Italian composer and musician Bruno BAVOTA is one of those cases where a person discovers his attraction to music at a fairly late stage in life, in his case at the age of 20. A few years later he found out that the piano was to be his chosen instrument, and have stuck with that ever since from what I understand. From 2010 and onward he started to release his music commercially, with five albums to his name so far. “Mediterraneo” dates back to 2015, and was released through Russian label Dronarivm.
While the piano is the main instrument throughout, it isn’t the sole instrument used on this album. So while by and large a piano album, it isn’t a purebred one. It is an instrumental release however, and in terms of style I guess classical music is the best genre placement here.
Bavota is what I suspect many would call a careful, sensitive performer. His core expression is one of delicate, frail notes, carefully wandering through flowing landscapes where subtle nuances by way of power and pace creates alluring moods and atmospheres. The dramatic effects are by and large fairly careful as well, there are hardly any big, powerful sounds present throughout, but the notes and passages sporting a firmer performance adds enough tension and variety to maintain attention quite nicely.
Acoustic guitar, violin and cello are used to supplement the piano on several occasions, the guitar a bit more than the strings, and these instruments are used pretty much in the same manner, with subtle movements and differences in pace and intensity the order of the day. The contrast are careful rather than stark, the landscapes warm, organic and inviting rather than challenging or distanced. The more elaborate compositions may probably warrant a description as some kind of classical chamber music I guess, although to how great an extent they follow the common norms of musical creations of that nature I cannot vouch for.
The melancholic and mournful does tend to dominate this album as far as moods and emotions are concerned, with occasional lapses into more uplifting landscapes and the occasional strangely attractive compositions that manage to blend a positive vibe with melancholic undercurrents or vice versa. Like the feeling of memories of a beautiful summer’s day, recollected in late autumn.
“Mediterraneo” comes across as a carefully developed and carefully performed album on all levels, a rare haven of peaceful bliss but one that also has substance and content beyond merely being easy on the ears and the mind. An album that merits a check by those who love the piano as an instrument, and then in particular when used within what by and large is a classical music context and framework.
My rating: 80/100
