CARLO

ZECCHIThe completeCetra solorecordings and selectedadditional 78s

CARLO ZECCHI The complete Cetra recordings 1937–1942 and selected additional 78s

COMPACT DISC 1 The Cetra recordings (72.38)

1. GALILEI/RESPIGHI Gagliarda from Antiche danze et arie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.20)Recorded on 4 May 1937 in Turin; matrix 2-70053 (Cetra CC 2045)

2. ANONYMOUS/RESPIGHI Siciliana from Antiche danze et arie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.32)Recorded on 4 May 1937 in Turin; matrix 2-70054 [part] (Cetra CC 2045)

3. SCARLATTI Sonata in G major Kk259 (L103) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.08)Recorded on 2 May 1937 in Turin; matrix 2-70046 (Cetra CC 2005)

4. SCARLATTI Sonata in C major Kk159 (L104) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.59)Recorded on 4 May 1937 in Turin; matrix 2-70054 [part] (Cetra CC 2045)

5. SCARLATTI Sonata in D major Kk96 (L465) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.00)Recorded on 2 May 1937 in Turin; matrix 2-70045 (Cetra CC 2005)

6. SCARLATTI Sonata in G major Kk523 (L490) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.33)Recorded on 2 May 1937 in Turin; matrix 2-70050 [part] (Cetra CC 2007)

VIVALDI/J S BACH Concerto in G major BWV973Recorded on 2 May 1937 in Turin; matrices 2-70049/50 [part] (Cetra CC 2007)

7. Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.41)

8. Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.16)

9. Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.44)

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10. J S BACH Prelude and Fugue No 13 in F sharp major BWV858 from Book I of The Well-Tempered Clavier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.50)Recorded on 25 October 1942 in Turin; matrix 2-70825 (Cetra CB 20353)

11. J S BACH/REGER Ich ruf’ zu dir, Herr Jesu Christ BWV639 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.43)originally in F minor but Zecchi transposes this to F sharp minorRecorded on 25 October 1942 in Turin; matrix 2-70826 (first issued on Cetra CB 20353)

J S BACH Brandenburg Concerto No 5 in D major BWV1050Recorded in 1938 in Turin; matrices 2-70118/23 (first issued on Cetra CC 2061/3; this transfer from Odeon O-7884/6)CARLO ZECCHI piano, ARRIGO TASSINARI flute, GIOCONDA DE VITO violinE.I.A.R. SYMPHONY ORCHESTRA conducted by FERNANDO PREVITALI

12. Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (10.26)

13. Adagio affettuoso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6.27)

14. Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (5.18)

15. SCHUBERT Moment musical in A flat major Op 94 No 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.29)Recorded on 4 July 1942 in Turin; matrix 2-20751 (Cetra CB 20346)

SCHUMANN Kinderszenen Op 15Recorded on 4 July 1942 in Turin; matrices 2-70746/9 (Cetra CB 20344/5)

16. Von fremden Ländern und Menschen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.22)

17. Kuriose Geschichte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.58)

18. Hasche-Mann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.28)

19. Bittendes Kind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.41)

20. Glückes genug . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.36)

21. Wichtige Begebenheit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.58)

22. Träumerei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.06)

23. Am Kamin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.47)

24. Ritter vom Steckenpferd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (0.42)

25. Fast zu Ernst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.39)

26. Fürchtenmachen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.06)

27. Kind im Einschlummern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.52)

28. Der Dichter spricht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.57)

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COMPACT DISC 2 The Cetra recordings CONTINUED (78.55)

1. LISZT Paganini Étude No 5 in E major ‘La chasse’ S141/5 . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.16)Recorded on 2 May 1937 in Turin; matrix 2-70047 (Cetra CC 2008)

2. LISZT Paganini Étude No 4 in E major ‘Arpeggio’ S141/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.45)Recorded on 2 May 1937 in Turin; matrix 2-70047 (Cetra CC 2008)

3. LISZT Étude de concert No 2 in F minor ‘La leggierezza’ S144/2 . . . . . . . . . . . . . . . . . . (4.11)Recorded on 2 May 1937 in Turin; matrix 2-70044 (Cetra CC 2004)

4. CHOPIN Waltz in A flat major Op 42 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3.24)Recorded on 2 May 1937 in Turin; matrix 2-70048 (Cetra CC 2008)

5. CHOPIN Mazurka in A minor Op 17 No 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3.53)Recorded on 25 October 1942 in Turin; matrix 2-70830 (Cetra CB 20359)NB: Periodic dropouts and distortion toward end of side in original recording

6. CHOPIN Mazurka in C sharp minor Op 30 No 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3.23)Recorded on 4 July 1942 in Turin; matrix 2-70750 (Cetra CB 20346)

7. CHOPIN Mazurka in B minor Op 33 No 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3.47)Recorded on 25 October 1942 in Turin; matrix 2-70838 (Cetra CB 20354)

8. CHOPIN Berceuse in D flat major Op 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.19)Recorded on 25 October 1942 in Turin; matrix 2-70827 (Cetra CB 20354)

9. CHOPIN Barcarolle in F sharp major Op 60 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (8.12)Recorded on 4 May 1937 in Turin; matrices 2-70051/2 (Cetra CC 2006)

10. DEBUSSY Poissons d’or No 3 from Images, Book II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.30)Recorded on 25 October 1942 in Turin; matrix 2-70829 (Cetra CB 20354)

11. FRANCESCO TICCIATI Toccata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4.04)Recorded on 2 May 1937 in Turin; matrix 2-70043 (Cetra CC 2004)

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Ultraphone recordings12. SCARLATTI Sonata in A major Kk113 (L345) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (3.19)

Recorded circa 1934/5 in Paris; matrix P 77042 (Ultraphone BP 1371)

13. CHOPIN Étude in G flat major Op 10 No 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (1.34)Recorded circa 1934/5 in Paris; matrix P 77339 [part] (Ultraphone BP 1487)

14. CHOPIN Étude in F major Op 10 No 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2.13)Recorded circa 1934/5 in Paris; matrix P 77047 (Ultraphone BP 1373)

15. CHOPIN Grande Polonaise brillante in E flat major Op 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . (8.25)Recorded circa 1934/5 in Paris; matrices P 77045/6 (Ultraphone FP 1372)

16. RAVEL Alborada del gracioso No 4 from Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6.24)Recorded circa 1934/5 in Paris; matrices P 77340/1 (Ultraphone BP 1469)

MusTrust recordings17. LISZT Étude de concert No 2 in F minor ‘La leggierezza’ S144/2 . . . . . . . . . . . . . . . . . . (4.21)

Recorded in 1930 in Moscow; matrix/issue MusTrust 839

18. CHOPIN Ballade No 1 in G minor Op 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (8.56)Recorded in 1930 in Moscow; matrices/issue MusTrust 876/7

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CARLO ZECCHI was born in Rome in1903. He received his first piano lessonsfrom his mother who was herself a

pianist. He then had lessons from FrancescoBajardi, a professor at the Accademia di SantaCecilia in Rome. Zecchi also studied com po si -tion with Alessandro Bustini, Licinio Reficeand Giacomo Setaccioli.

While still in his late teens Zecchi metW S Cramp, an American from Philadelphiawho lived in Rome. Cramp assisted Zecchifinancially, enabling him to travel to Berlinwhere he made his debut in 1920. The purposeof going to the German capital was to studywith Ferruccio Busoni but Zecchi was only ableto do this for a short period as Busoni was

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already ill and died in 1924. Zecchi went on toperform in Italy, a notable concert in 1923 beingthe Italian premiere of the Ballad for twopianos and orchestra by American composerLeo Sowerby (1895–1968) who was thenstudying at the American Academy in Rome.The composer was at the other piano whileon the podium was Albert Coates. The workwas not to the liking of the Italian audiencewho caused an incident by showing theirdisapproval, reportedly for not understandingthe Anglo-Saxon story of King Estmere onwhich the work was based.

Zecchi then decided to try his luck inParis, at his third appearance playing a recitalat the Salle Gaveau on 29 April 1925 whichincluded Italian works by Galilei, Frescobaldiand Francesco Ticciati as well as Chopin, Lisztand Stravinsky. In December he played withthe Lamoureux Orchestra and Alberto diCristofaro but the following year the arrival ofVladimir Horowitz in Paris overshadowed hiscareer. Zecchi visited Russia during the late1920s and early 1930s, playing in Kiev, Moscowand Leningrad, and becoming so popular thatStalin demanded to meet him. Back in Parisin December 1927 he played Liszt’s PianoConcerto No 1 with the Pasdeloup Orchestraand Rhené-Baton, which was broadcast.Robert Brussel wrote in Le Figaro:

Monsieur Carlo Zecchi has given aremarkable performance of the Concertoin E flat of Liszt by the romantic colourof the interpretation, the beautifulquality of sound, the flexibility of thepassagework …

When Zecchi played the same concerto a fewweeks before in Milan with Oscar Fried

conducting, Toscanini was highly impressed,but it was an introduction to Artur Schnabelthat led to Zecchi’s return to Berlin to studywith the most important teacher of his career.With Schnabel, Zecchi studied Schubert, agood number of the Beethoven piano sonatas,and many of the major works of Schumannincluding Kreisleriana, Davidsbündlertänze,Fantasiestücke, Kinderszenen and theHumoreske.

His greatest success as a pianist came inthe years between the two World Wars. Heplayed in South America and toured NorthAmerica under the management of ColumbiaArtists, promoting the pianos of Bechstein. HisNew York debut was in February 1931, when heplayed Liszt’s Piano Concerto in E flat withthe New York Philharmonic and BernardinoMolinari at Carnegie Hall. Olin Downes wroteof this performance:

He showed himself possessed of abrilliant and fleet technic, and thevirtuoso temperament … Mr Zecchiproved himself a well-equipped musician,a player of sincerity and spirit. He sangLiszt’s lyrical measures and did notmerely declaim them. His style seemed alittle light for this intrepid, devil-may-caremusic, with its reckless pomp andswagger, but his performance of the finaleengendered excitement. The audienceapplauded Mr Zecchi cordially, but thefull extent of his powers cannot be knownby this performance alone.

In Philadelphia Zecchi played Brahms’s PianoConcerto No 1 in D minor, Op 15, with LeopoldStokowski and the Philadelphia Orchestra andalso worked with George Szell and Erich

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Kleiber. World War II interrupted Zecchi’scareer; he returned to Rome where heremained for the entire duration of the war. Hewas friendly with and played for Mussolini, butdisliked Hitler whom he also met and playedfor. It was during the war that Zecchi gave upsolo piano recitals, and from 1939 toured withcellist Enrico Mainardi.

Zecchi studied conducting with HansMünch and Antonio Guarnieri, giving his firstperformance as conductor in Basel in 1942. Hepursued this other career over the ensuingyears, from 1947 appearing as a guest con -ductor with the Concertgebouw Orchestra,Vienna Philharmonic Orchestra and LeningradPhilharmonic Orchestra. In 1947 he conductedthe London Philharmonic Orchestra atLondon’s Royal Albert Hall when pianistMoura Lympany gave a performance ofBeethoven’s Piano Concerto No 4 in G major,and in the same year he conducted the sameorchestra in the same work for Decca, when itwas recorded with Clara Haskil as soloist. Forthe rest of his career Zecchi chose to conductrather than play and performed throughout theworld in places such as New York, BuenosAires, Tokyo and Sydney. He also taught at theAccademia di Santa Cecilia in Rome and gavesummer masterclasses in Salzburg from 1948.As late as 1981 Zecchi was travelling to Japanfor the seventh time to give masterclassesthere.

Zecchi’s discography is not easy to navi -gate. Claims that he made his first recordingfor Odeon in 1927 (O-9103, Liszt’s Laleggierezza and Paganini Études 4 & 5) arenot corroborated by matrix numbers and notrace appears in Odeon catalogues of around

that date. Indeed, the supposed 1927 recordingis in fact a German Odeon reissue from Cetramatrices recorded on 2 May 1937 (CD2 tracks1–3) which first appears in the 1937–1938German Odeon catalogue. Zecchi had a con -summate technique so finding a wrong note orslip by which to compare recordings is verydifficult. However, on the German Odeon issuehe makes a small slip in the Paganini ÉtudeNo 4 at the beginning of the section in E minor(he clips an F natural at the top of the arpeggio).This is identical to the Cetra recording of 1937.

It appears that Zecchi made his firstrecordings while in Moscow in 1930 for theMusic Trust label, the precursor of Melodya,apparently on a Becker piano. Previouslythought to have been 1928, the date ofrecording is confirmed as 1930 in two bookson the history of early Russian recording:Our friend the gramophone record: notes ofa record collector by Anataliy Zhelezniypublished in 1989 and History of early

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recording in Russia by PanteleymonGrunberg and Valentin Yanin published by in2002.

Liszt’s concert étude La leggierezza wasZecchi’s calling card and he recorded it fornearly every label on which his discswere issued. He recorded it twice onMusTrust, first (rather rushed) ona 10" and then on a 12" disc. The12" recording included here hasall the hallmarks of his style –supreme technique, clarity,refine ment and grace. Duringhis Moscow sessions he alsorecorded an extended work ofChopin that he did not repeatfor other labels – the Ballade inG minor, Op 23, which is alsopresented here.

In February 1933 Zecchi wasplaying in Monte Carlo and when hegave a recital at the Verdi Conservatory inNovember 1936 he was announced as having‘Triumphal success in the United States and allthe capitals of Europe’. On the programme thatevening were works by Bach, Scarlatti, Vivaldi,Schumann, Beethoven, Debussy and Ravel.

In between these concerts, Zecchireturned to Paris where he made recordings forUltraphone, either in late 1934 or early 1935,using a Bechstein piano. One of the discs wasplayed on the radio in April 1935 while anotherwas reviewed in June of the same year. Again,he recorded La leggierezza (a version notincluded here) and much of the repertoire hewould record for Cetra a few years later. On 30January 1936 Zecchi gave a concert at theSalle de l’École Normale du Musique playing

a similar programme to the one he would giveat the Verdi Conservatory at the end of theyear. He performed on a Bechstein piano andthe programme was Bach’s transcription of

Vivaldi’s Concerto in G major, threeScarlatti Sonatas, Bach’s Toccata in C

major for organ arranged by Busoni,Beethoven’s Op 31 No 3 PianoSonata, Chopin’s Ballade in Fminor, Op 52, and Polonaise inE flat, Op 22, ending with twoworks by Ravel – Une barquesur l’océan and Alborada delgracioso from Miroirs. On 26January 1936 he played Mozart’sPiano Concerto in C major, K467,for the Société des Concerts with

Philippe Gaubert.The first Italian sessions were

made for Cetra in November of 1936when Zecchi recorded six sides

(matrices 2-84644 to 2-84649). None of themseems to have been issued and he recordedmost of the titles again in May of 1937 on apiano made by FIP (Fabbrica ItalianaPianoforte), a company founded in 1917. Thefirst work to be recorded was the Toccata bycontemporary Italian composer FrancescoTicciati who became a British citizen in 1936.Next Zecchi recorded his favourite Laleggierezza in superior sound to the Moscowrecording. The majority of the session was ofItalian music; in addition to the Ticciati herecorded sonatas by Scarlatti, the Vivaldi/BachG major Concerto and two transcriptions byOttorino Respighi. Highlights from the sessionsare the two Liszt Paganini Études for theirrazor-sharp articulation and effortless

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musicality, while the Barcarolle by Chopin thathe recorded at the beginning of the secondsession on 4 May shows his delicate, pellucidand even tone throughout. When the F sharpminor section arrives, a cloud passes the sunwhile we pick up speed for the A major sectionwith the gondola speeding along at a swift andexhilarating tempo.

Here we arrive at another of the diffi cul -ties surrounding Zecchi’s discography because

Cetra issued the same repertoire under twodifferent series of catalogue numbers and somediscographies allocate different matrices tothem. A case in point is the Prelude and Fuguein F sharp major by Bach. One recording, madeat the 4 May 1937 sessions, was supposedlyissued on CC 2009 with matrix 2-70056, butanother from 25 October 1942 was issued onCB 20353 with the matrix 2-70825. Only directcomparison of the two discs can confirmwhether they are the same recording, but thesediscs are scarce and hard to find, and wehave been unable to locate a copy of CC 2009to confirm that it is indeed an alternativeperformance.

A session the following year produced aconcertante work in the form of Bach’sBrandenburg Concerto No 5 with Zecchi at thepiano, Arrigo Tassinari on the flute andGioconda de Vito on the violin. Her recordingsfor HMV in London twenty years later wereto become legendary. It is a light, buoyantperformance unlike contemporary recordingsby artists such as Alfred Cortot.

Further sessions for Cetra took placeduring the Second World War in July andOctober 1942. In Schumann’s KinderszenenZecchi characterises each piece but managescohesion, while in the Schubert Momentmusical he takes a refreshingly non-devotionalapproach giving a feeling of �� rather than ��.

With Chopin’s Mazurkas, Zecchi’srefinement of sensibility and style result ina dance that is more salon than peasant,although he injects them with great characterand rhythm. Like the Barcarolle, Chopin’sBerceuse is ideally suited to Zecchi’s style andtechnique. He weaves a mesmerising spell with

GIACONDA DE VITO ARRIGO TASSINARI

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his fioritura of inimitable grace, supported bythe repeated left-hand harmony. The recordingof Debussy’s Poissons d’or makes one wishZecchi had recorded more music by thiscomposer; Feux d’artifice was recorded atthe November 1936 sessions but not released.In Poissons d’or his feather-light tremolosveritably shimmer at the beginning of this workwhile the tension and release of the closingbars is beautifully handled.

Zecchi made one more commercialpiano recording – an LP for the American

Westminster label in 1956. Trumpeted as his‘triumphant return to piano records! … Here,for the everlasting joy of his worshippers,the awe of newer listeners who have not yetheard him, is the triumphant first fruit’.Unfortunately, the LP, which mainly duplicatesthe less virtuosic repertoire from his Cetrasessions, is disappointing and does not capturethe supreme level of accomplishment found inhis earlier recordings. Zecchi died in Salzburgin 1984.

© 2018 Jonathan Summers

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Executive Producer:Mike Spring

Producer and Audio Restoration Engineer:Mark Obert-Thorn

Special thanks to Giovanni Chiodi,Michael Gartz, Donald Manildi (IPAM),

Tom Ruane (British Library),Angelo Scottini, Marc van Bemmel,

Prof. Pietro Zappalá and Paolo Zeccara forproviding source material for this release

Disc label for the MusTrust recording

of the Chopin Ballade

12 www.aprrecordings.co.uk