Salon music from Rossini. Side A would work well as low-level background while reading a book. Track A5 (Une caresse a ma femme) with its sweet aria-like melody finally captures the listener attention. Track B1 (Un petit train de plaisir) is even more engaging. One can picture Rossini playing this surrounded by elegant partygoers, showboating and improvising around this "story". Ciccolini is as good as it gets for this kind of music (see his wonderful Satie). The sound quality of the recording is a touch distant but more than adequate. Reply Notify me Helpful.

All about Pleasures and peccadillos: humorous piano music of Rossini by Gioacchino Rossini. Pleasures and peccadillos: humorous piano music of Rossini. by Gioacchino Rossini.

A9 Aldo Ciccolini Pleasures and Peccadillos S-6 Vinyl.

Un rien (pour album, 1857) Gioachino Rossini; Giuseppina Bridelli; Alessandro Marangoni. 18. Un rien Gioachino Rossini; Giuseppina Bridelli; Alessandro Marangoni. 19. Mi lagnerò tacendo Gioachino Rossini; Giuseppina Bridelli; Alessandro Marangoni. Mozart: Piano Concerto No. 20 - Rachmaninoff: Piano Concerto No. 2 (Live) Aldo Ciccolini; London Philharmonic Orchestra; Yannick Nézet-Séguin. Marteau: Clarinet Quintet, Op. 13 & String Quartet No. 2, Op. 9 Andreas Schablas; Praetorius Quartett; Marteau Quartet. Beethoven, Herzogenberg & Dohnányi: String Trios Aleksić String Trio.

ARTIST: Aldo Ciccolini. ALBUM: Pleasures And Peccadillos Humorous Piano Music Of Rossini.

ROSSINI Pleasures And Peccadillos" Humorous Piano Music Of, ALDO CICCOLINI LP NM. Pre-Owned. Aldo Ciccolini Pleasures and Peccadilos Humorous Piano Music of Rossini Seraphim.

Pesaro: Fondazione G. Rossini, (c. 950) Reprint - New York: Edwin F. Kalmus, . Public Domain General Information. I-Catalogue NumberI-Cat.

Most classical music lovers, I wager, associate Ciccolini with his 1960s Erik Satie recordings that helped revive the maverick composer’s reputation. I’ve always preferred their warmly-registered sonics to the relatively hollow, glassy sound of Ciccolini’s 1980s digital Satie remakes, which are somewhat more scrupulous in regard to the composer’s phrasings and dynamics. Ciccolini also proved a loving and stylish advocate for the virtually unknown yet charming and thoroughly idiomatic keyboard output of Massenet and Severac. And Ciccolini’s virile, sometimes aggressive manner in Grieg’s Lyric Pieces and the early Op. 7 Sonata evoke Grieg’s playing of his own music. Those expecting impressionistic haze and half tints in Debussy’s complete piano works may not appreciate Ciccolini’s broader brush strokes and blunter, neo-Prokofiev edges.