Live concert Istituto Nazionale Tostiano (Ortona 2007) 3/8 Composer, Francesco Paolo Tosti. Lyricist, Rocco Emanuele Pagliara. Joaquín Pixán, tenor. Giovanni Auletta, piano. The catalog of chamber vocal works of Sir Francesco Paolo Tosti (Ortona, 1846 - Rome, 1916) offers an inexhaustible source of selection, always original, both for live performances and the discography. The number of romanzas, chansons and songs, which already was close to 400 titles and which has recently been further enriched with new discoveries, puts Italian musician among the most prolific of that kind of living room that was the pillar of sound in everyday life in the Europe of the Belle Époque. It is true that the recording interest has been increasing in recent years precisely by the rediscovery and dissemination of many titles that were unknown or were forgotten, but that are proving nothing less than those "historical" romanzas that for decades had saturated a repeatedly both concert programs and record editions. There is no doubt that, in connection with the production of Tosti, constitutes a particular merit of tenor Joaquín Pixán the search for pages that have allowed it to achieve, with this disc, recording of more than forty romanzas and gather five compositions absolutely unheard of for violin and piano and for solo piano of composer Abruzzo. Thus, the interest, which we could call with love, artistic property Spanish tenor by the music of F.P. Tosti has resulted in an anthology of the numerous titles, combining the always refined interpretations with a research work and a novel proposal they have given to the dissemination of the Tostian work a service more than significant. Therefore, as director of the Istituto Nazionale Tostiano, I accepted with pleasure to present this new endeavor album Joaquín Pixán, which in parts chosen returns to walk with great care many paths of compositional Tosti, paying special attention to the least known pages and interpreted. The disk that the listener now has in its hands is the fruit of a diligent work as few and which bears witness to the Istituto Nazionale Tostiano that, for its part, has cooperated with the same dedication and with the same enthusiasm that had been devoted to its realization Joaquín Pixán and its artistic and technical partners. The fragments recorded cover virtually the entire route of the compositional activity of Tosti, from 1876 (Serenata d'a Angelo) to 1915 (Anima mia). The selection has been made specifically for the Italian production, with romanzas whose verses constitute a kind of anthology of the Italian poetry of transit between the nineteenth and twentieth centuries, with poetic compositions before all of D'Annunzio, but also of Pagliara, Giusti, Panzacchi, Cimmino, Prague, Stecchetti, Fontana: writers, poets, librettists, journalists, intellectuals who encouraged the Italian cultural life of those years and who Tosti, having fallen some of them unjustly in oblivion, led to the immortality with your music. The selection and the order of the fragments are the demonstrations of this study on the whole corpus of Italian romanzas Tosti, which makes this disk one of the tributes deeper and more ways to Francesco Paolo Tosti. The interpretative code is rigorous with regard to respect for the original tostian, and such has been the requirement to sing to Tosti as Tosti has written (finally!) that Pixán, so as not to abandon his tenor "nature", but always respecting the tostian reading, has added two versions "arbitrary", with acute not written, L'ultima canzone and Addio (from the English Original Good Bye), a correction that deserves the applause of all. Next to the romanzas appear five chamber parts. One of them is well known from the point of view of interpretation, but unpublished in an album yet: the piano version, made by the own Tosti, of the song for ever and for ever Walzer for piano on F.P. Tosti celebrated song. The other four are two pieces for violin and piano, Inquietudine and romance, in which the knowledge of the instrument of the arc by Tosti confirms its didactic training in San Pietro a Majella of Naples, concluded with the diploma in violin. The two other pieces are two "scherzos piano", Poupette. The Trifoglio Marcetta quasi Reale and Valse of l'Adieu (bal au Claridge's Hotel), the latter composed by Tosti on the occasion of the reception given in the famous London hotel to celebrate his appointment as Sir in December 1908. The work of Joaquín Pixán and all their colleagues in the disk (delicious the recovery of the duos of the "Canti Popolari Abruzzesi") provides us with a recording that is among the most important of the mare magnum" of the discography tostiana, by love, respect, and the artistic performance. Francesco SANVITALE Director of the Istituto Nazionale Tostiano of Ortona.

Joaquín Pixán, tenor & Giovanni Auletta, piano. Aprile (Live concert Ortona 2007) 1/8 Live concert Istituto Nazionale Tostiano (Ortona 2007) 1/8 Compositor: Francesco Paolo Tosti. Letrista: Rocco Emanuele Pagliara. Joaquín Pixán, tenor. Giovanni Auletta, piano. https://itunes.apple.com/es/album/francesco-paolo-tosti-la-musica/id839619964 https://itunes.apple.com/es/album/francesco-paolo-tosti-la-musica/id838915628 The catalog of chamber vocal works of Sir Francesco Paolo Tosti (Ortona, 1846 - Rome, 1916) offers an inexhaustible source of selection, always original, both for live performances and the discography. The number of romanzas, chansons and songs, which already was close to 400 titles and which has recently been further enriched with new discoveries, puts Italian musician among the most prolific of that kind of living room that was the pillar of sound in everyday life in the Europe of the Belle Époque. It is true that the recording interest has been increasing in recent years precisely by the rediscovery and dissemination of many titles that were unknown or were forgotten, but that are proving nothing less than those “historical” romanzas that for decades had saturated a repeatedly both concert programs and record editions. There is no doubt that, in connection with the production of Tosti, constitutes a particular merit of tenor Joaquín Pixán the search for pages that have allowed it to achieve, with this disc, recording of more than forty romanzas and gather five compositions absolutely unheard of for violin and piano and for solo piano of composer Abruzzo. Thus, the interest, which we could call with love, artistic property Spanish tenor by the music of F.P. Tosti has resulted in an anthology of the numerous titles, combining the always refined interpretations with a research work and a novel proposal they have given to the dissemination of the Tostian work a service more than significant. Therefore, as director of the Istituto Nazionale Tostiano, I accepted with pleasure to present this new endeavor album Joaquín Pixán, which in parts chosen returns to walk with great care many paths of compositional Tosti, paying special attention to the least known pages and interpreted. The disk that the listener now has in its hands is the fruit of a diligent work as few and which bears witness to the Istituto Nazionale Tostiano that, for its part, has cooperated with the same dedication and with the same enthusiasm that had been devoted to its realization Joaquín Pixán and its artistic and technical partners. The fragments recorded cover virtually the entire route of the compositional activity of Tosti, from 1876 (Serenata d'a Angelo) to 1915 (Anima mia). The selection has been made specifically on the Italian production, with romanzas whose verses constitute a kind of anthology of the Italian poetry of transit between the nineteenth and twentieth centuries, with poetic compositions before all of D'Annunzio, but also of Pagliara, Giusti, Panzacchi, Cimmino, Prague, Stecchetti, Fontana: writers, poets, librettists, journalists, intellectuals who encouraged the Italian cultural life of those years and who Tosti, having fallen some of them unjustly in oblivion, led to the immortality with your music. The selection, and the order of the fragments, are the demonstration of this study on the whole corpus of Italian romanzas Tosti, which makes this disk one of the tributes deeper and more ways to Francesco Paolo Tosti. The interpretative code is rigorous with regard to respect for the original tostian, and such has been the requirement to sing to Tosti as Tosti has written (finally!) that Pixán, so as not to abandon his tenor "nature", but always respecting the tostian reading, has added two versions "arbitrary", with acute not written, L'ultima canzone and Addio (from the English Original Good Bye), a correction that deserves the applause of all. Next to the romanzas appear five chamber parts. One of them is well known from the point of view of interpretation, but unpublished in album yet: the piano version, made by the own Tosti, of the song for ever and forever Walzer for piano on F.P. Tosti celebrated song. The other four are two pieces for violin and piano, Inquietudine and romance, in which the knowledge of the instrument of arc by Tosti confirms its didactic training in San Pietro a Majella of Naples, concluded with the diploma in violin. The two other pieces are two "scherzos piano", Poupette. The Trifoglio Marcetta quasi Reale and Valse of l'Adieu (bal au Claridge's Hotel), the latter composed by Tosti on the occasion of the reception given in the famous London hotel to celebrate his appointment as Sir in December 1908. The work of Joaquín Pixán and all their colleagues in the disk (delicious the recovery of the duos of the "Canti Popolari Abruzzesi") provides us with a recording that is among the most important of the mare magnum" of the discography tostiana, by love, respect and the artistic performance. Francesco SANVITALE Director of the Istituto Nazionale Tostiano of Ortona

Live concert Istituto Nazionale Tostiano (Ortona 2007) 7/8 Composer, Francesco Paolo Tosti. Lyricist, Riccardo Mazzola. Joaquín Pixán, tenor. Giovanni Auletta, piano. The catalog of chamber vocal works of Sir Francesco Paolo Tosti (Ortona, 1846 - Rome, 1916) offers an inexhaustible source of selection, always original, both for live performances and the discography. The number of romanzas, chansons and songs, which already was close to 400 titles and which has recently been further enriched with new discoveries, puts Italian musician among the most prolific of that kind of living room that was the pillar of sound in everyday life in the Europe of the Belle Époque. It is true that the recording interest has been increasing in recent years precisely by the rediscovery and dissemination of many titles that were unknown or were forgotten, but that are proving nothing less than those "historical" romanzas that for decades had saturated a repeatedly both concert programs and record editions. There is no doubt that, in connection with the production of Tosti, constitutes a particular merit of tenor Joaquín Pixán the search for pages that have allowed it to achieve, with this disc, recording of more than forty romanzas and gather five compositions absolutely unheard of for violin and piano and for solo piano of composer Abruzzo. Thus, the interest, which we could call with love, artistic property Spanish tenor by the music of F.P. Tosti has resulted in an anthology of the numerous titles, combining the always refined interpretations with a research work and a novel proposal they have given to the dissemination of the Tostian work a service more than significant. Therefore, as director of the Istituto Nazionale Tostiano, I accepted with pleasure to present this new endeavor album Joaquín Pixán, which in parts chosen returns to walk with great care many paths of compositional Tosti, paying special attention to the least known pages and interpreted. The disk that the listener now has in its hands is the fruit of a diligent work as few and which bears witness to the Istituto Nazionale Tostiano that, for its part, has cooperated with the same dedication and with the same enthusiasm that had been devoted to its realization Joaquín Pixán and its artistic and technical partners. The fragments recorded cover virtually the entire route of the compositional activity of Tosti, from 1876 (Serenata d'a Angelo) to 1915 (Anima mia). The selection has been made specifically for the Italian production, with romanzas whose verses constitute a kind of anthology of the Italian poetry of transit between the nineteenth and twentieth centuries, with poetic compositions before all of D'Annunzio, but also of Pagliara, Giusti, Panzacchi, Cimmino, Prague, Stecchetti, Fontana: writers, poets, librettists, journalists, intellectuals who encouraged the Italian cultural life of those years and who Tosti, having fallen some of them unjustly in oblivion, led to the immortality with your music. The selection and the order of the fragments are the demonstrations of this study on the whole corpus of Italian romanzas Tosti, which makes this disk one of the tributes deeper and more ways to Francesco Paolo Tosti. The interpretative code is rigorous with regard to respect for the original tostian, and such has been the requirement to sing to Tosti as Tosti has written (finally!) that Pixán, so as not to abandon his tenor "nature", but always respecting the tostian reading, has added two versions "arbitrary", with acute not written, L'ultima canzone and Addio (from the English Original Good Bye), a correction that deserves the applause of all. Next to the romanzas appear five chamber parts. One of them is well known from the point of view of interpretation, but unpublished in an album yet: the piano version, made by the own Tosti, of the song for ever and for ever Walzer for piano on F.P. Tosti celebrated song. The other four are two pieces for violin and piano, Inquietudine and romance, in which the knowledge of the instrument of the arc by Tosti confirms its didactic training in San Pietro a Majella of Naples, concluded with the diploma in violin. The two other pieces are two "scherzos piano", Poupette. The Trifoglio Marcetta quasi Reale and Valse of l'Adieu (bal au Claridge's Hotel), the latter composed by Tosti on the occasion of the reception given in the famous London hotel to celebrate his appointment as Sir in December 1908. The work of Joaquín Pixán and all their colleagues in the disk (delicious the recovery of the duos of the "Canti Popolari Abruzzesi") provides us with a recording that is among the most important of the mare magnum" of the discography tostiana, by love, respect, and the artistic performance. Francesco SANVITALE Director of the Istituto Nazionale Tostiano of Ortona

Joaquín Pixán, tenor & Giovanni Auletta, piano. Malia (Live concert Ortona 2007) 6/8 Live concert Istituto Nazionale Tostiano (Ortona 2007) 6/8 Compositor: Francesco Paolo Tosti. Letrista: Rocco Emanuele Pagliara. Joaquín Pixán, tenor. Giovanni Auletta, piano. https://itunes.apple.com/es/album/francesco-paolo-tosti-la-musica/id839619964 https://itunes.apple.com/es/album/francesco-paolo-tosti-la-musica/id838915628 The catalog of chamber vocal works of Sir Francesco Paolo Tosti (Ortona, 1846 - Rome, 1916) offers an inexhaustible source of selection, always original, both for live performances and the discography. The number of romanzas, chansons and songs, which already was close to 400 titles and which has recently been further enriched with new discoveries, puts Italian musician among the most prolific of that kind of living room that was the pillar of sound in everyday life in the Europe of the Belle Époque. It is true that the recording interest has been increasing in recent years precisely by the rediscovery and dissemination of many titles that were unknown or were forgotten, but that are proving nothing less than those “historical” romanzas that for decades had saturated a repeatedly both concert programs and record editions. There is no doubt that, in connection with the production of Tosti, constitutes a particular merit of tenor Joaquín Pixán the search for pages that have allowed it to achieve, with this disc, recording of more than forty romanzas and gather five compositions absolutely unheard of for violin and piano and for solo piano of composer Abruzzo. Thus, the interest, which we could call with love, artistic property Spanish tenor by the music of F.P. Tosti has resulted in an anthology of the numerous titles, combining the always refined interpretations with a research work and a novel proposal they have given to the dissemination of the Tostian work a service more than significant. Therefore, as director of the Istituto Nazionale Tostiano, I accepted with pleasure to present this new endeavor album Joaquín Pixán, which in parts chosen returns to walk with great care many paths of compositional Tosti, paying special attention to the least known pages and interpreted. The disk that the listener now has in its hands is the fruit of a diligent work as few and which bears witness to the Istituto Nazionale Tostiano that, for its part, has cooperated with the same dedication and with the same enthusiasm that had been devoted to its realization Joaquín Pixán and its artistic and technical partners. The fragments recorded cover virtually the entire route of the compositional activity of Tosti, from 1876 (Serenata d'a Angelo) to 1915 (Anima mia). The selection has been made specifically on the Italian production, with romanzas whose verses constitute a kind of anthology of the Italian poetry of transit between the nineteenth and twentieth centuries, with poetic compositions before all of D'Annunzio, but also of Pagliara, Giusti, Panzacchi, Cimmino, Prague, Stecchetti, Fontana: writers, poets, librettists, journalists, intellectuals who encouraged the Italian cultural life of those years and who Tosti, having fallen some of them unjustly in oblivion, led to the immortality with your music. The selection, and the order of the fragments, are the demonstration of this study on the whole corpus of Italian romanzas Tosti, which makes this disk one of the tributes deeper and more ways to Francesco Paolo Tosti. The interpretative code is rigorous with regard to respect for the original tostian, and such has been the requirement to sing to Tosti as Tosti has written (finally!) that Pixán, so as not to abandon his tenor "nature", but always respecting the tostian reading, has added two versions "arbitrary", with acute not written, L'ultima canzone and Addio (from the English Original Good Bye), a correction that deserves the applause of all. Next to the romanzas appear five chamber parts. One of them is well known from the point of view of interpretation, but unpublished in album yet: the piano version, made by the own Tosti, of the song for ever and forever Walzer for piano on F.P. Tosti celebrated song. The other four are two pieces for violin and piano, Inquietudine and romance, in which the knowledge of the instrument of arc by Tosti confirms its didactic training in San Pietro a Majella of Naples, concluded with the diploma in violin. The two other pieces are two "scherzos piano", Poupette. The Trifoglio Marcetta quasi Reale and Valse of l'Adieu (bal au Claridge's Hotel), the latter composed by Tosti on the occasion of the reception given in the famous London hotel to celebrate his appointment as Sir in December 1908. The work of Joaquín Pixán and all their colleagues in the disk (delicious the recovery of the duos of the "Canti Popolari Abruzzesi") provides us with a recording that is among the most important of the mare magnum" of the discography tostiana, by love, respect and the artistic performance. Francesco SANVITALE Director of the Istituto Nazionale Tostiano of Ortona