Gleich zwei Alben haben eine eigenständige Handschrift in diversen Musikbereichen hinterlassen. Das klassische „Unity“ ist die „Einheit“ von Kunst und Gefühlen. Sie malt Dir viele Gedanken in den Kopf und bringt Erinnerungen zurück. Das letzte Werk „InTRO“ ist expressionistischer und philosophischer, mit Ansätzen im elektronischen Ambient, bei dem das Thema Traum und Deutung in den Vordergrund gerückt ist. Auch Pianette folgt einem Konzept, eines das man als Hörer auch erkennen kann, ohne vorab sich mit dem Album beschäftigt zu haben. Es ist eine Geschichte, die der Komponist erzählen möchte. Auf seine ganz spezielle Art und Weise. Bühne auf also für ein sinnliches, akustisches Puppentheater.

Perfekte Symbiose aus Klavier und der Seele



Tatsächlich bewegen sich beide Ebenen des schönen Wortspiels von Piano und Marionette auf einer erhabenen Bühne der klassischen Musik in der modernen Gegenwart. Der kindliche Geist von Neugier und Unbeschwertheit findet sich in jeden der 12 Stücke wieder. Bukolische Nostalgie könnte man hier als Sammelbegriff einsetzen. Bereits bei den ersten Melodien vom Album, wird man sofort gefangengenommen von Charme und Charakteristik vom neuen Werk. Bruno Sanfilippo‘s Liebe zur Neoklassik bringt er auf einem gefühlsbetonten Spiel auf dem Klavier sehr authentisch herüber, die Akzentverschiebung reicht von fragil, intim und beseelt bis hin zu verträumten und melancholischen Klangteppichen. Die Agogik besteht aus Klangästhetik mit leicht verspielten Artikulationen. Die Klaviersonaten sind durchtränkt mit Empathie und herzergreifenden Arrangements am Klavier. Traum erfüllte Sequenzen voller Wehmut und Gefühl, eine nahezu perfekte Symbiose aus Klavier und der Seele vom sympathischen Pianisten.

Doch Pianette hat auch eine andere Seite. Es gibt durchaus Menschen, die beim Anblick von Puppen oder Clowns nicht verzückt - sondern eher verstört, ängstlich oder noch dunklere Gefühlsausbrüche bekommen. Selbst diese Emotionen wurden auf dem Album tiefgründig in den Klangstrukturen verarbeitet. Es sind Sprünge der Tonleiter zwischen Dur und Moll- Tastenanschlägen am Klavier, aber immer mit tiefster Harmonie verbunden. Beide Seiten, das kindhafte, aber auch eine gewisse Schwerkraft sind Eckpfeiler auf dem neuen Werk. Trotzdem ist der bindende Unterstrich eine gewisse positive Aura mit cineastischer Schärfe. Erinnerungen an die schöne Kindheit sind sicherlich das wertvollste Gut, das wir in uns Tragen. Pianette, kann diese Erinnerungen mit Leichtigkeit in unser Herzen streuen, dazu noch ein kleines Lächeln in das Gesicht.

Klassische Klavierkunst, makellos und voller Schönheit



Wie erwähnt finden 12 Stücke den Platz auf dem Album, die Spielzeit ist mit 43. Minuten sehr ordentlich ausgefallen. Da das Werk einem Konzept folgt, muss und braucht man keinen Song extra herausgreifen als Albumhighlight, das komplette Album wirkt sehr ausgefeilt und bringt viele Gefühle in einem hervor. Jeder Song behandelt das Thema auf seine eigene Weise. „La Mariposa“ umschreibt die kindlichen Tugenden wie der unbeschwerte Tanz der Schmetterlinge in der Morgendämmerung. „Tin Soldiers“ ist etwas ernster und tiefer, ein prädestiniertes Stück zum Nachdenken. „Doll“ und „WoddenToys“ umfassen die hellen und dunklen Aspekte auf dem Album am besten, während „Empty Circus“ sehr in Richtung von Einsamkeit und Verlust geprägt wurde. Viele Facetten hat Pianette zu bieten und trotzdem ist die pianistische Einheit nahe der Vollkommenheit.

Als Fazit bleibt, Klavier und Bruno Sanfilippo sind schon lange in einer festen Beziehung aus Liebe zur Musik. "Pianette" darf man als klassische Klavierkunst auffassen, sie ist makellos und voller Schönheit. Vielleicht auch die richtige Innovation, das neue Jahr mal mit ruhigen und nachdenklichen Tönen einzuleiten. Denn diese zeitlose Musik ist ein weiterer Beweis für die absolute Daseinsberechtigung des Musikgenres in Zeiten von Pop und Kommerz. Pianette ist wie Balsam, dass sich akustisch auf unsere Seele legt, nicht mit den Gefühlen des Hörers spielt. Man selbst hält alle Faden in der Hand und ist sein eigener Puppenspieler. Wie vom Komponisten es erhofft wurde. Veröffentlicht wird Pianette am 01. Januar 2019 über das hauseigene Label AD21 und erhält selbsterklärend eine Empfehlung von uns.

Gezeitenstrom Musikmagazin

2019-01-01T01:00:44+00:00

Gezeitenstrom Musikmagazin

Wortspiel mit viel Sinnbildhaftigkeit Die letzte Review 2018 ist zugleich ein perfekter Einstieg für das neue Jahr. Um ehrlich zu sein, besser kann 2019 nicht beginnen, als mit herzergreifenden Klaviersonaten vom Komponisten Bruno Sanfilippound dem neuen Werk „Pianette“. Es ist ein Album, dass moderne Klassik neu definieren kann, auf eine Weise, wie es nur Musiker können, die ihr komplettes Herzblut in die Kompositionen einfließen lassen. Mit Licht und natürlich die Schatten. Bruno Sanfilippo hat schon viele Alben herausgebracht, doch Pianette avanciert neben „The Poet“ zu seinen persönlichen Meisterwerken vom gebürtigen Argentinier. Das mit Recht, Pianette ist die Seele wahrer Klavierkunst. Vorstellen muss man Bruno Sanfilippo nun wirklich nicht mehr. Gleich zwei Alben haben eine eigenständige Handschrift in diversen Musikbereichen hinterlassen. Das klassische „Unity“ ist die „Einheit“ von Kunst und Gefühlen. Sie malt Dir viele Gedanken in den Kopf und bringt Erinnerungen zurück. Das letzte Werk „InTRO“ ist expressionistischer und philosophischer, mit Ansätzen im elektronischen Ambient, bei dem das Thema Traum und Deutung in den Vordergrund gerückt ist. Auch Pianette folgt einem Konzept, eines das man als Hörer auch erkennen kann, ohne vorab sich mit dem Album beschäftigt zu haben. Es ist eine Geschichte, die der Komponist erzählen möchte. Auf seine ganz spezielle Art und Weise. Bühne auf also für ein sinnliches, akustisches Puppentheater. Perfekte Symbiose aus Klavier und der Seele Tatsächlich bewegen sich beide Ebenen des schönen Wortspiels von Piano und Marionette auf einer erhabenen Bühne der klassischen Musik in der modernen Gegenwart. Der kindliche Geist von Neugier und Unbeschwertheit findet sich in jeden der 12 Stücke wieder. Bukolische Nostalgie könnte man hier als Sammelbegriff einsetzen. Bereits bei den ersten Melodien vom Album, wird man sofort gefangengenommen von Charme und Charakteristik vom neuen Werk. Bruno Sanfilippo‘s Liebe zur Neoklassik bringt er auf einem gefühlsbetonten Spiel auf dem Klavier sehr authentisch...
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”.

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.”

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.

DRIFTING , ALMOST FALLING

2019-01-01T01:00:30+00:00

DRIFTING , ALMOST FALLING

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”. “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.” 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...
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.

music won't save you

2019-01-01T10:25:31+00:00

music won't save you

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.
Creating creepy toys from pianos
Making the piano mechanical

Bruno Sanfilippo’s piano-based music continues to oscillate around melodic or atmospheric moods and with his new album released on New Years Day called ‘Pianette’, he returns back to the more melodic side of his compositions.

‘Pianette’, as an album, is the most structured and melodic of Bruno’s work for some time. There is a music box and ballet-like quality to the majority of the tracks and that’s clear from the opening title track. This is because the album itself is inspired in part by mechanical toys. It sets the tone of lush but dampened melodies, quietly beavering away under the surface. It also sets the pattern for the chords and notes being used as often at points during each track the music veers into a slight dissonance of chord change that makes you feel like something is beautiful – but not quite right. It’s a gentle curious mark that draws you into so many of the pieces such as ‘Paloma’ which revels in that state.

Bruno Sanfilippo
Bruno Sanfilippo
As the album moves forward we also start to dive inside the piano with its intimate microphone set up. ‘DOLL’ feels percussive with its stops, hammers and dampeners alluding to that mechanical toy feel. ‘Marionette’ sounds like there is a guitar playing too but its all in the pianos internals. It’s not quite like a prepared piano, but the softness of the sound really helps craft the tracks where this type of audio production is used. The album refuses to build up or slow down too much – it has an intensity to it that reminds me of old Europe and that comes home in the closing track ‘Goodness’ which is as close to a dramatic finale as the album gets.

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.

Recommended track: DOLL

HIGHER PLAIN MUSIC

2019-01-03T10:39:33+00:00

HIGHER PLAIN MUSIC

Creating creepy toys from pianos Making the piano mechanical Bruno Sanfilippo’s piano-based music continues to oscillate around melodic or atmospheric moods and with his new album released on New Years Day called ‘Pianette’, he returns back to the more melodic side of his compositions. ‘Pianette’, as an album, is the most structured and melodic of Bruno’s work for some time. There is a music box and ballet-like quality to the majority of the tracks and that’s clear from the opening title track. This is because the album itself is inspired in part by mechanical toys. It sets the tone of lush but dampened melodies, quietly beavering away under the surface. It also sets the pattern for the chords and notes being used as often at points during each track the music veers into a slight dissonance of chord change that makes you feel like something is beautiful – but not quite right. It’s a gentle curious mark that draws you into so many of the pieces such as ‘Paloma’ which revels in that state. Bruno Sanfilippo Bruno Sanfilippo As the album moves forward we also start to dive inside the piano with its intimate microphone set up. ‘DOLL’ feels percussive with its stops, hammers and dampeners alluding to that mechanical toy feel. ‘Marionette’ sounds like there is a guitar playing too but its all in the pianos internals. It’s not quite like a prepared piano, but the softness of the sound really helps craft the tracks where this type of audio production is used. The album refuses to build up or slow down too much – it has an intensity to it that reminds me of old Europe and that comes home in the closing track ‘Goodness’ which is as close to a dramatic finale as the album gets. Bruno...
Esiste una sorta di inquietudine nascosta nelle bambole un tempo usate dalle nostre nonne, una tristezza permeata di romantica solitudine nascosta sotto la diafana bellezza dei volti immobili che incorniciavano occhi enormi come l'immaginazione delle bimbe che le tenevano tra le braccia. 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.

Rockerilla - Mirco Salvadori

2019-01-07T21:52:42+00:00

Rockerilla - Mirco Salvadori

Esiste una sorta di inquietudine nascosta nelle bambole un tempo usate dalle nostre nonne, una tristezza permeata di romantica solitudine nascosta sotto la diafana bellezza dei volti immobili che incorniciavano occhi enormi come l'immaginazione delle bimbe che le tenevano tra le braccia. 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.
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

2019-01-17T11:07:49+00:00

S.B.G by Guerino Giancola

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...
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

2019-01-17T17:28:26+00:00

Süddeutsche Zeitung  by  Max Fellmann

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.
Pianette ad21 siste una sorta di inquietudine nascosta nelle bambole un tempo usate dalle nostre nonne, una tristezza meata di romant a solitudine nascosta sotto la dialana bellezza ormi come dei volti imm l ili che incorniciavano occhi en l'immagina ione delle bimbe che letenevano tra le b fragile esis enza delle bambole di porcellana, il faing dai giochi meccanic l'intima tristezza del clown che si isce in in circo, sogni dimenticati.A questo mondo è dedic nuovo ualicato e intenso lavoro di Bruno Sanfilippo, tracce ceneamente abitate dalla tenerezza del ricordo legato alla mondo di chi, ormai adulto, ha scordat desser stato BAMBINO.

Rockerilla Magazine by Mirco Salvadori

2019-01-22T12:03:48+00:00

Rockerilla Magazine by Mirco Salvadori

Pianette ad21 siste una sorta di inquietudine nascosta nelle bambole un tempo usate dalle nostre nonne, una tristezza meata di romant a solitudine nascosta sotto la dialana bellezza ormi come dei volti imm l ili che incorniciavano occhi en l'immagina ione delle bimbe che letenevano tra le b fragile esis enza delle bambole di porcellana, il faing dai giochi meccanic l'intima tristezza del clown che si isce in in circo, sogni dimenticati.A questo mondo è dedic nuovo ualicato e intenso lavoro di Bruno Sanfilippo, tracce ceneamente abitate dalla tenerezza del ricordo legato alla mondo di chi, ormai adulto, ha scordat desser stato BAMBINO.
Завораживающий релиз Бруно Санфилиппо — композитора и пианиста итальянского происхождения. Виртуозное сочетание классических канонов, минимализма и электронной музыке.

ELLE Russia

2019-01-22T12:05:19+00:00

ELLE Russia

Завораживающий релиз Бруно Санфилиппо — композитора и пианиста итальянского происхождения. Виртуозное сочетание классических канонов, минимализма и электронной музыке.

A prettier collection of solo piano pieces than this new set by Bruno Sanfilippo would be hard to imagine. The Barcelona-based pianist and composer wrote, performed, and produced the twelve settings, making Pianette not just a flattering account of his playing ability but his melodically rich writing, too. He drew for inspiration from dreams for the project and, rather more unusually, mechanical toys, dolls, the circus, and puppets. It's a rather incidental point, however, as the material's purely instrumental design means that whatever connection an individual piece has to the theme is circumscribed only by its track title and, less limitingly, mood and character.


While some Sanfilippo releases have augmented his piano with electronic treatments, Pianettepresents his elegant playing in its purest form, and a lovely presentation it is. Most pieces are song-length, most hovering in the three- to four-minute range and only one, “Doll,” nudging past five. Many of the same adjectives applicable to his earlier piano output—delicate, dreamlike, melodious, soothing, graceful, fragile—apply here, too; Pianette is also intimate, so much so that the creak of the instrument's bench is audible at the end of the title track. While a high quality is maintained throughout, some tracks leave a greater mark, among them the lilting “Multicolor” and a stirring solo piano treatment of “ClarOscuro” (a strings-enhanced version of the track appeared on the 2014 album of the same name).


If Sanfilippo's attempting to realize in musical form an inanimate creature's inner world in “Doll,” said world would appear to be one marked by melancholy, even sorrow, given the pensive mood. “Marionette,” by comparison, is less sorrowful than wondrous, so much so that one imagines the puppet in this case taking in the world around it with joy and amazement. Sanfilippo also tries to project himself inside a fellow sentient being for “Dreams of an Elephant,” with the music's subtle hint of liberation suggesting a creature imaging the experience of unrestricted freedom, maybe even flight.


Sanfilippo's amassed a considerable discography over the years, which could make choosing an optimal entry point a challenge for the listener coming to his material for the first time. Pianette would certainly appear to be an excellent way in, considering how listenable and accessible its material is.

Textura.org

2019-03-05T13:36:48+00:00

Textura.org

A prettier collection of solo piano pieces than this new set by Bruno Sanfilippo would be hard to imagine. The Barcelona-based pianist and composer wrote, performed, and produced the twelve settings, making Pianette not just a flattering account of his playing ability but his melodically rich writing, too. He drew for inspiration from dreams for the project and, rather more unusually, mechanical toys, dolls, the circus, and puppets. It's a rather incidental point, however, as the material's purely instrumental design means that whatever connection an individual piece has to the theme is circumscribed only by its track title and, less limitingly, mood and character. While some Sanfilippo releases have augmented his piano with electronic treatments, Pianettepresents his elegant playing in its purest form, and a lovely presentation it is. Most pieces are song-length, most hovering in the three- to four-minute range and only one, “Doll,” nudging past five. Many of the same adjectives applicable to his earlier piano output—delicate, dreamlike, melodious, soothing, graceful, fragile—apply here, too; Pianette is also intimate, so much so that the creak of the instrument's bench is audible at the end of the title track. While a high quality is maintained throughout, some tracks leave a greater mark, among them the lilting “Multicolor” and a stirring solo piano treatment of “ClarOscuro” (a strings-enhanced version of the track appeared on the 2014 album of the same name). If Sanfilippo's attempting to realize in musical form an inanimate creature's inner world in “Doll,” said world would appear to be one marked by melancholy, even sorrow, given the pensive mood. “Marionette,” by comparison, is less sorrowful than wondrous, so much so that one imagines the puppet in this case taking in the world around it with joy and amazement. Sanfilippo also tries to project himself inside a fellow sentient...