Simply The Beauty (by P. Lucca)


SIMPLY THE BEAUTY” is a new box on World of Pescini containing personal impressions about “The Beauty in Music” and other more by Pierpaolo Lucca.

The Author: Composer, Orchestrator and Arranger, Pierpaolo Lucca was born in Genoa in 1970 on April 24. Eclectic self-taught musician and versatile artist, in more then 30 years of composing he has explored & experienced different styles and genres of music : Classical Music, Pop, Rock, New Age, Celtic & World Music, Funky, Cinematic & Polyphonic Sacred Choir Music. He has published his first Album ” La Pietra di Delfo ” in 2013

December 2017 – The Red Priest 

It has been said that all music until the end of the eighteenth century was ” occasional ” music (or better, music that arose not from an inner impulse of the composer but from the requirements of his employment or in response to a commission). By and large this observation is true;it certainly applies to Vivaldi’s sacred vocal music, even if sometimes it could happens that a Great Masterpiece finds out the way to come at the light delighting everyone on this earth.
It’s the case of the Vivaldi’s ” Magnificat ” RV 610 in G minor… it was perhaps the most widely circulated and performed of any of his sacred vocal works during his lifetime, and still remains one of the most beautiful and known masterpiece of Sacred Vocal Music of the History of Music.
The Vivaldi’s ” Magnificat ” opens powerfully with a restless series of modulations. Vivaldi must have been fond of this passage, since it reappears in his Kyrie RV 587 and Credo RV 591. Verses 2-4 of the canticle are compressed into a single, ritornello-form movement in which three solo voices appear in turn; the entry of the chorus for the words ” Omnes Generationes ” is a fine dramatic touch.
The ” Et Misericordia ” movement (… wonderful !!!) that follows is the most expressive of the work, using wide intervals – sixths & sevenths – to convey both the poignancy and the infinitude of divine mercy.
In the final part of the work, the opening chords return for the doxology (” Gloria Patri “), ushering in a short but powerful concluding fugue.

As always, the only thing I want to say is… listen to this Masterpiece, and enjoy the Music !!!

Thanks for reading,
See you on January 2018 !


Tips for listening:

ANTONIO VIVALDI – Magnificat RV 610, in G minor

Performed by John Alldis Choir & English Chamber Orchestra

Conductor: Vittorio Negri

November 2017 – The Shy Man

Sometimes it happens that a shy man is able to see more far away than others, just because he’s only interested to compose.
It’s the case of Gulstav Holst (1874-1934), an English composer, arranger and teacher, best know for his orchestral suite ” The Planets “, an international success in the years immediately after the First World War that made of him a well-known figure.
As every shy man, Holst did not welcome this fame, and preferred to be left in peace to compose and teach. In his later years his uncompromising, personal style of composition struck many music lovers and he really was a significant influence on a number of younger English composers, including Edmund Rubbra, Michael Tippett and Benjamin Britten.
Not only, Gulstav Holst has been and still remains one of the most ” point of reference ” for the Hollywood Film Composers, since when John Williams in 1977 was inspired by him to compose the Soundtrack for “Star Wars”.
Even if all the seven movements of Holst’s Suite “The Planets” (op. 32) are simply amazing, original and wonderful, I think that the most beautiful of them is the n. 4, “Jupiter, the Bringer of Jollity”. In this one, as in other movements, Holst’s use of orchestration is very imaginative, colourful and personal, even if it – in part – shows the influence of such his contemporary composers as Stravinsky, Schoenberg and Rimsky-Korsakov.
A curiosious detail: when Pluto was discovered in 1930 and was hailed by astronomers as the ninth planet, Holst expressed no interest in writing a moviment for the new planet ’cause he had become disillusioned by the popularity of his suite “The Planets”, believing that it took too much attention away from his other music works…

Listen to the Suite, and particularly… enjoy “Jupiter, the Bringer of Jollity” !

Thanks for reading,
See you on December !


Tips for listening:

GUSTAV HOLST – THE PLANETS, “Jupiter, the Bringer of Jollity”

Performance by James Levine and the Chicago Symphony Orchestra

October 2017 – The Father of Nocturnes 

” None have quite attained to these vague eolian harmonies, these half-formed sighs floating through the air , softly lamenting
and dissolved in delicious melancholy . Nobody has even attempted this peculiar style, and especially none of those who
heard Field play himself, or rather who heard him dream his music in moments when he entirely abandoned himself to his inspiration “.
This is the extensive euology that Franz List wrote in the preface to his edition of Field’s Nocturnes, in 1859.
Field ?!? Yes, guys… we are talking about John Field, ” The Father of Nocturnes “.
Maybe, not everybody knows that his 18 nocturnes were some of the most influential music of the early Romantic period: they do not adhere to a strict formal scheme (such as the sonata form), and they create a mood without text or programme.
These pieces were so admired by Frédéric Chopin, that he subsequently made his own piano nocturne famous, and – of course – Franz Liszt too.
By the way, John Field became well-known for his post-London style, probably developed in Moscow around 1807. The characteristic texture is that of a chromatically decorated melody over sonorous left hand parts supported by sensitive pedalling.
Field also had an affinity for ostinato patterns and pedal points, rather unusual for the prevailing styles of the day.
I can say only this: every piece is a ” Little Jewel “…

… Listen to them all, and – as always – enjoy the Music !

Thanks for reading,
See you on November !


Tips for listening:

JOHN FIELD – 18 Nocturnes

Performed by Benjamin Frith

September 2017 – The Passion of the Third

Brahms clearly saw himself as Beethoven’s successor in the role of 19th-century symphonist, and although he planned his first symphony in his early twenties, the work did not reach fruition until he was 43.
The Third Symphony (1883) as having an unassailable natural monument of its own, from its passionate opening bars though the gently winding lyrical secon-subject group, so that he has consistently resisted observing an exposition repeat as an interruption of the forward flow.
Brahms carries the listener on though the contrasts of the warmly melodic central movements to the surging finale, which ends, however, in a mood of wistful reverie. He is highly persuasive, but this is an individual view and remains the most controversial of his four readings.
The Movement 3 of this Symphony (Poco Allegretto) is one of my favourite masterpiece, in which all Brahms tenderness and passion find the better way to express themself.
No words needed, nothing more than this: Hans Richter, who conducted the premiere of the Symphony, proclaimed it to be Brahms’ ” Eroica “.
Listen to it, and enjoy the Music !

Thanks for reading,
See you on October !


Tips for listening:

J. BRAHMS, Symphony n° 3 – 3th Mov.

Berlin Philharmonic conducted by Wilhelm Furtwangler

August 2017 – A Souvenir from Bruxelles

I remember that 35 years ago – I was just a boy – my brother went in Bruxelles for few days on holidays, and when he came back he brought me a casket as souvenir from Belgium. I took it in my hands, looking the little box very surprised: it contained 2 audio
cassettes, one of which containing a recording of a Mozart Symphony … I remember I’ve listened to the tape several times, enjoying more and more each time: it was the Symphony n. 36, called ” Linz Symphony “.
This is one of Mozart’s symphonies that I prefer, not only for my personal memories about the souvenir and all the rest, but because this music work is a very masterpiece of Music.
However, you know, every masterpiece has his “simplicity”: this is Mozart’s first symphony in which he used a slow initial movement, typical of F. J. Haydn, his great friend and – in part – a “mentor” outside the universe of Mozart’s home.
The whole symphony is, in fact, a ” tribute ” to Haydn’s style.
It is reported that Mozart composed this symphony in a few days at the end of 1783, during a short stay with his wife Constanze in the city of Linz (hence the name), hosted by his dear friend and protector Joseph Anton Thun, who was the one who commissioned him this work for a Court Concert.
What else ? …Enjoy the Music !

Thanks for reading,
See you on September !


Tips for listening:

W. A. Mozart, Symphony n°36 K.425 “Linz”

Philharmonia Orchestra conducted by Otto Klemperer

July 2017 – One of my most distinguished 

Hi guys… Great Incipit, isn’t it ? Yes, absolutely… but unfortunately I’m not talking about one of my composition…
I’m talking about one of the most beautiful and important masterpiece of the History of music: the Beethoven’s Symphony n. 7.
In fact, was Beethoven himself that spoke of his Seventh Symphony as ” one of my distinguished “, in a letter of 1 June 1815 to J. P. Salomon… and he was right.
Since always I love this masterpiece, and it’s not a casuality that the ecstatic spiritual quality of the first movement (coming after
the most outstanding of Beethoven’s slow introductions) led Richard Wagner to coin his famous description of the movement as ” the apotheosis of the dance “, and even in Beethoven’s lifetime this was among the most popular of his symphonies, expecially the Allegretto movement, which had to be repeated at the first performance of the work.
A singularity of this movement is the ” enigmatic ” 6/4 chord in A minor with which the Allegretto begins and ends, that gives to all the movement a sense of mistery, or something unfinished that remains not good defined…
The ” Fugato ” part that suddenly starts in the middle of the Allegretto, is instead one of the most beautiful & fascinating that I’ve
ever heard.
This Symphony is a masterpiece !

Thanks for reading,
See you on August !


Tips for listening:

Ludwig van Beethoven, SYMPHONY n. 7 – Mov. II Allegretto

Berliner Philharmoniker conducted by Claudio Abbado


June 2017 – A Wonderful World 

Welcome to June, dear friends… Welcome to the Summer !
This month I want to make a singular appointment, cause there are things in Music that don’t need words… but ears to listen to
Nothing else…

” I see trees of green, red roses too
I see them bloom for me and you
And I think to myself what a wonderful world

I see skies of blue and clouds of white
The bright blessed day, the dark sacred night
And I think to myself what a wonderful world

The colors of the rainbow so pretty in the sky
Are also on the faces of people going by
I see friends shaking hands saying how do you do
They’re really saying I love you

I hear babies crying, I watch them grow
They’ll learn much more than I’ll never know
And I think to myself what a wonderful world
Yes I think to myself what a wonderful world ”

Thanks for listening,
See you on July !


Tips for listening:

Louis Armstrong, WHAT A WONDERFUL WORLD (Live)

May 2017 – Brahms, the Last of the Great Classical Composers

Often called the last of the Great Classical Composers, Brahms accomodated his powerful Romantic inclination to the demands of traditional music form. The result was – as wrote John Gillespie – “… a delightful mixture of Classical form clothed in the multicolored hues of German Romanticism.”
Brahms is masterful synthesis of these disparate elements; his inventiveness, rhythmic drive and happy fusion of poetry and sound workmanship are strikingly evidenced in the Concerti.

Although he wrote only four – two for piano, one for violin, and one Double Concerto for violin and cello – they have all become absolute staples of the Concert repertoire.

The one I really love is the Piano Concerto n. 2, a masterpiece in all senses. It’s a monumental composition, with a magic intro: an Horn Solo start playing the theme to which the piano immediately answer, for two times… then Woodwinds and Strings bring the listener to an ” unexpected spot ” where the piano suddenly takes the lead on everything and begins a new overwhelming show until the theme is resumed by the whole orchestra.

That’s what I mean for ” Beauty in Music “: something that brings me inside of me, with all the powerful and tenderness I need…

Thanks for reading,
See you on June !


Tips for listening:

PIANO CONCERTO No. 2, Op. 83 – Allegro non troppo (1)
Pianoforte, Arthur Rubinstein

April 2o17 – The Beauty of the Second Brandeburg Concerto

From August 1717 to April 1723 Johann Sebastian Bach was Kapellmeister and Master of the Royal Chamber Music at the Court of Prince Leopold of Anhalt-Cothen. In this period he composed ” Six concerts avec plusiers instruments “, named nowadays – after their dedicatee to the Margrave of Brandeburg – the ” Brandeburg Concertos “.
Even if all of these Concertos are Great Masterpieces of Music and I like them all very much, personally I love the Second. This one is the most fully-fledged representative model of the concerto grosso, in wich the Orchestra and the Ensemble comprising several Soloists are set against one another.
In contrast with the later Concertos n. 4 and 5, however, the solo parts are scarcely individualized. The specific characteristics of
the recorder, oboe, trumpet and violin are not taken  into account motivically or thematically; all four soloists work with the same material, which is merely adapted slightly to the differing capabilities of the instruments.

However, for me, this Concert is ” simply ” an explosion of Life, a Spring breeze the make me feel good every time I listen to it…
the beautiful theme of the first moviment, the tenderness of the second and the Great conclusion of the third and final moviment maybe represent the perfect example of what each composer would like to have composed, me too…
It’s beautiful !!!

Johann Sebastian Bach really was a Great Genius and Composer, with a deep soul and immense knowledge of Music…

Thanks for reading,
See you on May !


Tips for listening:
BRANDEBURG CONCERTO N. 2 in F, BWV 1047 – Allegro
Performed by Trevor Pinnock & The English Concert

March 2017 – The Father of the String Quartet 

Sometimes, in the course of History, it happens that we don’t think about the time that is needed before a thing became as we know it. For example, we know what is a Symphony, as the the same we know what is a String Quartet… but difficultly we think about how much time passed before these classical forms became themselves… and, particularly, who was that made these changes.

In the first years of 1700 the Symphony and the String Quartet were not yet a musical genre defined.

A composer took them in his hands and in a lap of time of 50 years changed the future of the classical music forever; this man was Franz Joseph Haydn (1732-1809).

W.A. Mozart said: “ was from Haydn that I first learned the true way to compose quartets…”, and the composer Otto Jahn

wrote:”… it is not often that a composer hits so exactly upon the form suited to his compositions; the quartet was Haydn’s natural mode of expressing his feelings..”.

Haydn’s affinity to the quartet began with his earliest works, when he perhaps more than anyone established the 4-movements structure of chamber music. In common with truly great and complete artists, who surpass early innovation to achieve heir greatest work at the end, Haydn’s latest quartet are his best.

In a period of 50 years he composed over 80 string quartets and over 100 symphonies.

I myself have studied many of his music works, learning what is “the Beauty of the musical form”.

Thanks, Joseph !

See you on April,


Tips for listening:


February 2017 – Have you ever been “Fallen in Love”?

Of course, I think… well, so all of you know what is Love… right ? OK… I don’t know if you have a Love Song for the life, because there are so many beautiful Love Songs in the Story of Music that we can quietly change it every day… but there’s one song I think we can put in our box “Simply the Beauty “, for the wonderful melody and beautiful lyrics, and because it’s the right way describing “ what is Love ”: <<… and the moment I can feel that you feel that way too, is when I fall in love with you… >>.

I think you have understood the song I’m talking about, it’s “When I Fall in Love” – Lyrics by Edward Heyman and Music by Victor Young (a great Soundtracks Composer)– introduced in the film “ One Minute to Zero “ and recorded for the first hit version by Doris Day in the 1952.

There are so many cover of this beautiful song that it has become one of the most important standards, but I think that the version by Nat King Cole in the 1956 is really “ lovely ”.

He had a voice like no other: warm, expressive, intense and professional, that made dreaming.

There are no words to describe this wonderful song… it’s better listening to it and let Magic brings you away… Where ?!? … have faith, it’s not important… Let do to the Magic !

Happy Valentine’s Day to all !!! See you on March,

Tips for listening:
Doris Day 

Nat King Cole

When I fall in love
It will be forever
Or I’ll never fall in love
In a restless world like this is
Love is ended before it’s begun
And too many moonlight kisses
Seem to cool in the warmth of the sun
When I give my heart
It will be completely
Or I’ll never give my heart
And the moment I can feel that you feel that way too Is when I fall in love with you.

January 2017 – ” Simply The Beaty “

What is ” The Beauty ” ?

Beauty is just everything makes us feel good and better… is not important if it is a simple pop melody or a great and elaborated classical symphony, if it makes us feel good and better is ” Simply The Beauty”.

I want to start this our first monthly appointment with a memory of mine: I was only a teen-ager when, a day in the past, I decided to buy a new Album that I had never listened to before, so I went into a music shop and I saw lots of Albums of different styles and genres.

Suddenly I was fascinated from an album. It seemed to tell me “I’m here!”. It was “Water Music” by G. F. Handel.

So I came home and put my new Long Playing on the record player… it was one of the first times that I learned what is “Beauty in Music”, that’s all…

Handel had the talent to make simple what is “not easy”. His innate gift and his love for the “Beauty in Music” led him to become one of the most important composer of the past.

Tips for listening:

WATER MUSIC – English Baroque Soloists – John Eliot Gardiner, conductor

I wait for you in February, for the new issue!


Author: Lorenzo

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