BOTTIROLI FABIO BANEGAS, piano GEORGE TAKEI, speaker - WORLD PREMIÈRE RECORDINGS - IDAGIO
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WORLD PREMIÈRE RECORDINGS
BOTTIROLI
COMPLETE PIANO WORKS • 2
NOCTURNES
FABIO BANEGAS, piano
GEORGE TAKEI, speaker
JOSÉ ANTONIO BOTTIROLI (1920–1990)
COMPLETE PIANO WORKS • 2
NOCTURNES
FABIO BANEGAS, piano
Catalogue Number: GP871
Recording Dates: 16 October (4–9), 22 November (16–20 [George Takei]),
29 November (1–3, 10–20) 2020
Recording Venue: Louis Ferdinand Productions Studio, Hollywood, CA, USA
Producer: Fabio Banegas
Engineer and Editor: Jeff Gartenbaum
Mastering Engineer: Pete Doell – AfterMaster Audio (www.AfterMaster.com)
Piano: Steinway, Model D, No. 559445
Piano Technician: Patrick Brandstteter
Booklet Notes and Translations: Fabio Banegas
Publisher: Golden River Music (www.goldenrivermusic.eu) – first edition, ed. Fabio Banegas
Artist Photos: Fabio Banegas: Corey Fox (www.coreyfoxphotography.com);
George Takei: Courtesy of George Takei
Cover Art: Landscape and Sky: Andromeda by Simon Hudson
TRES PENAS DE 1984 (‘THREE SORROWS FROM 1984’) 09:55
Vesperal en Mi bemol mayor, B97 (‘Vespers in E flat major’) (1984)
1 Lento 03:40
Doloroso en Mi bemol mayor, B100
(‘Sorrowful in E flat major’) (1984)
2 Poco andante 02:14
Micropena en Re menor, B96 ‘Andrómeda’
(‘Microsorrow in D minor ‘Andromeda’’) (1984)
3 Andante 04:00
SEIS HOJAS DE ÁLBUM (‘SIX ALBUM PAGES’) 24:12
Hoja de álbum I en Sol bemol mayor, B45
(‘Album Page No. 1 in G flat major’) (1976)
4 Largo – Animato 04:55
Hoja de álbum II en Re mayor, B47
(‘Album Page No. 2 in D major’) (1976)
5 Un troppo lento – Vivo 04:00
Hoja de álbum III en Re menor, B48
(‘Album Page No. 3 in D minor’) (1976)
6 Andante – Poco più 03:34
Hoja de álbum IV en Fa mayor, B49
(‘Album Page No. 4 in F major’) (1976)
7 Andante – Animato 03:03
WORLD PREMIÈRE RECORDINGS
Hoja de álbum V en Si mayor, B55 ‘Nocturnalia’
(‘Album Page No. 5 in B major ‘Nocturnalia’’) (1977)
8 Andante cantabile – Animato 05:10
Hoja de álbum VI en Fa menor, B56
(‘Album Page No. 6 in F minor’) (1977)
9 Andante – Poco più 03:23
CUATRO PIEZAS DE 1974 (‘FOUR PIECES FROM 1974’) 10:35
Imagen en Re mayor, B36 (‘Image in D major’) (1974)
0 Moderato – Allegretto 02:57
Eros en Si menor, B37 (‘Eros in B minor’) (1974)
! Mesto – Andante 02:41
Memento en Mi menor, B39 (‘Memento in E minor’) (1974)
@ Grave – Poco più – Allegro 01:48
Muñeca olvidada en Fa menor, B40 (‘Forgotten Doll in F minor’) (1974)
# Adagio malincolico – Allegro 03:05
DOS NOCTURNOS EN SOL BEMOL MAYOR
(‘TWO NOCTURNES IN G FLAT MAJOR’) 06:05
Nocturno en Sol bemol mayor, B59 (‘Nocturne in G flat major’) (1978)
$ Sostenuto – Andantino 02:37
Nocturno en Sol bemol mayor, B95 (‘Nocturne in G flat major’) (1984)
% Larghetto – Poco più 03:26
WORLD PREMIÈRE RECORDINGS
CINCO RÉPLICAS PARA PIANO (‘FIVE PIANO REPLIES’) 21:44
Texts: José Antonio Bottiroli
English Translations: Fabio Banegas
Speaker: George Takei
Poema en Re mayor, B35 ‘Ven’ (‘Poem in D major ‘Come’’) (1974)
^ Lento 03:53
Retorno en Si bemol mayor, B113 ‘Retorno’
(‘Return in B flat major ‘Return’’) (1975)
& Allegretto – Molto meno mosso 04:28
Réplica I en Re bemol mayor, B71 ‘Cómo es…’
(‘Reply No. 1 in D flat major ‘How is it…’’) (1979)
* Allegro 03:49
Réplica II en Re menor, B70 ‘Nocturno’
(‘Reply No. 2 in D minor ‘Nocturne’’) (1979)
( Presto 03:47
Improvisación en Re menor, B74 ‘Otoño’
(‘Improvisation in D minor ‘Autumn’’) (1980)
) Andante 05:38
WORLD PREMIÈRE RECORDINGS TOTAL TIME: 72:35JOSÉ ANTONIO BOTTIROLI (1920–1990) COMPLETE PIANO WORKS • 2 NOCTURNES This second volume of José Antonio Bottiroli’s complete piano works – Nocturnes – focuses on the night sky as could be seen by Bottiroli from Villa Piruchín, his holiday home in Los Cocos, a town on the slopes of the Punilla Valley, Cordoba Province, Argentina. Los Cocos offered him a formidable vantage point from which to observe the clear-white strip of the Milky Way and stars seemingly suspended as near as fireflies in a spectacle immersed in complete quietude. And, between the months of October and December, for a brief moment after 10pm, he could spot a unique astrological event of the Southern Hemisphere, the Andromeda Galaxy floating just above the horizon. In the opposite direction, the sight was framed by the daunting silhouette of the enigmatic Mount Uritorco, the sacred mountain of the indigenous Comechingón tribe. The dates and the location indicated in the manuscripts of these works confirm that this was the setting from which Bottiroli composed 16 of the 20 pieces on this album. This album begins with an evening prayer from 1984, Vespers in E flat major, B97, Bottiroli’s emotional plea before a sky that surrounds him with stars. In his nocturnes, Bottiroli transcends the earthly realms of romantic love and passion associated with the genre to venture his music in the apparent stillness of the universe as he expressed it in Microsorrow in D minor, B96 ‘Andromeda’, also from 1984. The cycle of Six Album Pages was composed in nine months from May 1976 to February 1977. The first contact I had with it didn’t occur until ten years later, on Wednesday 22 October 1986 when Bottiroli handed me an autographed copy of the manuscript of Album Page No. 1 in G flat major, B45, with the handwritten dedication ‘for Fabio, surely his best interpreter.’ In essence, these six pieces are nocturnes as they take on the accepted characteristics of the composition, a slow single-movement character piece inspired by the calmness and beauty of the night. With the very beginning of Album Page No. 3 in D minor, B48, Bottiroli stages one of the distinctive features of his compositional palette: Impressionism. While in Album Page No. 4 in F major, B49, its introductory harmonised chant is followed by a rhapsodic variation, thus introducing for the first time in this anthology one of his favourite musical forms: theme and variations.
Album Page No. 5 in B major, B55, reveals the nighttide intention of Bottiroli when he assigned it the subtitle Nocturnalia, a self-created word derived from the Spanish words nocturno and nocturnal. Album Page No. 5 was followed by three enlarged versions, for flute quartet, for flute quartet with string orchestra (both from 1981) and finally by an expanded symphonic poem. The series of Six Album Pages has a notable thematic unity provided by the reappearance of previously announced themes and motifs. One of these recurrences, the principal theme of Nocturnalia, headed by a descending fourth interval, is the theme of Piruchín in F major, B65 (track ¶ in the first volume of Bottiroli’s complete piano works, GP833) described as ‘the composer’s own musical self-portrait’. The four Piano Pieces from 1974 start with a work of pure Impressionism, Image in D major, B36. Bottiroli alludes to the amorous character of the nocturnes by evoking the Greek god of love in Eros in B flat minor, B37. He concluded Memento in E minor, B39, with a waltz, his favourite dance and the focus of the first volume of piano works. The melancholic introduction of Forgotten Doll in F minor, B40, leads to an emotional musical moment, also in triple time. The only two pieces titled Nocturne, both in the same key and composed in Los Cocos, show a marked difference in mood. The first, Nocturne in G flat major, B59, composed in the summer of 1978 depicts a more subdued atmosphere than the more spirited Nocturne, B95, composed in the winter of 1984. The collection of Five Piano Replies represents an original genre conceived by Bottiroli where he, a composer poet, could show his two artistic talents in a genre he called Reply. The poems reproduced below are recited in this recording by the renowned stage and screen actor George Takei. Poem in D major, B35, is a reply to a love poem entitled Ven (‘Come’), an invitation to resume the passion and contemplate dawn together. The next reply, Return in B flat major, B113, is the only one composed in Los Cocos. In it, the poet, in his inconsolable orphanhood, longs for the return of his mother. In Reply No. 1 in D flat major, B71, entitled Cómo es… (‘How is it…’), he wonders at the immensity of his love, comparing it to mythological gods surpassing this world. Reply No. 2 in D minor, B70 ‘Nocturne’ and Improvisation in D minor,
B74 ‘Otoño’ (‘Autumn’), are a premonition of his own fate. Puzzled and agitated with the relentless passing
of time, Nocturne leads Bottiroli to render a moving exposé on the end of the vital cycle of Nature, which in
Autumn culminates in a day in which his breath will fail at sundown.
Born in Rosario, Argentina, on 1 January 1920, José Antonio Bottiroli died almost in autumn, on 15 March
1990. A 1948 graduate of National University of the Littoral in Argentina, he received the Rotary Club Award
for best music student. He studied piano and composition with José de Nito (1887–1945), and harmony and
counterpoint with José Francisco Berrini (1897–1963). His most important mentor was Nicolás Alfredo Alessio
(1919–1985). He wrote 115 compositions: 73 piano pieces, 12 symphonic works, 23 chamber music works,
8 works for choir, and wrote 77 poems.
In 2015 the City of Rosario declared Bottiroli ‘Distinguished Musician Post Mortem in recognition of his
outstanding career as a composer and conductor of classical music, his contribution to the cultural and artistic
heritage of the city and his advancement of the national identity.’
Fabio BanegasFIVE PIANO REPLIES a bouquet of perfumed caresses
lavishing herself in permanent eagerness:
Come of giving, always giving to others.
Come back The mother returned, life arrived
your skin is clean. and the vital breath filled my chest,
Come and listen to the breath I asked her for, exhausted, frantic in
my everlasting song. my cureless orphanhood, she offered her hand,
Your skin is clean her hand such an ineffable balsam.
because it is covered by The torn heart is beating again
the cloak of love. and the inconsolable soul was flooded with light.
Come, the arms In a white cloud my beloved has returned,
are still open a white cloud like her infant soul
and their warmth the same. to tell me with her sweet presence,
Come here to the site get up, get up and walk!
of so many luminous days.
Come to see the dawn. How is it…
Is it not more beautiful, perhaps? Tender, gentle, impetuous
Come, this is me, this is the love I have for you
your skin clean. with roots is Oedipus
in Dido and in Aeneas
Return with pain and joy
She returned tonight with her dark skin, dancing to the sound of flutes
with the joy of the eager return; chasing ghosts
giving out the gesture, the elated gaze. forgetting the past
She returned to the home of her dear loves transposing walls
to tell us of her necessary return stony then unread
to those waiting with impatience to How is this love
hear her voice charged with emotions. sliding in the snow
She returned bringing in her good hands climbing in the treesthat peeks between veils today is the same and is not the same:
drawn back in the dawn it is only one, who continues pouring
it is passing in this world the sweetness of this forest that is already mine
which is not of all of us between eternal plants and flowers
it is made of flowers Immutable witnesses of beauty.
and yet is strong; I wonder wistfully many times:
our love is not of this world. Will the branches cover the sky?
Will my autumn be winter and will the cold
Nocturne turn off the celestial light?
The branches, being on top My winter will be winter, yet,
form a large fenestrated roof; the fire will be eternal, the tree will be log;
the stars with their indecisive lights, the light inside me will turn off
discrete slip themselves down. perhaps one day when my breath fails
A message from above is arriving at sundown.
from the sky that has lost its mystery
because of the irreverent man Autumn
who investigates: the reason resists A green mantle dotted with old gold
to comprehend a firmament drags the autumn year after year
which has lost gallantry: my reason marking a trail on the ground
does not concede that there is no night carpeted with already dry and withered leaves;
allowing my sweet being with my chimeras trembling carpet combed by the wind,
that encouraged my early years. lulled by the wind that gently insists
Today I want to be surrounded by stars to take from the leaf the golden reflections
the inexorable target of my head of the proud sun that sullenly refuses...
which is not the head of a poet from Parnassus, Man eternally tramples the crunchy
Indeed the cell locking my thoughts, dead carpet of his withered
Ideas that cannot leave this, my autumn, yellow trace of overcome thing,
in a corner, shackled. trace of the past with remnant of flowers’ scent
My God whom I implored since childhood that just yesterday was young, that just yesterdaywas spring... I who am wrapped in autumn, never longed for past springs, I just wait resigned for the cruel winter cold winter that perhaps takes me. Meanwhile the autumn year after year indolently drags its decayed mantle I will pray in the temple built with memories, forged with my hands filled with sweet love and I will hear a glorious ring of bells also dragging my old mantle that flies to the sad wind, in the sad autumn that passes, passes and passes year after year; sad, very sad. Texts: José Antonio Bottiroli English Translation: Fabio Banegas
Album Page No. 1 in G flat major, B45 with Bottiroli’s handwritten dedication.
JOSÉ ANTONIO BOTTIROLI (1920–1990) OBRAS COMPLETAS PARA PIANO • 2 NOCTURNOS Este segundo volumen de la obra completa para piano de José Antonio Bottiroli, Nocturnos, se enfoca en el cielo de la noche tal como lo pudo ver Bottiroli desde Villa Piruchín, su casa de descanso en Los Cocos, pueblo situado en las laderas del Valle de Punilla, Provincia de Córdoba, Argentina. Los Cocos le ofrecía un punto formidable de observación desde el cual divisar la orla clara blanca de la Vía Láctea y estrellas suspendidas tan cerca como luciérnagas en un espectáculo sumido en completa quietud. Y, entre los meses de octubre y diciembre, por un breve momento después de las 22hs, podía detectar un evento astrológico único del hemisferio Sur, la aparición de la galaxia Andrómeda flotando sobre el horizonte. En la otra dirección, la vista estaba enmarcada por la enigmática silueta del cerro Uritorco, la montaña sagrada de los nativos comechingones. Las fechas y la ubicación indicadas en los manuscritos de estas obras confirman que este fue el escenario desde el cual Bottiroli compuso dieciséis de las veinte obras en este álbum. Este álbum comienza con una plegaria vespertina, Vesperal in Mi bemol mayor, B97, una conmovedora súplica de Bottiroli ante un cielo que lo rodea de estrellas. En sus nocturnos, Bottiroli transciende el ámbito terrenal del amor romántico y pasional asociado con el género para aventurar su música en la aparente inmovilidad del universo como lo expresó en su Micropena I en Re menor, B96 “Andrómeda”, también de 1984. El ciclo de Seis hojas del álbum fue compuesto en nueve meses desde mayo de 1976 a febrero de 1977. El primer contacto que tuve con él no ocurrió sino hasta diez años más tarde, el miércoles 22 de octubre de 1986, cuando Bottiroli me dio una copia autografiada del manuscrito de Hoja de álbum I en Sol bemol mayor, B45, con la dedicatoria “Para Fabio, seguramente su mejor intérprete”. En esencia, estas seis piezas son nocturnos al asumir las aceptadas características del género, pieza de carácter lenta en un solo movimiento e inspirada por la calma y belleza de la noche. Con el inicio de Hoja de álbum III en Re menor, B48, Bottiroli pone en escena uno de los rasgos más distintivos de su paleta compositiva: el impresionismo. Mientras que en Hoja de álbum IV en Fa mayor, B48, su introductorio
armonizado cántico es seguido por una variación rapsódica, presentando así por primera vez en esta antología una de sus formas musicales favoritas: el tema y variaciones. Hoja de álbum V en Si mayor, B55, revela la intensión nocturna de Bottiroli cuando le asignó el subtítulo Nocturnalia, vocablo auto creado derivado de las palabras nocturno y nocturnal. Opus B55 fue seguida por tres versiones extendidas, para cuarteto de flautas, para cuarteto de flautas con cuerdas (ambas de 1981) y finalmente por un desarrollado poema sinfónico. La serie de Seis hojas de álbum tiene una notable unidad temática dada por la reaparición de temas y motivos anunciados previamente. Una de estas recurrencias, el tema principal de Nocturnalia, encabezado por intervalo de cuarta descendente, es el tema de Piruchín en Fa mayor, B65 (pista ¶ en Bottiroli 1, GP833) obra descripta como “el auto retrato musical del compositor.” Las Cuatro piezas de 1974 comienzan con una obra en impresionismo puro, Imagen en Re mayor, B36. Bottiroli alude al carácter amoroso de los nocturnos evocando a una deidad griega del amor en Eros en Si bemol menor, B37. Concluye Memento en Mi menor, B39, con un vals, su favorita danza y el foco del Bottiroli 1. La melancólica introducción de Muñeca Olvidada en Fa menor, B40, conduce a un sentido momento musical, también en tiempo ternario. Las únicas dos obras tituladas nocturno, ambas en la misma tonalidad y compuestas en Los Cocos, muestran una marcada diferencia de carácter. La primera, Nocturno en Sol Bemol mayor, B59, compuesto en el verano de 1978 muestra una atmósfera más tranquila que el más animado Nocturno, B95, compuesto en el invierno de 1984. La colección de 5 Réplicas para piano representa un género original concebido por Bottiroli, donde él, compositor poeta, pudo mostrar sus dos talentos artísticos en un género que llamó réplica. Los poemas reproducidos a continuación son recitados en esta grabación por el reconocido actor de teatro y cine George Takei.
Poema en Re mayor, B35, es una réplica al poema de amor titulado Ven, una invitación a reasumir la pasión para
contemplar juntos el amanecer. La siguiente réplica, Regreso en Si bemol mayor, B113, la única compuesta en
Los Cocos, el poeta, en su inconsolable orfandad, anhela el regreso de su madre. En Réplica I en Re bemol mayor,
B71, titulada Cómo es…, se maravilla ante la inmensidad de su amor, comparándolo con dioses mitológicos
sobrepasando este mundo. Réplica II en Re menor, B70 “Nocturno” e Improvisación en Re menor, B74 Otoño,
son una premonición de su propio destino. Perplejo y conmovido por el inexorable paso del tiempo, Nocturno
lleva a Bottiroli a realizar un conmovedor manifiesto sobre la conclusión del ciclo vital de la Naturaleza, que
culmina en el otoño en un día en el cual su aliento le faltará en el ocaso.
Nacido en Rosario, Argentina el 1 de enero de 1920, José Antonio Bottiroli muere en casi en otoño, el 15 de
marzo de 1990. Graduado de la Universidad Nacional del Litoral, Argentina, en 1948, recibió el premio Rotary
Club al mejor alumno de música. Estudio piano y composición con José de Nito (1887–1945) y armonía y
contrapunto con José Francisco Berrini (1897–1963). Su mentor más importante fue Nicolás Alfredo Alessio
(1919–1985). Compuso 115 obras musicales: 73 piezas para piano, 12 obras sinfónicas, 23 obras de cámara,
8 obras corales y escribió 77 poemas. En 2015 la Ciudad de Rosario declaró a Bottiroli “Músico Distinguido
Post Mortem en reconocimiento a su destacada carrera como compositor y director de música clásica, su
contribución al patrimonio cultural y artístico de la ciudad y su avance de la identidad nacional”.
Fabio BanegasCINCO RÉPLICAS PARA PIANO un ramillete de caricias perfumadas
a prodigarse en permanente afán:
Ven el de dar, siempre dar al semejante.
Ven de nuevo Volvió la madre, llegó la vida
tu piel es limpia. y el soplo vital llenó mi pecho,
Ven y escucha el soplo que exhausto le pidiera, febril
mi canto de siempre. en mi orfandad sin cura y prodigó su mano,
Tu piel es limpia su mano cual bálsamo inefable.
porque la cubre Volvió a latir el corazón transido
el manto del cariño. y se inundó de luz el alma inconsolable
Ven, los brazos En una nube blanca mi amada ha vuelto,
aún están abiertos nube blanca como su alma aún de niña
y su calor el mismo. a decirme con su dulce imperio:
Ven aquí al solar levántate, levántate y anda!
de tantos días luminosos.
Ven a ver la aurora, Cómo es…
No es más bella acaso? Tierno, manso, arrebatado
Ven, yo soy yo, es este el amor que te tengo
tu piel es limpia. con raíces en Edipo
en Dido y en Eneas
Regreso con dolor y alegría
Volvió esta noche con su piel morena, danzando al son de flautas
con la alegría del retorno ansiado; ahuyentando fantasmas
salió el gesto, dichosa la mirada. olvidando el pasado
Volvió al hogar de sus afectos caros transponiendo murallas
a decirnos de su vuelta necesaria pétreas luego desleídas.
a quienes aguardaban impacientes Cómo es este amor
oír su voz cargada de emociones. deslizándose en la nieve
Volvió trayendo entre sus manos buenas trepándose en l los arbolesque atisba entre velos es hoy el mismo y no es el mismo:
descorridos en la aurora es uno sólo, el que sigue derramando
está de paso en este mundo la dulzura de este bosque que ya es mío
que no es el de todos entre plantas y flores eternales
está hecho de flores testigos inmutables de belleza.
y sin embargo es fuerte: Me pregunto anhelante muchas veces:
nuestro amor no es de este mundo. Las ramas taparán el cielo?
¿Mi otoño será invierno y el frío
Nocturno apagará la luz celeste?
Las ramas, encontrándose en lo alto Mi invierno será invierno, mas,
conforman un gran techo fenestrado; el fuego será eterno, el árbol será leño;
los astros con sus luces indecisas, la luz que llevo adentro se apagará
discretas se cuelan hacia abajo. tal vez un día cuando falte mi aliento
Un mensaje desde arriba está llegando en el ocaso.
desde el cielo que ha perdido su misterio
por culpa del hombre irreverente Otoño
que investiga: se resiste la razón Un manto viejo salpicado de oro viejo
a comprender un firmamento arrastra el otoño año tras año
que ha perdido galanura: mi razón marcando un rastro sobre el suelo
no conoce que no exista la noche alfombrado de hojas secas ya caducas;
del dejarme dulce estar con mis quimeras alfombra temblorosa peinada por el viento,
que alentaran mis años tempranos. mecida por el viento que en suave porfía
Quiero hoy que nimben las estrellas quiere tomar para la hoja áureos reflejos
el blanco inexorable de mi testa del sol altivo que hoscamente se los niega...
que no es la de un poeta del Parnaso, Holla eternamente el hombre la crujiente
sí la celda que encierra pensamientos, alfombra mustia de suyo marchitada
ideas que no puede éste mi otoño amarillo resabio de cosa superada,
dejar en un rincón aherrojadas. resabio del pasado con olor a flores
Mi Dios al que implorara desde niño que ayer nomás fue joven, que ayer nomásfue primavera... Yo que estoy envuelto en el otoño nunca añoro primaveras ya pasadas, sólo espero resignado el cruel invierno invierno frío que tal vez me lleve. En tanto el otoño, año tras año cansino arrastra su cariado manto oraré en el templo levantado con recuerdos, forjado con mis manos de dulce amor colmadas y oiré un glorioso repicar campanas arrastrando también mi antiguo manto que vuela al viento triste, en el otoño triste que pasa, pasa y pasa año tras año. triste, muy triste. Textos: José Antonio Bottiroli
GEORGE TAKEI
GEORGE TAKEI, speaker George Takei is a social justice activist, social media superstar, GRAMMY-nominated recording artist, a New York Times bestselling author, and pioneering actor whose career has spanned six decades. He has appeared in more than 40 feature films and hundreds of television roles, most famously as Hikaru Sulu in Star Trek, and he has used his success as a platform to fight for social justice. His advocacy is personal: during the Second World War, Takei spent his childhood in United States internment camps along with 120,000 other Japanese Americans. He now serves as Chairman Emeritus and a member of the Japanese American National Museum’s Board of Trustees, and a member of the US-Japan Bridging Foundation Board of Directors. Takei served on the board of the Japan-United States Friendship Commission under President Bill Clinton, and, in 2004, was conferred with the Gold Rays with Rosette of the Order of the Rising Sun by the Emperor of Japan for his contribution to US-Japan relations.
FABIO BANEGAS © Corey Fox
FABIO BANEGAS
Classical pianist, music scholar and editor, Fabio Banegas, has appeared in recitals and as soloist in the United
States, Europe and in his native Argentina. He studied at the National University of Rosario (UNR) where he
obtained two degrees: Piano Performance and the National Professorate of Music where he was a student of
Professor Nelly Gabús and Professor Anna María Cué. He continued his education in the United States earning
a Master of Music (MM) at California State University Fullerton (CSUF) under Dr Susan Svrček. In fulfilment of
his MM he performed and recorded live all the main works for solo piano, chamber music with piano, and works
for piano and orchestra by César Franck. Fabio Banegas is an interpreter of the complete piano works by the
Argentinean composer José Antonio Bottiroli, of whom he was a student, and has given world premières of many
of the composer’s works. In addition, he also has premiered works by Argentinean composer Nicolás Afredo
Alessio, and will soon record three concertos by Spanish-Argentine composer Eduardo Grau (1919–2006) for
Naxos. Banegas’s Czech ancestry prompted him to develop a piano repertoire of known and unknown Czech
composers whom he has featured in multimedia recitals. He is a recipient of many awards, most notably, from
Argentina, the Friends of the Arts of Rosario Award and the Mozarteum Santa Fe Music Award; while in the US,
he won the Redfield Award of the Orange County Philharmonic Society and the Phi Beta Delta Internationalist
Award. Fabio Banegas has been cast as a pianist in many film and TV productions in Hollywood. He also studied
journalism at the University of California, Los Angeles (UCLA).
www.fabiobanegas.comJOSÉ ANTONIO BOTTIROLI © Bottiroli Family Estate
JOSÉ ANTONIO BOTTIROLI (1920–1990)
COMPLETE PIANO WORKS • 2: NOCTURNES
This world première recording of the second volume of José Antonio Bottiroli’s
complete piano music, is performed once again by his award-winning protégé
Fabio Banegas. The nocturnal themes heard in this album were inspired by the
clear skies over the composer’s holiday home in Los Cocos, Cordoba Province,
Argentina – these spellbinding works transcend earthly romantic concerns and
venture into the stillness of the universe. Dedicated to Banegas, the Album
Pages represent Bottiroli’s distinctive impressionist style, while the unique Five
Piano Replies connects music with poetry written by the composer, and read on
this recording by the renowned actor George Takei.
1–3 TRES PENAS DE 1984
(‘THREE SORROWS FROM 1984’) (1984) 09:55
4–9 SEIS HOJAS DE ÁLBUM (‘SIX ALBUM PAGES’) (1976–77) 24:12 FABIO BANEGAS
0–# CUATRO PIEZAS DE 1974
(‘FOUR PIECES FROM 1974’) (1974) 10:35
$–% DOS NOCTURNOS EN SOL BEMOL MAYOR
(‘TWO NOCTURNES IN G FLAT MAJOR’) (1978/1984) 06:05
^–) CINCO RÉPLICAS PARA PIANO
(‘FIVE PIANO REPLIES’) (1974–80) 21:44
GEORGE TAKEI, speaker
WORLD PREMIÈRE RECORDINGS TOTAL PLAYING TIME: 72:35
℗ & © 2021 HNH International Ltd. Manufactured in Germany. Unauthorised copying, GP871
hiring, lending, public performance and broadcasting of this recording is prohibited.
Booklet notes in English and Spanish. Distributed by Naxos.You can also read
