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back to the italian text"Vittorio Bresciani, whose Liszt Schubert Song transcriptions were praised by Arved Ashby, also does very well with the Mozart and Rossini paraphrases on the Dynamic disc. Bresciani plays all this material with musical intelligence, shaping the phrases and blasting the fireworks with assurance."
"If Bresciani's decision to enter the arena with a complete account of Liszt's first Schubert collection says much for his intelligence (Liszt published these twelve transcriptions as a set, and in his fascinating liner note the pianist makes a strong case for playing them toghether), the performances acquaint us with a truly excinting techinque and vividal musical imagination. These are virtuoso readings that suggest the transcriber's concert hall rather than the introspective domestic world of the tormented man who wrote the original songs. With phrasing and dynamics that seem projected to an upper gallery of listeners (there is no surplus of quiet playing), the pianist recreates the simple lyricism almost as well as the bluster. But his tone is colorful if rather thin, fireworks or no, and there is plenty of variety in the articulation. There is perhaps more Liszt on offer here than Schubert, and Dynamic's very bright sound picture completes such an image. A delightful, exciting, and intelligently conceived debut recording."
"Imaginative and well-equipped, Mr Bresciani is a conscientious pianist whose pedigree includes studies with the estimable Michele Campanella and Nikita Magaloff. He plays with wigour, assurance, and a focussed, even ambrosial tone that segregates contrapuntal activity with taste and discretion. He is a poet at heart."
"There was enough that was impressive in Bresciani's playing to validate the high advance praise he arrived with. Bresciani is an elegant, restrained player, a refreshing change from the usual take-no-prisoners approach to Liszt. His technique was responsive and pliant; his sound was rich; his playing limpid and liquidy. The 'Le nozze' Fantasy is magical. Here, Bresciani's resourceful playing had color, lyricism and dash."
"Vittorio Bresciani made these fascinating, substantive works a provocative calling card… His recital - devoted entirely to Liszt's paraphrases of Rossini and Mozart - revealed an eagerness to make scholarly connections with pianistic finesse. Nicely apparent were Bresciani's admirably indipendent fingers, his varied touch and affection for nuance. He is capable of brilliant sonorities, as the blistering minor scales showed in the 'Don Giovanni' fantasy. Best of all is the rich sonority he pulled from the piano's middle register - for instance, when the 'Là ci darem la mano' section of the Don Giovanni paraphrase first makes its stunningly simple appearance."
"Avec son prénom porteur de gloire et avec ses interprétations brillantes del 'Années de pèlerinage' de Liszt, Vittorio Brescianiavait ébloui son auditoire. Une semaine après, lundi soir, les oreilles vibraient encore de sa performance. C'est la marque des grandes artistes de laisser derrière eux des échos qui ne s'eteignent pas."
"Die Zuhörenden waren verzaubert von den sphärischen Klängen, die Vittorio Bresciani dem Flügel entlockte. Vor einigen Jahren Stipendiat der Richard-Wagner-Stiftung, ist Bresciani dem musikalischen Verhältnis zwischen Liszt und seinem Schwiegersohn Wagner bereits seit längerem auf der Spur. Sein Klavierspiel ist vor einer großen Affinität zu Liszts epischem Musikverständnis geprägt, auf einer technischen Hochebene verbindet er spielerische Fulminanz mit fast rührenden lyrischen Momenten. Der Preissgekrönte Italiener ist mit alle Gaben eines großen Pianisten aussgestattet - eingeschlossen die Fähigkeit, dem Publikum bei aller pianistischen Rafinesse eine träumerische Leichtigkeit vorzuspiegeln: Liszt Klaviermusik, ganz ohne Tücken."
"Beherrscher des Flügels - mit diesem Titel muß man den auf seine Weise wirklich phänomenalen Pianisten Vittorio Bresciani bezeichnen. Beherrscher des Flügels: das meint nicht allein die technische Brillanz, über die jeder Musiker vefügen sollte, sondern vor allem den Stellenwert, den die Beherrschung des Instruments und des musickalischen Materials in Brescianis Interpretation einnimmt."
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