The fifth book of Rossini’s “Sins of My Old Age” piano cycle consists of 12 pieces that abound with humor, pianistic ingenuity, and unexpected harmonic zingers. The pieces are trickier to play than they sound, and make the most impact with a pianist who understands their character and can “ham them up” without being vulgar…Première Communion’s easy lilt and punchy “shave and a haircut” rhythmic interjections, Un Sauté’s energetic octaves, the insouciance of L’innocence Italienne: La Candeur Française’s flashy passagework, and a high-spirited rendition of the Prélude Convulsif…A good disc, overall

Rossini had a droll sense of humor and nowhere is this more obvious in the thirteen volumes of 'Péchés de vieillesse' ('Sins of Old Age') which he wrote for solo piano in his latter years. This is the third volume of what promises to be all of Rossini's piano music played by the young Italian, Alessandro Marangoni. The selections on this CD come from the fifth volume which Rossini titled 'Album pour les enfant adolescents' ('Album for Adolescent Children'). The first piece 'Première communion' ('First Communion') depicts the religious rite of first communion followed by an informal celebration of the event. Then comes a Theme and Variations ('Thème et variations, idem ...'), the last variation of which has really quite striking rapid octaves in both hands. 'Saltarello à l'italienne' is a gentle piece in 6/8, not as lively as the title might lead one to expect; actually it sounds more like a gavotte. 'Prélude moresque' has the expected Moorish exoticism in, one must say, small doses. 'Valse lugubre' is actually less than lugubrious, is even lighthearted, another of Rossini's misleadingly witty titles.

'Impromptu anodin' ('Harmless Impromptu', hence the title of this review) again is drily witty. 'L'innocence italienne; la candeur française' ('Italian innocence; French candor') contrasts stereotypical Italian naïveté with mercural French wit. It's not clear who wins. But one is reminded of Italian folksong and Offenbachian gaîté parisienne. 'Prélude convulsif' is indeed interrupted several times by almost convulsive mock-dramatics and contains some delicious faux-baroque counterpoint. 'La Lagune de Venise à l'expiration de l'année 1861!!!' ('The Venice Lagune at the End of the Year 1861!!!') gently jokes about the beginning of Italian unity under King Vittorio Emmanuele in that year by pointing out (by quoting the Radetsky March) that Venice was still under the control of Austria (where it remained until 1866). The piece is a gentle barcarolle.

The title of 'Ouf! Les petits pois' ('Oof! The peas!) has no clear connection with the music other than reminding us of Rossini's lifelong interest in things gastronomic. The same is true of the next piece 'Un sauté' which despite its name sounds like Chopin. The final piece in the Fifth Album (and also one with gastronomic implications) is 'Hachis romantique' ('Romantic Hash') which sounds like a Clementi sonatina.

These pieces are not deathless music, and indeed were not really intended to be. Most were originally played at gatherings at Rossini's home where informality, good wine and lots of good food were the rule. They do, however, reminds us what a fountain of good tunes Rossini was and they are given delightful performances by pianist Marangoni. more....