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MEDIA

Press, Audio, Video, DVD,  Interviews, Writings





PRESS
Shlomo
MINTZ

[ ... ] to hear all six Ysaye sonatas in one sitting was a rare and unusual luxury [ ... ]
Those who remember his Deutsche Grammphon recordings of solo Bach and Paganini wil be pleased to hear that he has lost none of the phenomenal technique, tonal lustre and impecable musicianship that distinguished those albums
[ ... ] Time seemed to pass so quickly that before long Sonata No.6 [ ... ] heralded the end of Mintz's 70-minutes test of musical, physical and spiritual endurance."
The Straits Times, 2/18
 Recital all 6 Ysaye sonatas

[ ... ] And so it began: Unhurriedly, calmly, somewhat quietly... and stunningly precisely.
 It felt like a laser cutting in silence a seemingly straight line, which nevertheless was full of Baroque embellishments.
Mintz's violin did not dart at breakneck speed, nor pushed itself to the forefront. Instead, it simply chatted to this or that musician - all in perfect, nay, cosmic harmony.
As a matter of fact, what we listened to was not a soloist cast against the backdrop of an orchestra, but a group of soloists rolled into one.
When the audience regained their breath, their standing ovation was rewarded with two encores."  
XII Huberman Violin Festival Opening Concert

“Mintz’s musical thinking is instinctive. His tone, aged for 50 years on the concert stage, is rich and gritty. He bows with a firm hand, strokes bold as charcoal…This is a heart-on-sleeve performance, fierce and emotional, not especially gentle, more energetic, masculine, athletic.” OpusOneReview, Toronto

Those fortunate persons who attended the concert had the singular occasion to listen one of the greatest violinists of these days.” La Nacion, Buenos Aires

 

"The sound Shlomo Mintz channeled in Beethoven's Violin Concerto, was beautiful, precise and polished and couldn’t be faulted from the deepest to the highest of notes. The soloing was noble, never gratuitously showy and always alert to the orchestra. Had the concert hall’s roof caved in, there was such gravitas in Mintz’ brilliant delivery, the magnificence of his singing violin would have continued.."   
Limelight Magazine (Australia)



Roberto PROSSEDA

Mozart
Piano sonatas 13-18



Listening
Unique art: reduction and pureness
[...]  generating an increasing gain in colors and atmospheres, which makes Mozart sonatas sound tremendously new under Prosseda’s hands [...] 
Absolutely convincing, how Prosseda is obtaining interpretive volts out of humbleness and unobtrusiveness, how he’s able to gain accents out of the harmoniously flowing balance of his play.
This is music making without pathos and artificiality, and yet we find most subtle decorations and little cadenzas.
With this recording, Prosseda celebrates working upon musical details and the hidden inner life of these works.
MDR, M.Hoffmeister
complete text

One of the most exciting Mozart editions of the last years...

" As in the former parts of his Mozart edition, Roberto Prosseda plays again a Fazioli grand piano, tuned with the so-called Valotti tuning from the time of Mozart. [...]
This way, the sound becomes more colorful, at some moments more intensely glowing, the harmonies have a more immediate effect.
As for example in the Allegretto of the F Major Sonata, in the middle section of which Prosseda connects the gentle melody of the right hand with almost dancing accents of the left hand – seldom heard like that!
If we consider the whole cycle, already the first parts were convincing all around. And that is here seamlessly continued.
Prosseda’s smoothly flowing, but also flexible touch,  his utmost sparely, almost ascetic use of the pedal, his lively articulation and the measured way historically informed playing is applied on the modern piano make of this recording one of the most exciting Mozert editions of the last years. [...]
There are many pianists, who consider Mozart’s piano concertos to be fare more important than the sonatas, [...]
With his complete recording, Roberto Prosseda proves that these works are certainly much more.
One might speculate, how many time Roberto Prosseda has invested to achieve this form of naturalness. He unites many elements required for a moving Mozart performance: liveliness and esprit, but also the art of forming shadows; a crystal-clear, sharply defined touch und the ability to build arioso lines, even without pedal
."

WDR 3, CH. Vratz
complete text

Roberto Prosseda speaks Mozart's language
" Accomplished accomplishment. With his new double CD, Italian pianist Roberto Prosseda completes the complete recording of the piano sonatas by Mozart.  Again, the result  sets standards
. [ ... ]
Actually, it’s a pity, that Prosseda's complete recording of Mozart's piano sonatas is now accomplished. But, there are other piano works by Mozart waiting for his interpretation: variations, fantasies and other jewels. Which, I am sure, Prosseda will make sparkle, too! "
 hr2
Kultur, Klassik-Tipp
complete text

Outstanding
" Italian pianist Roberto Prosseda displays the potential of Mozart’s late piano sonatas.
Does the world really need another complete recording of Mozart’s piano sonatas?“, someone may ask. Answer: yes, but this only applies, in case it is as outstanding as the one presented by Italian pianist Roberto Prosseda.
Also on his third album, which concludes the cycle, the 43 years aged shows on the wonderfully sounding Fazioli grand piano what this music is made of.
Prosseda’s Mozart has esprit and temperament, he is brilliant and at the same time full of great depth of feeling, he is determined by the classical sens of form, but does not deny, however, the early romantic buds in the slow movements.
The sound culture, for example, with which he approaches the „Adagio“ of the „Jagdsonate“, is phenomenal, but nevertheless his play is
never pleasing. [ ... ]
concerti 3/19
, F.M. Vogt




Mendelssohn
Piano concerts 1+2


Listening

" ... With the well-established Residentie Orkest Den Haag and it’s chef Jan Willem de Vriend, [Prosseda has] recorded both the mature piano concerts in G Minor and D Minor in an electrifyingly fresh, impetously pushing forward and historical austere interpretation, giving two masterpieces of the early Romantic a dynamic and exciting sound form.

That he resists the current prevailing trend to historical fortepiani and prefers to elaborate in a crystal.clear way his always concise articulation on a modern Fazioli, underlines the timeless modernity and virtuosic brillance of these eternally young concerts, which develop in a genious way the human face of Mozart’s heritage they’re carrying inside. ... "

 Crescendo, A. Csampai, "Empfehlungen"

" [ ... ] With a sublime technique, he steps back behind the music, lets melodies shine, brings light on the positive character of both the concerts with pearling elegance, musical sense and shimmering energy.
Just the same way, he celebrates the soft and fines tones and always keeps the right balance with the sensitive „accompaniment“ of the Residentie Orchestra.
A tonally and musically rewarding CD."

piano news 3/19

" ... Already the beginning of the 1st concerto is a little firework, vibrating and pulsing. Prosseda is really pushing the orchestra. Not always the orchestra and the soloist are united that way concerning grasp and form.

What wealth of colors Prosseda is able to conjure from the keys is also demonstrated in the slow mov of the 2nd concerto.
The "Rondo brillant" lives up it's name - performed with shimmer and glimmer and grip [...]
Prosseda, de Vriend and the Residentie Orkest present Mendelssohn's virtuose score as if it would all be totally easy."
NDR Kultur, CD-Neuheiten

„... Roberto Prosseda is entering Mendelssohns 1st concerto with an impetuous thrust forward.
And the Residenzorchester Den Haag picks up the main theme of the piano concert with the same passion.
Here, musicians being on the same wave length have found together.
It’s beautiful to listen, how they complement each other and with which flexibility in tempo pianist and orchestra are tossing balls back and forth.

Many pianists underestimate the piece  and perform it with superficial brillance.
That’s not so case with R.P! No sign of virtuosic end in itself. His Mendelssohn is carefully elaborated. With his excellent technique, he cares for a maximum sound tranparency.

So light and airy, so precise and elegant J.W. de Vriend makes the orchestra playing when it accompanies the piano, so grippingly and passionately he builds the tutti passages, with buoyant sound and thrilling energy.
Played that way, Mendelssohn’s piano concertos are an utmost pleasure.
[...]
 [the 2nd concerto] ... presents a middle movement, which belongs to the most beautyful inventions of the composer. Here, we meet the Mendelssohn of „Songs without Words“ together with a Prosseda, who finds the exactly right tone between simplicity and deep emotion.
As Robert Schumann said upon Mendelssohn: „ It is, as if one shakes a tree – the ripe, sweet fruit falls down readily.“ These fruits are promising pleasure without regrets. I guarantee.

HR 2, CD-Tipps,



Gounod,
Concert f.Pedal Piano & Orch
.,

Extraordinary Concert



What an extraordinary concert. Rarely have I entered a hall with such a buzz going on around the stage, though one glance was enough to see what warranted such attention: the towering edifice that is a pedal piano. [...]
Gounod’s Concerto for Pedal Piano and Orchestra is a four-movement work in the genial style of Saint-Saëns: I mused whether the solo part could be played on an organ (presumably).
With busily buoyant outer movements, an ebullient Scherzo (placed second) and a sombre slow movement – heralded by a mournful horn refrain – this is very enjoyable music.
Prosseda is a persuasive exponent of both instrument and piece and it was fascinating to see his nimble footwork – from the start, after a suitably bombastic orchestral introduction, the pedal piano’s first entry is for feet alone; and near the start of the Finale, there’s a sprightly fugue: right-hand first, then left, finally feet. Both as a performance and a spectacle this worked a treat, and there was no surprise that the enthusiastic reception resulted in an encore.  I’d certainly welcome another hearing.

Prosseda & LPO, Royal Festival Hall London, 14.11.18


As always, a fascinating journey of discovery with Roberto Prosseda with his appearance with the London Philharmonic introducing the pedal piano to London audiences.
It was in the beautiful Adagio and in the Schumann encore – the fourth of the six Canonic studies for pedal piano – that one could appreciate to the full the supreme artistry and superb sense of style of Roberto Prosseda.
In fact, I was witness backstage to the orchestral players coming one by one to congratulate Roberto especially for the beauty of his performance of the Schumann encore.
Praise indeed coming from his colleagues in the London Philharmonic.
We await many new discoveries from Roberto Prosseda in London on his remarkable journey in the music world, where he delves with such intelligence and artistry .
ChristopherAxworthy, 17.11.18




Pedal Piano Recital
Impressive ...




Roberto Prosseda’s introduction with three 'kanonische Etüden" by R. Schumann already demonstrates the rich and brilliant sound capacities of the double piano […] the instrument is impressionating right away.
The massive deep pitch triggers a variety of overtones which gives the sound an surprising brilliance.
It's an acoustic expansion in 2 directions - down to a striking bass and up to the finest sound colors - with an overwhelmingly brilliant result.  
Mosel Musikfestival



Gounod
Piano Works


Listening













" ... Prosseda takes Gounod's piano work out of it's shadowy existence and reveals a completely new view upon the French composer, free from any Kitsch."
concerti


" ... The previously unrecorded Sonata for Piano Duet is a minor masterpiece.
Its first-movement Tarantella rivals Rossini for invention and wit. The Schubertian Adagio makes full use of the piano’s registers without ever sounding too thick, while the Presto Finale (sound clip) features dashing unison octave runs, surprising harmonic detours, and dramatic use of dynamics that foreshadow Gounod’s future prowess as a man of the theater.
Needless to say, Prosseda’s masterful technique and innate idiomatic flair bring each and every piece to characterful life. ... "  Classics today

" ... Diese Stücke enthalten vielleicht nicht die revolutionärste Musik für dieses Instrument, aber charmant, ausdrucksstark und abwechslungsreich - und deshalb eine Entdeckung wert - sind sie sicher! [...]
Und dann gibt es die 6 Präludien und Fugen  [...]  sind genial komponiert und manchmal auch überraschende Meisterwerke. [...]
Auf seiner schönen Fazioli bringt Prosseda fließende, poetische und technisch gut kontrollierte Aufführungen dieser zu Unrecht vernachlässigten Stücke von Gounod. www.klara.be

" Prosseda doesn't face these little pieces with nonchalance, as if they were products of lower quality put on the trash table. He takes them as serious as if they were treasures from the jewelry department.
Be it dexterity, assignment of voices or tempi: Prosseda considers these works
[…] documents of a great composer […] 
Nothing is painted over, alienated, backcombed or blowed up. Roberto Prosseda does not let himself taken by the poetry of Gounod's piano work, but takes them by their depth - at times elegiacly singing, at times softly sparkling - and never exaggerating.
With such style competence, he definitely does justice to Gounod."
Ch. Vratz



Mozart
Piano Sonatas 7 - 12


Listening
" ... He plays the sonatas with such dedication and verve, as if he wants to contradict all those, who're maintaining that Mozart's sonatas are only a pale shadow of his concertos.
When Mozart is requesting "con spirito", Prosseda supplies! And he does as well, in case "maestoso" is requested as in the A Minor sonata  - which for Prosseda means that he's allowed to detect minuscule melancholic islands.
This recording is increasingly turning out to be the modern piano equivalent to Bezuidenhout's fortepiano recordings."
concerti online

" Mozart’s piano sonatas in perfection. Roberto Prosseda enthuses with his 2nd album […]
And here it is again. This very particular sound, this very special play. Roberto Prosseda has this natural musical intuition for Mozart, this freshness, this spontaneity. […]
Already Prossseda’s first album had enthused me. And this one does it once again. […]
Prosseda convinces with freshness, spontaniety and
[even inserts] little improvisations.
Is
Roberto Prosseda allowed to do so? I think, yes, he is!  These are the liberties who make something new, fresh out of well-known familarities. Which open our ears and catches our attention. Mozart himself has been a great improvisator, who never slavishly sticked at his own score. And that is exactly what makes his music even more lively. […]  I’m already looking forward to the 3rd album. "  HR2

“ … this was a completely new experience for me: possibly a new Mozart reference.
[…] specially enthusing the virtuoso decorations and variations. One could easily imagine,
that Mozart could have done decorations the same way
[…]
[Concerning the] Valotti tuning, there might be people, suffering from an absolute pitch, who consider the sound impure, but what counts, is the fact that, this way, tensions are created, savored and eased, which makes the play vital and colorful as seldom heard before. […]
T
his is the way one plays Mozart in 2018. " 
MDR

“ … Roberto Prosseda is a subtle and sophisticated mind at the keys.
His articulation is incredibly carefully and lovingly, and on top of it, he offers a great many of sound colors in piano and pianissimo passages. Particularly special is his art of ornamentation. Again and again, he takes the liberty to add little and elegant excursions, which are not written in the score. Prosseda does that the way Mozart certainly did it at his time.
He improvises and ornaments stylistically correct and is not slavishly following the text - Mozart would certainly have liked it. “  
Radio Bremen




Mendelssohn  Edition
Complete Piano Works


" [...] He especially makes clear, that Mendelssohn is not a Kitsch-composer!
His play is so clear, that even on modern pianos, the sound possibilities of the 19th century remain still apparent. Prosseda discovers middle voices and second lines, integrates them intelligently and takes transitions with great care.
At the same time, he renounces to giant rubati and doses the use of pedal.
His sparkling touch (which also distinguishes his recent Mozart recordings) is always convincing.
[...]
 In summa, Prosseda achieves a major success: he combines a sens for melodic arcs with intelligent increasements (as for example in the 1st Fugue from op.35) and he shows, how subltly Mendelssohn joins contrasts.

[...] a music which, almost like Chopin, tells stories in an utmost small space. … “
FONO FORUM,  Juli/17

" [...] Prosseda has recorded these pieces with supreme pianistic mastery, but also, however, with a sens for the respective microcosm, the atmospherique picture into which he engages himself for every piece – how small it may be.
His range reaches from brilliant virtuosity through pensive moments with long lasting tones to playful roguishness or also melancholic moments.
Playing Mendelssohn is difficult
[...] And this is exactly what makes this complete recording so worth listening. An immense empathy, an outstanding refinement of play and the deep understanding of the music arising from the knowledge about Mendelssohn as a human being. An unconditional recommendation for this 10 Cds-Box, not only because of the actual uniqueness with reference qualities.
" MDR Kultur 2017


Mozart
Piano Sonatas 1 - 6



 Listening

“ …  a performance  which sets, more uncomprimisingly than all his spiritual predecessors, on sensible articulation and phrasing, colourfulness, agility and flexibility.

However, the instrument he chose was not a historical fortepiano, but a Fazioli grand piano from 2015, delicately tuned in one of the historical unequal temperaments, which allowed him to realize amazingly well Mozart’s piano writing in a lean way, with an extreme richness of nuances and a soft piano down to a breathed-like pianissimo.

Thus, he realized an interpretation […] which is free from professoral or historicizing rigidity, but still less from the smart ‘modern’ one-track-ideology with which Mozart can still often be heard.

On the contrary, I have the impression that, here, it has been succeeded to convey the whole musical wealth of these Sonatas more lively and more powerfully than ever.

Prosseda always remains close to the text, but presents it by a colour palette applied in an excitingly imaginative way and constantly opening new perspectives: a recording which has to become a new reference.    Ingo Harden, Fono Forum

" ... the choice of the instrument plaid a major role. Even though he plays a modern grand piano, it’s mechanic and soundboard allow him to explore effects reminding a pianoforte. And moreover, he chose the tempered Valotti tuning still common in the 19th century.

The combination of these 3 elements for the recording of the first 6 piano sonatas leads to an extremely remarkable and impressive sound experience.

Thus, we’re really looking forward to how the pianist will approach the next works by the Salzburg master. " DR-Kultur


Pedal Piano - Project
   
   Charles Gounod
Works f. Pedal Piano
 
Complete Pedal Piano Recital 


" ... the sound world is fascinating: a multi-textured tapistry woven by an empowered soloist... "  Int. Piano
"... Gounod's music for pedal piano: great stuff!  [...] This disc is really a revelation ..."   Classics Today / Major Discoveries

"... among the very jolliest of piano and orchestra recordings that had coem my way for some time [...] a real winner [...]  an unexpected delight."   Gramophone

Playing heart, soul and feet: Italian pianist Roberto Prosseda revives a lost art, recreating the haunting melodies of a pedal piano [...]  there is the almost architectural quality of the sound, created by the interplay of the two vertically stacked soundboards. .. "   Wall Street Journal

" ... charming and witty, sometimes massive and sometimes delicate. [...]  Prosseda plays all of the solo parts with Gallic elegance ... "
Int. record review













Betty
OLIVERO







(...) There were many more beautiful moments in Merkavot by the Israeli composer Betty Olivero. In its first movement, quiet communications among solo strings survived sudden single events: percussion impulses or huge chords that had a somewhat Messian- like shine and seductiveness, but within a far more fluid musical world. The second, with warbling flute and clarinet, the constant, again swayed and bulged unpredictably. Here was one composer to ask back (...)"  The New York Times

"(...) The major discovery was Betty Olivero`s Batnun, a single-movement Concerto for double bass and orchestra that stands as one of the few fully convincing solo pieces for double bass I've encountered (...)"   The New York Times

"Betty Olivero`s song-cycle, Cantes Amargos, is one of the most beautiful works of its kind heard in recent memory (...)"  Daily News


"(...) The combination of the old German film Der Golem from 1920 with the music written by the Israeli composer Betty Olivero, has created a whole which is bigger than its components. The sounds not only enrich the film, they are magnificent music which combines the Klezmer elements with the Baroque, all plane without any disguise, to create a convincing sound."
Ha'retz

"(...) In Olivero's hands, the Hosha'ana sounds commanding, insisting. It cries for God in a protest manner, with the pain of dissonant chords, with Piccolo and Bells and screaming strings. A heart penetrating scream, an unforgettable music. (...)Presenze by Olivero was thrilling with its wonderful bravery and its orchestral and melodic innovation."  Ha'retz

"(...) The ensemble presented the world premiere of a profoundly beautiful work by the Israeli composer Betty Olivero Achot Ketana ("In Memoriam"). A mezzo-soprano intones a Hebrew prayer from 13th century Spain to music based on the opening harmonies and gestures of Bach's "Chaconne" for solo violin. The piece is full of echoes: three solo violinists and a clarinetist stand behind the string ensemble, introducing ideas and providing commentary, all directed by Olivero's sense of drama and precision of ear." Globe Staff  
 
AUDIO
Shlomo
MINTZ


Ysaye
Violin Sonatas opus 27, 1-6

       Sonata no. 5 in E Major, "Mathieu Crickboom"
           2nd mov.,  Danse Rustique

       Sonata no. 6 in G Major,"Manauel Quiroga"
           Allegro giusto non troppo vivo




Roberto
PROSSEDA



Mozart
Piano Sonatas 13-18
   

       

         Sonate Nr.14 in c-moll, KV 457, Molto Allegro
      
  Sonate Nr.18 in D-Dur, KV 576, Allegretto
         Sonate Nr.17 in B-Dur, KV 570, Adagio






Mozart
Piano Sonatas 7-12
     

         Sonate Nr.7 in C, KV 309, Rondeau Allegretto Gracioso
      
  Sonate Nr.9 in D, KV 310, Presto
         Sonate Nr.10 in D, KV 330, Andante Cantabile
          Sonate Nr.11 in D, KV 331, Andante Gracioso
      
  Sonate Nr. 12 in F, KV 332, Allegro
      
     








  Gounod

Piano Works
     


       
   Marche Funèbre d'une Marionette,  d-moll, CG 583
       
   Méditation sur le 1er Prélude de Bach, C-Dur, CG 896
       
   La Veneziana (Barcarolle), g-moll, CG 593








 



  Mendelssohn

Klavierkonzerte 1+2
     
          Konzert f. Klavier & Orchester Nr.1, Op.25, 1st mov.,
               Molto Allegro 
           Concert f. piano & orchestra, op.40, 2nd mov.,
               Adagio

             
               Residentie Orkest, Jan Willem de Vriend
 


Luca
 LOMBARDI

"Warum?"  

                Secundo Quartetto per archi
 

      
    3rd mov  "Wilder Reiter"   *  5th mov   "Scherzo (SHoA2)"  * 
               7th mov  
"SHAlom"

         Live-recording 2006, Nomos Quartett





"Terra + Mare"


     
          Terra

        Live- recording,
       
Orchestra del Maggio Musicale Fiorentino, Zubin Mehta







CD  "Music for solo flute"


       
          Nel vento, con Ariel 
         
 Ro'

         Roberto Fabbricciani, flute







"Mendelssohn at the Jewish Museum Berlin"


        
  Live recording  2016

         Roberto Prosseda
, piano



Betty
 OLIVERO

"Neharo't, Neharo't"



        
   Live recording 2015  
              

         Kim Kashkashian, viola, 
Münchner Kammerorchester
  

VIDEO
Shlomo MINTZ &
Roberto PROSSEDA
Live in concert

Cesar Franck
 Violinsonate, A-Dur,  1-4


Roberto
PROSSEDA
Live in concert
Enescu Philh.Orch./ D. Gimenez
Bukarest, Feb 2018


   Felix Mendelssohn
Klavierkonzert Nr.1, Op.25




Live in concert
Orq. Sinf. de Galicia/ V.P. Perez
La Coruna, May 2018


   Felix Mendelssohn
Klavierkonzert Nr.2, Op.40




Live in concert


W.A. Mozart
  Piano Concert  KV 721,
3rd mov
with I Virtuosi Italiani

F. Mendelssohn
   Variations sérieuses, d-moll, op. 54
Live, Lodi 2015

Pedal Piano Cycle

Interview / documentary
Video London Philh. Orch.
f. concert am 14.11.2018

  About the Pedal Piano
History, properties, sound
with music samples





Live in concert
Pedal Piano Recital
   
Charles Gounod
  Conc. p. Piano-pédalier et Orchestre, 3.Satz
Live in Pordenone


J.S. Bach
  Passacaglia , c-moll, BWV 582,  KV 608 




Video-Clip
Music: Charles Gounod
Video: Antonio Bido
 

   Funeral March
of a Marionette



Luca
 LOMBARDI
Concerts

    Infra
         Live recording
          ensemble                                unitedberlin






"Warum"
       Live recording
       Israeli Contemporary
       String Quartet






Shlomo
MINTZ
Live in concert
 






E. Ysaye

  Sonate no. 6, E-Dur
      Live recording 2017

N. Paganini
  Caprice  no.5
      Live recording 2014

W.A. Mozart
  Violin Conc. no.3, G Major,
with Camerata Bariloche, 2016



Shlomo
MINTZ
Interview
Upon
Violins of Hope

  "A message of hope and peace"
Cleveland 2015

Jean Jacques
LEMETRE
Babel Orkestra


   Video Clipping
World Premier
Montreal, Satosphere




"Amazing Human Beings"
Interview

Music from 5 contints
Visit at tha atelier of a musician

DVD
Roberto PROSSEDA
 
DVD  "Pedal Piano Recital"

Ch.V. Alkan
  Grand Prélude op.66, n.4 pour piano pédalier,

Jean Jacques
LEMETRE
  DVD


   L'oeil et l'oreille
4 films d'Anne Lacombe
Sur le travail et la musique
de Jean Jacques Lemêtre

INTERVIEWS /  WRITINGS
Shlomo
MINTZ


   Upon his interpretation of
Ysaye's Violin Sonatas

March 2019

Roberto PROSSEDA
  Interview



   Making music in the 21st century
Februar 2019,
Yale School of Music



Günter A.
BUCHWALD
 Interview

Silent Movie & Live music

Jean Jacques
LEMETRE
  Book
JOUER AVEC LA MUSIQUE
JJ Lemêtre et le Théâtre du soleil
Pierre Longuenesse
Actes SUD-Papiers
Release 28.3.2018

Roberto PROSSEDA
Interview



   Music of my life
w. J. Nichols
International Piano

Roberto PROSSEDA
     Interview

    Upon Mozart Sonatas
w. David Warn
pianostreet.com