On the occasion of Michelangelo Pistoletto’s exhibition at Blenheim Palace and the collaboration with the British Museum for the celebration of the centenary of Giorgio Bassani’s birth.
Scarlatti: Sonata K159 L104 "La Caccia" [2’22]
Liszt: Jeux d’Eau a Villa d’Este (extracts)
Brahms: Sonata no.3 Op.5, ii mov.: Andante Cantabile [12’48]
Finzi: Eclogue (extracts)
Respighi: Pini di Roma (extracts)
Biscardi: Nel Giardinetto della Villa, iii mov. : "Lo stagno e Le Ninfee" [1’55]
Debussy: Preludes from the Second Book
- Prelude no.1 "Brouillards"
- Prelude no.2 "Feuilles mortes"
- Prelude no.3 "La puerta del Vino"
- Prelude no.4 "Les fées sont d'exquises danseuses"
- Prelude no.5 "Bruyères"
- Prelude no.8 "Ondine"
Marco Fatichenti, piano
Marco Fatichenti is an internationally acclaimed performer and recording artist who has appeared in some of the most prestigious venues across Europe and the United States.
Described by Hilary Finch in The Times as ‘none other than Chopin incarnate’, he was hailed by the International Record Review for offering ‘a different and refreshing slant on Brahms from a vantage point south of the Alps’, and praised by International Piano for ‘marrying Romantic turbulence with Classical order’. His performances include broadcasts by the Spanish RTVE, Irish RTE, Polskie Radio, and several BBC appearances. Among his recent highlights are performances at London’s Wigmore Hall and Queen Elizabeth Hall, Birmingham’s Symphony Hall, Dublin’s Concert Hall, Madrid’s Auditorio Nacional, Barcelona’s Auditori, and Valencia’s iconic Palau de la Musica. He was also invited by the Italian Minister for Foreign Affairs to perform at the International EXPO in Zaragoza, Spain.
Marco’s critically acclaimed solo albums include music by Brahms, Stravinsky, Debussy, and Chopin. Active both as recitalist and chamber musician, Marco is also an educator who is committed to promoting music and its societal value among diverse audiences. He is currently esearching performance practice of Spanish and atalan piano schools in early twentieth Century at King’s College London.