When the Queen of the Keyboard greets the Prince of Pianos there is the magic of a lifetime in music that ignites the air. The musical world congregated in Pescara to salute and thank Angelo Fabbrini in his 90th year ! A duo recital between friends to celebrate the 90th year of Angelo Fabbrini and the 100th anniversary of Fabbrini pianos founded by Angelo’s father Giulio.
A spontaneous concert of music making to honour and celebrate a man who has dedicated his superb artistry to some of the greatest pianists of our time escorting them around the globe offering a finely tuned piano that could even satisfy Arturo Benedetti Michelangeli.I would often see Angelo Fabbrini tuning the piano during the interval of concerts for Pollini in Rome,London or even New York.He even insisted one year that I come back stage to meet Sokolov.
https://christopheraxworthymusiccommentary.com/2018/03/15/the-sublime-perfection-of-sokolov/
An attention to detail that allows a great artist to share their supreme artistry with a world that is always hungry for quality rather than quantity.
Cremona Musica ….2023 Day 2 Angelo Fabbrini the crowned Prince of Cremona
Tonight Martha Argerich had flown in especially to pay homage to a man who has meant so much to her and so many great artists. A concert with her childhood friend Eduardo Hubert with a spontaneous choice of repertoire that lead to some friendly discussions on stage.
Opening with Ravel’s two piano arrangement of Debussy’s magical ‘L’Après-midi d’une Faune’ there was immediately the magic that only Martha can create the moment she sits at the piano.The first movement of Ravel’s ‘Ma Mère L’Oye’ :’Pavane de la Belle au bois dormant’ was played with the same exquisite beauty of rarified sounds and refined poise.
Solo piano too for both pianists before they joined forces for Eduardo’s own arrangements of Tangos by Guastavino and Piazzolla. Friendly discussions over which order they would play them lead to some sumptuous performances of beguiling insinuating sounds full of the atmosphere of Buenos Aires where they had both spent their childhood.
Eduardo had earlier appeared with a drum stick to play one of his solo compositions – looking Angelo Fabbrini in the eye as he very discreetly searched for sounds under the bonnet of Fabbrini’s own magnificent Steinway ( the first piano that he had restored and has never allowed to leave his shop).
Eduardo is a very sensitive artist who I have known for over fifty years since we were all pianists studying in Rome in the early 70’s with Zecchi, Agosti or Zadra.Some beautiful sounds played with great respect for the beautiful instrument that stood between him and Angelo!
Martha appeared and played some solo pieces which she rarely does except on very special occasions.The ‘Gavotte’ from Bach’s English Suite in G minor was played with a kaleidoscope of sounds but always of great style which is the marvel of this giant of the keyboard that she can be so free but also so respectful of the composers wishes.This was Bach where the ink was still wet on the page.
Swopping over pianos to be near Angelo Fabbrini and Lucio Fumo (who created the Society dedicated to Theatre and Music in the ’60’s and is still very much at the helm!) ,Martha played with youthful energy Schumann’s Traumes Wirren from op 12. Played with bewitching colour and enticing jeux perlé, the same that her great friend Shura Cherkassky had done on this very stage thirty years ago when I brought him from Teatro Ghione in Rome to play for Lucio Fumo. Our theatre company lead by my wife Ileana Ghione was often invited to play in Pescara by Dr Fumo who became a great friend and admirer of our activities in Rome. Martha had now joined in the party atmosphere and played the Scarlatti Sonata in D with dynamic rhythmic energy and lightness turning a bauble into a gem of jewels that sparkled as never before.The first of Schumann’s Kinderszenen of ‘Distant lands and places ‘ was played with a poetic freedom that only the greatest of artists can share.
Flowers for Martha and Eduardo from which Martha took a beautiful red rose to give to her lifetime friend,Angelo.
There had been, though ,short interviews with Lucio Fumo about his activities of bringing culture to Pescara and both had expressed the difficulties of finding a suitable space for serious culture in a city that has had to adapt to converted cinemas rather than a better equipped concert hall or theatre.Fabbrini too, suffering from a bad cold and apologising for wearing his overcoat on a stage that was not heated.(We know a lot about that as actors regularly wear ‘long johns’ to cope with the cold that they often found on stage. Nikolaeva once even wore boots to play the Art of Fugue with a bitter wind blowing in from the stage ) Angelo,now on his feet ,to say how important music was for a caring society and finished with a heartfelt plea :’Viva La Musica- Viva Italia’ !
Marco Patricelli had attempted an interview with Martha who was much more interested in playing to Angelo than talking.
Angelo ,father of Michelangelo wanted to publicly hand over to his son the tuning fork that in turn had been given to him by his father Giulio.
Many friends backstage ,much to the consternation of the theatre manager ,to salute the artists but above all to thank Angelo for a lifetime of dedication to music .
William Grant Naboré creator and director of the International Piano Academy Lake Como of which Martha Argerich is honorary president. https://christopheraxworthymusiccommentary.com/2023/10/03/william-grant-nabore-bestrides-the-rcm-like-a-colossus/
Photo with Angelo Fabbrini, Michelangelo Fabbrini and ten year old grandson Luca .
The great cellist leader of the Orchestra of the Accademia di S Cecilia, Luigi Piovano with his father – William Naboré with the distinguished pianist Riccardo Risaliti
Bill Naboré with Angelo Fabbrini’s manager Luca de Romanis
Leonardo Pierdomenico star pianist from the Academy in Lake Como who will give a recital in this very hall next week.
Leonardo Pierdomenico A master at St Mary’s A memorable recital by a great artist
ChristopherAxworthy-MusicCommentary 