Registrato al Megaron di Atene, il progetto discografico, fresco di uscita, include gemme deliziosi del grande compositore di Bonn, ovvero: Bagatelles Op.33 & 126, Rondos Op.51 No.1 and 2, Rondo a capriccio Op.129, Polonaise Op.89. Il repertorio è incentrato principalmente su opere di piccola forma, contrariamente a quanto si è di solito abituati dalla produzione Beethoveniana; mentre il compositore è noto per le Sonate o le Sinfonie, autore di musiche "grandi" e "tragiche", qui si tiene da parte questo suo aspetto. Si tratta di un tentativo di evidenziare il lato “umano”, semplice, leggero e spiritoso del compositore, oltre alla sua notevole fantasia, originalità e forte personalità.
Questa registrazione presenta opere musicali raramente eseguite di tre rinomati compositori italiani del 20° secolo: Franco Margola, Giorgio Federico Ghedini e Vittorio Rieti. Il Mythos Trio, fondato a Roma quando i musicisti che lo compongono stavano compiendo gli studi post-laurea presso l'Accademia Nazionale di Santa Cecilia, ha debuttato nel marzo 2012 nella prestigiosa Sala Accademica del Conservatorio "S. Cecilia". Da allora, hanno costruito una carriera notevole, esibendosi su molti palcoscenici internazionali.
Uscita del doppio CD con i Quelques Riens pour Album di Rossini, parte della collezione dei "Peccati di vecchiaia" (Péchés de vieillesse). La registrazione è stata fatta nel 2018 alla Athens Concert Hall, mentre gli ultimi 4 brani ("Highlights") del 2° CD sono stati eseguiti al Pleyel del 1844 di proprietà dello stesso compositore, live al Museo Internazionale della Musica di Bologna in un recital del 2018 per commemorare i 150 anni dalla morte di Rossini. Questi brani fanno parte di una vasta produzione di opere del compositore scritte negli ultimi anni della sua vita, il dodicesimo volume dei "Peccati" (per un totale di oltre 150 opere per pianoforte, musica da camera, canzoni, coro, ecc.) e che sono state pubblicate dopo la sua morte.
Da Vinci Classics :
To interpret Rossini’s piano work, because that’s what it’s all about, giving it body and vigor has always been difficult for any pianist. As they were called by the author himself sins of old age, and in particular the cycle “Quelques riens pour album” are on the one hand an intimate and often amused diary of the brilliant operist, but at the same time they become a sum of compositional ideas, notes, sometimes almost sonata movements, to which the author entrusted compositions and notes of modernity and unique avant-gardeism, often constituting a technical challenge for the interpreter who was faced with works as original in form as they were disruptive in their visionariness. The Greek pianist Marios Panteliadis proposes an idea perfectly placed in the romantic temperament, suggesting to the listener both the modernity of these pages and the dignity of being able to stand beside recognized masterpieces of early nineteenth-century pianism. Recorded entirely at the magnificent Megaron Concert Hall in Athens, Panteliadis proposes, to seal the deep relationship between composer and performer, also four compositions on the piano that belonged to Rossini himself, providing an interesting parallelism between the contemporary sound world and that of yesterday.
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