Maurizio Paciariello

His repertoire encompasses solo and chamber music, with a particular interest in period instruments. The instruments he has used include a copy of a late eighteenth-century clavichord, an early nineteenth-century Viennese Haselmann fortepiano, a French Boisselot piano dating from around 1840 and an 1885 Bösendorfer. His exploration of historical performance practice has led to projects such as Beethoven’s complete violin sonatas on an 1804 Broadwood piano at the Museum of the American Piano in New York, as well as a performance at the Cappella Paolina in the Quirinale Palace, Rome.

His recording debut for Inedita featured the piano concertos of Friedrich Kuhlau and Franz Berwald with the Sassari Symphony Orchestra. For the same label, he recorded Beethoven’s youthful Concerto in E-flat major, WoO 4 (1784), which attracted favourable attention in Italy and abroad. Further research resulted in recordings of the Rondo in B-flat major and the Concerto in D major, Op. 61a, receiving an enthusiastic response from international musicologists and consideration for the Prix International du Disque in Cannes. The seventh volume of Beethoven Rarities (Inedita), featuring the 1808 manuscript version of the Fourth Concerto, Op. 58, and the Second Concerto, Op. 19, with the handwritten cadenza from the Kafka Sketchbook, received five stars in Musica.

His ASV recording of Christian Sinding’s music for violin and piano received praise from Fanfare, BBC News, The Guardian and The Daily Telegraph. With Luca Sanzò he recorded the viola sonatas of Lino Liviabella and Nino Rota, and with Marco Rogliano the complete works for violin and piano by Ottorino Respighi (Tactus). His recording of Paul Hindemith’s viola sonatas with Sanzò (Brilliant Classics) received favourable notices from Gramophone, Fanfare, MusicWeb International, Musica and Opusklassiek. Reviewing his recording of Hindemith’s three piano sonatas for Fanfare, James H. North described him as “a Gustav Leonhardt turned into a Van Cliburn”.