Each selection has different artists and different recording locations.  One thing remains constant. Giulio Cesare Ricci and his analog and tube Recording System. Ricci says “When you listen to it, you will hear a homogeneous, natural, dynamic and realistic sound in all the songs even if recorded in different years and this particularity makes this album unique. Thanks for being part of my dream.” 

Tasting sounds is like enjoying life, one thing is in the other. Beyond certain limits it becomes a sublime art. Capturing the colors of a Stradivari, Fulvio enhances harmony of a crustacean’s soufflé.

Marco Fornaciari – Violin & Concertmaster (Tracks 1-4)
Fone Ensemble (Tracks 1-4)
Stefano Concordia – Organ (Track 5)
Salvatore Accardo – Violin (Tracks 6, 11) & Conductor (Track 11)
Charles Rosen – Piano (Track 7)
Orchestra dell’ Accademia Nazionale di Santa Cecilia (Track 8)
Coro dell’ Accademia Nazionale di Santa Cecilia (Track 8)
Myung-Whun Chung – Conductor (Track 8)
Patrizia Ciofi – Soprano Vocals (Track 9)
Raina Kabaivanska – Soprano Vocals (Track 10)
Camerata Strumentale Di Santa Cecilia (Tracks 9, 10)
Leone Magiera – Conductor (Tracks 9, 10)
Orchestra da Camera Italiana (Track 11)
Donato Sansone – Friscalettu, Synphonia, Daf, Vocals (Track 12)
Fabio Tricomi – Oud, Vielle, Lyre, Tar, Friscalettu, Flauto Da Tamburo, Zarb, Tamureddo, Dad, Marranzanu, Vocals (Track 12)
Fabio Accurso – Oud, Daf, Vocals (Track 12)
Nico Staiti – Tambourine, Riqq, Daf (Track 12)
Roberto Bolelli – Scattagnetti, Vocals (Track 12)
Farzaneh Joorabchi – Sitar, Vocals (Track 12)
Mauro Landi – Clavier (Track 13)
Paolo Dirani – Clavier (Track 13)

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Jeux d’enfants, composed in 1871, marks the complete maturation of Bizet in his piano production. It is not so much influenced by the historical Sonata, perhaps renewed in the Lisztian cycle, nor does it achieve the “transcendental” keyboard virtuosity which dominated the European music scene of the time, but tries, rather, in true transalpine spirit to express the simple miniaturistic image characterized by rapid movements always preserved by a precise and intransigent formal intention. However, Jeux d’enfants takes us to a very private and domestic circle, familiar, to use another word, in which pure and unrepeatable juvenile emotions are the main protagonists; the same emotions (it is important to remember) that moved Robert Schumann in his Kinderszenen of 1838 and that transpired in various instances of the rich Shubert messe conceived for four-hands. No cheap sentimentalism but a constant and pursued autonomy of the sound which appears willing to confirm in realistic direction giving the titles to the singles “jeux”: Reverie, Impromptu, Berceuse, Scherzo, Fantaisie, Marche, Rondino, Esquisse, Nocturne, Caprice, Duo, Galop.

Melodic fantasy and harmonic invention, rhythmical connotations and timbre refinement alter­nate in the sequence of passages, in the refined and almost ironic march Trompette et tambour as in the Les Quatre coins contrapuntal cues; in the Saute-mouton dynamic tricks as well as in the thematic fragments originating by simple crushes in Bulles de Savon; in the simple and refined graces of Colin-Maillard, ending with the emotional tones of Le Bal that appears to enjoy more of a bright and decorated piano technique than the mere representation of the leading binary dance. A masterpiece, Jeux d’enfants, that anticipates some traces of the “impressionistic” language that will be part of Preludes by Debussy, or the Clartè, another typical French virtue, containing as a consequence different successes by Ravel. For sure, according to the text by Winton Dean on the author of Carmen, as it is the precursor of the others three suites featured in this recording. Those suites are “somehow debtor, although none has the freshness and the perfection of the original by Bizet”. .

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