Reviews | RH-020 | PIETRO SCARPINI | BEETHOVEN

19 October 2021 | Jonathan Woolf | Music Web International | Pietro Scarpini - BEETHOVEN Scarpini’s under-the-radar legacy continues to expand and impress. | « Rhine has focused extensively on the surviving legacy of Italian pianist Pietro Scarpini and you will find a number of their releases reviewed on this site. But Rhine wasn’t the only label to promote his recordings, as the late Allan Evans’ Arbiter label released a disc called ‘The Pietro Scarpini Edition’ (see review), the first of a projected series, which contained two of the performances in Rhine’s latest release. These were the Op.111 sonata and the recording by which Scarpini is best known, the Piano Concerto No.4 in the live RAI Rome performance with Furtwängler given in 1952. [...] The jump in sonics from previous restorations of the concerto to that presented by Arbiter was striking and very welcome. Quite a lot had had to be taken on trust before, but aurally things were clear and clean in their transfer and that’s the case here too, which is not surprising as I suspect that Arbiter had access to a high-quality original source, as does Rhine. I won’t repeat my comments about these two performances other than to note that one now has the opportunity to hear the two other Beethoven sonatas that Scarpini recorded on 13 March 1961 when he also performed Op.111 – namely Op.14/2 and the Pathétique. They share the resilient and technically strong elements – but above all the interpretative excellence – that so distinguished his reading of Op.111. [...] one can nevertheless admire this great Beethovenian in intimate action, his control well-nigh exemplary. It seems inconceivable, as it has throughout this entire series, that Scarpini only made one commercial recording, but he was a man who preferred the less glacial arenas of live performance and home taping. He is not alone in that.
The booklet presentation is customarily attractive and 24bit 96 kHz remastering has been employed throughout. Scarpini’s legacy can now be seen in all its variety and richness in this series of Rhine releases and this latest example is no less impressive than the previous examples.»

15 September 2021 | Stephen Greenbank | Music Web International | Pietro Scarpini, discovered tapes - BEETHOVEN Performances which certainly do honour to the music. | «When complete it will comprise of 33 discs, representing all the significant recordings left by Scarpini, many recorded privately. This volume is devoted to Beethoven and consists of a live solo recital given in Milan on 13 March 1961, a concerto recording dated 19 January 1952 and three home studio recordings from the 1970s. [...] The 1952 live recording of the Furtwängler/Scarpini/RAI Beethoven Piano Concerto No 4 has had several incarnations on CD, and collectors will be familiar with the performance. I’m told that many are poor-sounding, certainly the Urania release that I’m familiar with is. Comparing it to this new transfer suggests that Emilio Pessina has had access to excellent source material. Whereas the Urania transfer is muddy and dimly lit, this remastering restores a favorable balance between soloist and orchestra, and the overall picture isn’t as sonically constricted. The piano line is brighter and more defined. Furtwängler is a sensitive partner and is with the soloist all the way, allowing a certain amount of freedom and flexibility. The finale, though not as fast as some, is nevertheless rhythmically buoyant and engaging. [...] The booklet contains a cameo portrait of the pianist by the producer and audio restorer Emilio Pessina in addition to some interesting black and white photographs of the artist. Detailed track listings, timings and dates are included. As to the audio quality, these documents derive from a variety of sources and have undergone 24bit 96 kHz remastering. The Milan recital sounds excellent. The 1952 concerto recording, whilst not having the same cleanness, projects the Scarpini tone very well. The home studios have the intimacy and closeness one would expect. I totally concur with Mr. Pessina who lauds Scarpini as a “true interpreter of the classics”.»