Press

‘All this is certainly animated by Zentilin's sensitive and often lively performance, whose interpretations have both solemnity and considerable fire (depending on the movement).
There may have been a tendency to regard them as rejects, but Zentilin displays an unusual sensitivity to style that brings them to life with crisp clarity.
Certainly, the expressive range of the modern piano may be responsible for some of these, but it is careful and perceptive playing that permeates this set.
It is true that a closer reading through a fortepiano might give a better view of the era, but here this three-disc set does much to offer a wonderful picture of both the possibilities of the new instrument and Giustini's abilities.
This makes it much more of a pity that more of his music has not survived to judge him more fully. Well recommended.’

‘Through the filigree of his touch, which is characterised by a remarkable sensitivity in ornamentation, combined with a sparing use of pedals, Zentillin conveys a tonal aura on Fazioli grand pianos that does the works absolute justice’.
from PIANONews 3-2021 www.pianonews.de

‘The nursery is that of Roberto Prosseda, a precious dispenser of suggestions that, as in a Renaissance workshop, the talented pupil grasps from the hands of the Maestro.
But Paolo Zentilin is more than a brilliant promise.
Whoever decides to venture into the marathon of this captivating listening session will discover an already refined interpreter: sharp, intelligent, daring, capable of combining impeccable rigour with whimsical mutability.
It is to him that we owe the rediscovery of Lodovico Giustini's op.1: twelve cymbal piano and forte sonatas in which the composer's spirit giantises, first among equals, in the exploration - mechanical as much as expressive - of the future prince of instruments and its infinite possible solutions. A universe rediscovered.’

‘In tackling this broad and complex repertoire, the pianist Paolo Zentilin opted for two modern instruments (two Fazioli gran coda) rather than the fortepiano, thanks to which he was able to make the most of the peculiarities of the writing, fully highlighting the uncommon expressive value of each individual Sonata, without however going beyond the stylistic scope pertinent to the entire collection.
We have thus appreciated the always limpid and luminous sound, obtained with a substantially calibrated touch, the subtle variety of dynamics (the most delicate Sarabande and the iridescent Giga in Sonata No. 8 are significant examples), the skilful dosage of the pedal, the varied range of embellishments (as in Sonata No. 5), all in an elegant and refined context, such as to highlight the peculiar characteristics of each work and its most varied chiaroscuro.
To this must also be added the measured timbre research, thanks to which an adequate palette has been obtained for each page, even in the most animated and incisive movements. [...] in any case, the interpretation proposed here has made it possible to bring out the full potential of all these Sonatas and their intimate vitality.
The three CDs were enhanced by a very natural, balanced and well-spaced recording. [...]’

‘More emotionally exciting in its lively approach and sensuous sound, however, is the recording by his compatriot Paolo Zentilin.
He recorded all twelve sonatas for Brilliant Classics in 2018/2019 on a radiant-sounding Fazioli grand piano, whose timbre is somewhat reminiscent of the harpsichord.
It is to be hoped that through these excellent recordings Giustini's music will finally get the prominence it deserves.’

‘It is fantastic music, superbly played.
Zentilin studied the works and the composer intensively, researched the sources for years and then sought out the right path for himself.
On a modern grand piano, but historically informed.
What fascinates Giustini about the new instrument, Zentilin asks himself, how does he deal with the possibilities that open up here, how does he draw inspiration from them?
An exciting journey through time, and finally the redemption of a forgotten genius'.

‘[Paolo Zentilin] uses the tonal resources of the instrument, but does not forget a late baroque sensibility, with a passionate, never exaggerated playing style, with a full, captivating sound quality and an exquisite sense for dynamic control.’ [...] ‘Paolo Zentilin interprets the pieces on a modern grand piano and does not at all fall into the trap of trying to go in the direction of “historical” interpretation, and as far as sound is concerned he uses the piano's multi-coloured registers.
In this way, he gives these sonatas, which are more than 300 years old, a timeless magic'.

‘this recording is a real discovery and enrichment’.
‘Paolo Zentilin's production, however, shows that this very colourful and characteristic music also works on the modern grand piano. He plays this very early piano music with so much imagination, taste and ornamentation that the question of the instrument is actually not so important. Here, a first-class musician plays marvellous pieces, hitherto too little known'.
‘Giustini's sonatas are not only of great historical value, they are simply glorious music.
Similar to Scarlatti's sonatas, each of Giustini's 12 pieces has its own charm and character.
This music is absolutely worth listening to and discovering, which by the way also applies to the performer of this recording'.
'a very subtle virtuoso who plays Giustini's sensitive music with many colours and great tonal imagination. A truly great recording for piano enthusiasts who otherwise already know it all.’
‘A very successful and pianistically first-class recording with hitherto little known piano music.’

‘[...] What makes us reflect on the real value of a musician who deserves substantial rehabilitation is not a mature musicologist or a performer of advanced age, but a young pianist (who is currently also studying composition), matured in that workshop of international standing that is the ‘Giuseppe Tartini’ Conservatory of Trieste.
What is surprising about the great work of reinterpretation and research that Paolo Zentilin has done - documenting it in a triple CD - is the balance he has found between meditated expressiveness and reconstructive rigour in these twelve sonatas, which mark a fundamental point of passage in the history of music that is little known’.

The world's first recording on a modern piano of the complete set of the 12 ‘Sonate da Cimbalo di Piano e Forte’ op. 1 by Lodovico Giustini da Pistoia (1685-1743), is an authentic discovery.
Although they are not very well known, this corpus is in fact of considerable historical importance: they are the first pieces to have been composed exclusively for the fortepiano, an instrument that had just been invented at the time.
Published in Florence in 1732, they were so successful that, shortly afterwards, they were reprinted in Amsterdam.
They will be performed by the amazing Friulian pianist Paolo Zentilin.