Review of Bach, Roman, Scarlatti, Teleman, Weiss by Enea Leone, Stradivarius, 2017
I would like to try to draw your attention to an aspect that I find quite interesting: the discography of a musician. In our present society the music has ceased even the panorama function that Satie, Eno and Schafer had foreseen and partly made for us. Today, music is no longer a scene, but an uninterrupted stream. The digitization of recordings, the widespread diffusion with all media and technology, the direct streaming distributors and the massive use of smartphones have changed listening into a no longer a private and temporal issue, but a continuous streaming, a continuous stream that wraps us, comforts us, “charge us” (I hate this expression), “anesthetize us” and at the same time doesn’t make us free.
Would it be possible that listening today, listening as a real activity that requires time and dedication to the music you listen to, to the musicians who perform it, and to the medium that “transports it” (vinyl, cd, mp3, etc) has become a real luxury good, almost an aesthetic act that requires an objective (song duration) and a subjective time (quality of listening)?
And if so … what would be the role of a record reviewer? Or better still, why should we write and talk about a disc yet?
What I submit to your attention today, on the electronic pages of my blog, is the new work of Enea Leone, the third CD of his career made with the italian label Stradivarius. His first work dates back to 2011, titled “Souvenir, Regondi, Coste”, dedicated to the romantic music of these two composers, the second, 2013, entitled “Agustin Barrios Medallon Antiguo”, was a monographic work. Nowadays, after four years, this cd involves the eighteenth-century music of Bach, Roman, Scarlatti, Teleman and Weiss. Three records, all three products from Stradivarius. A case? I do not believe it. If the disks are for a musician the equivalent of the books for a writer, these three works talk about a path, a project, a development, a serious and coherent search, perhaps … in fact … of an exploration within a world, the musical one, so vast and changeable.
Does Enea Leone play fine? Sure. He plays really well and the sound of his 1929 Simplicio is really lovely. There is a big deal behind this record. What does is changed from the first two? I do not know, but I think I can pick up in his way of playing a remarkable maturation, not as technical as artistic. It’s a complex job you can enjoy in different ways. You can listen to it as a stream, letting the music playing like a flow, or track by track, listening and listening to one piece at a time, dismantling and replenishing in your mind the transcriptions that Leone performs. In both cases you will not be disappointed, it’s your own choice.
Excellent record. My respect for the excellent work done by Andrea Dandolo, Luca Maria Burocchi and Daniele Marinelli, their attention to the details of the sound is simply admirable!