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V A N E S S A B E N E L L I M O S E L L

P I A N O

“Powerful, emotional, romantic and dramatic, she sweeps us along in a dazzling display of assured technique.”

Stephen Pritchard, The Guardian

“a remarkably musical and fluent young pianist...Remember the name."

New York Post


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B I O G R A P H Y

Vanessa Benelli Mosell is a rising star on the international music scene. She is continuously praised for her virtuosity, her technical brilliance and the sensitivity of her musical insight, which have been shaped significantly in mentorships with Karlheinz Stockhausen and Yuri Bashmet.

Vanessa is acclaimed for her passion, in equal measure, for the great classics of the repertory and her championing of the newest composers. She has received universal praise for her recordings of Stockhausen for DECCA and for her orchestral debut of Rachmaninov’s Piano Concerto No.2 with the London Philharmonic Orchestra which is being released in 2017. Recent and future highlights include her debut at La Scala Milan at the MiTo Festival; a recital tour to China; a Stockhausen Marathon; recitals at the Muziekgebouw in Amsterdam and at the Elbphilharminie in Hamburg; a portrait in Ireland with concerti by Rachmaninov and George Benjamin, and her debut at the Royal Festival Hall, Southbank Centre performing Nino Rota with the London Philharmonic Orchestra.

Vanessa playing with the London Philharmonic Orchestra

Vanessa Benelli Mosell began her comprehensive musical studies when she was exceptionally admitted at the International Piano Academy in Imola at seven years old, where she studied with Franco Scala. She gave her debut appearance at eleven years old with pianist Pascal Rogé, who described her as “the most natural musical talent I have encountered in my entire life”. In 2007 she was invited to the Moscow Tchaikovsky Conservatory to study with Mikhail Voskresensky. Vanessa entered the Royal College of Music in London in 2007, where she graduated in 2012 studying with Dmitri Alexeev, generously supported by the Russell Gander Award. Vanessa was awarded the Elba Festival Prize by Yuri Bashmet, and more recently she has won the first Award of the Festival Pietrasanta as an outstanding young talent. She has been supported by the Keyboard Charitable Trust and in 2016 was appointed as a Steinway Artist.



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Vanessa Benelli Mosell is internationally renowned for her performances of Karlheinz Stockhausen's Klavierstücke. Following her recording of Klavierstücke I-‐IV, she was invited by the composer to study under him, as he believed that she “has the power to let people appreciate my music”. Vanessa worked

closely with the composer and he remains an important influence on Vanessaʼs music making, encouraging her passion for contemporary music and her championing of composers of today as well as the great classics.

She has worked with orchestras such as the Orchestre Philharmonique de Strasbourg, Münchner Symphoniker, Berliner Symphoniker, the Zurich Chamber Orchestra, Jerusalem Symphony Orchestra and Orchestra del Teatro Comunale di Bologna. She has performed often with the Moscow Soloists, with

whom she replaced Martha Argerich in 2012. In the same year, Vanessa gave her debut at Londonʼs Wigmore Hall.

She is already well travelled with tours to the North and South America, Spain, China, Israel and Turkey,

as well as playing recitals at Hamburgʼs Laeiszhalle, the Glinka Festival in Smolensk, Liszt-‐Festival in Raiding in Austria, Berliner Philharmonie, Auditorium Manzoni in Bologna, Tonhalle Zurich, Auditorium du Louvre, Hamburg's Laeiszhalle, Haifa Auditorium, UNESCO Auditorium, London's Kings Place and also master classes at the Rostov Conservatory.

impressively refined and nuanced...stylish Bravura

Gramophone Magazine

Vanessa Benelli Mosell has the power to let people appreciate my music

Karlheinz Stockhausen

2015/2016 saw her touring Spain, making debuts at Madrid Auditorio Nacional, Palau de la Musica in Valencia, Auditorio de Saragoza, returning to give the Spanish premiere of Enrique Granados’ Piano Concerto at Palau de la Musica Catalana in Barcelona. In 16/17 Vanessa had an acclaimed sold-‐out debut at Teatro alla Scala in Milano and at Teatro Regio in Turin with Orchestra del Teatro Regio di Torino conducted by Diego Matheuz for the MiTo Festival. This season also saw her first performing a "Stockhausen Marathon", a cycle of Stockhausen's Klavierstücke, for the Sagra Musicale Malatestiana in Rimini.

She furthermore collaborates in chamber music with partners as Massimo Quarta, Daishin Kashimoto, Radovan Vlatkovich, Julian Rachlin, Boris Andrianov, Renaud and Gautier Capucon, Michael Guttman, Alain Meunier, Boris Brovtsyn, Alexander Chaushian, Henri Demarquette, Alexander Buzlov, Linus Roth, Nemanya Radulovic and Massimo Mercelli.

the artist, prodigy of piano technique, seduced the audience Il Corriere Sound as clear as possible...great technical skills and panache...great interpretive power...the energy and enthusiasm which Benelli Mosell has…makes her contributions worthwhile Musicalifeiten

Vanessaʼs debut recording of 2011, ‘Introducing Vanessa Benelli Mosell, Virtuoso Piano Music’, features music by Prokofiev, Haydn, Scriabin and Liszt and received great international praise for her "extraordinary artistic talent" and "sparkling technique in demanding music” (Gramophone Magazine). Her debut recording was quickly followed up in September 2012 by her second, equally acclaimed “Liszt Recital”.



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In spring 2015, Vanessa made her debut album on DECCA CLASSICS label with “[R]Evolution”, a juxtaposition of Stockhausen and Stravinsky. Vanessa followed this in 2016 with a further disc in her Stockhausen series, “LIGHT”, with the Klavierstück XII and Scriabin Preludes. Also, in 2017, Vanessa will release her debut concerto CD for DECCA with Rachmaninov’s Piano Concerto No.2, with the London Philharmonic Orchestra under Kirill Karabits.

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Jan 2017



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P R E S S C O M M E N T S

Vanessa playing at BBC in Tune

China Recital Tour, 2016 Vanessa Benelli Mosell gave the audience an entertaining experience when she performed at the National Center for the Performing Arts in Beijing. Chinadaily.com Stockhausen CD Release, LIGHT, 2016

Glance at the new album from the 28-‐year-‐old Italian pianist Vanessa Benelli Mosell, and you might think she’s just another blonde babe seized on by a major label for her looks more than her talent. Look closer and you’ll see the names Scriabin and Stockhausen, an unusual choice of repertoire for a starlet. Listen to the CD and you’ll discover Mosell is a serious artist with a formidable technique and forthright musical personality. Ivan Hewett, The Telegraph, 2016

Powerful, emotional, romantic and dramatic, she sweeps us along in a dazzling display of assured technique.

Stephen Pritchard, The Guardian, 2016 She is now the reference point for performances of Stockhausen’s Klavierstücke Mamie Pétille, 2016

Stockhausen is enlivened by bright and enthusiastic reading by Vanessa Benelli Mosell…She plays with fearless determination…The energy of Vanessa and the visionary of Stockhausen La Repubblica, 2016 Sound as clear as possible...great technical skills and panache ... great interpretive power ... the energy and enthusiasm which Benelli Mosell has for Stockhausen shows her thorough approach plus the excellent sounding recording makes her contributions worthwhile. Musicalifeiten, 2016

Stockhausen CD Release, [R]EVOLUTION, June 2015

Mosell confronts this music fearlessly, shaping the smaller-‐scale pieces … as elegantly as she can, taking their technical challenges in her stride and above all conveying the sense of cutting-‐edge invention and innovation that is so characteristic of Stockhausen’s early music.” The Guardian, Andrew Clements, June 2015



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Love & Commitment ... Vanessa Benelli Mosell … keeps her cool with crystal clear sounds ... Benelli Mosell plays Klavierstücke not only with amazing agility, but also allows for example, the beauty of a series of sophisticated overtones resonate. Do you not come closer to Stockhausen? 5 Stars , De Volkskrant, Biëllla Luttmer, June 2015 When was the last time you heard any Stockhausen? Since his death, at the end of 2007, the German avant-‐gardist's star has fallen in a reverse curve to that of his French comrade, Pierre Boulez. Hardly any Stockhausen is presently available on record, and there are few concerts where the music can be heard. So an album by a young pianist who worked with the composer in his final years is a welcome opportunity to revisit a brave old world that has virtually vanished. … a really clever programme. Norman Lebrecht Album of the Week, Sinfini, 2015

Older Reviews

vigorous, impulsive and it evaporated delightfully at the end...Benelli Mosell's piano was very much an equal partner to Barley's cello with the two bringing Janacek's music vividly to life. www.planethugill.com, Sept 2014

impressively refined and nuanced...stylish Bravura Jed Distler, Gramophone Magazine, Feb 2013 Liszt is bread and butter to her, making astonishingly light work of his Rhapsodie Espagnole…dazzling with her technique and surprising with her emotional maturity…virtuosity, sensibility, panache, however, she has what it takes. Her articulation in particular is outstanding, with every note -‐ Liszt permitting! -‐ clean and precise…this is a recital worthy of wider attention MusicWeb International, Nov 2012 comprehensive naturalness...spontaneous intensity...enviable instrumental fluency...Listening to her Liszt album you get the impression that this impassioned pianist turns your home into a concert hall, so penetrating and convincing her expressive performances…[Benelli] Mosell is clearly a great promise for the future De Klassieke Zaken, Dec 2012 the artist, prodigy of piano technique, seduced the audience Il Corriere Vanessa Benelli Mosell has the power to let people appreciate my music Composer Karlheinz Stockhausen a remarkably musical and fluent young pianist named Vanessa Benelli Mosell. She held up her end of the tight interplay with complete ease and the fine sense of style…Remember the name. New York Post Sparkling technique in demanding music…She leaves no doubt of her enviable facility throughout this, her ultra demanding debut Album", "Dexterous and cool-‐headed, she launches into Prokofiev's Seventh Sonata at a cracking pace...she is off like a rocket in the drum-‐beat 7/8 Precipitato finale, remarkably maintaining her impetus in the ever-‐widening leaps of the closing pages. Gramophone Magazine Benelli Mosell's secure and sophisticated technique Classical Voice of North Carolina Ganz das Gegenteil des finsteren Virtuosen die junge Pianistin Vanessa Benelli Mosell. Sie zeigte ihr Können mit Rachmaninovs "Rhapsodie über ein Thema von Paganini. Der Westen she is the most natural musical talent I have encountered in my entire life as a musician and teacher French pianist Pascal Rogé



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This first CD…is certainly an impressive programme in every respect ... to open a debut recording with Prokofiev's sarcastic, fiendish Seventh Sonata is a true baptism of fire. Yet Benelli Mosell seems to revel in the densely chromatic, often virtually atonal tumult of much of this Stalin-‐Award-‐winning, viciously anti-‐Stalinist work. To follow that with Liszt's phenomenally virtuosic Rhapsodie Espagnole would be artistic suicide for mere mortals, but Benelli Mosell's arms and fingers, presumably after a good rest, are more than willing, and able, to take on the relentless onslaught of gorgeous notes, and she does so with great panache.…Mosell's account of both the bleak Adagio and the desperately sad, funereal last movement [of Scriabin’s First Sonata] is very moving: full of emotion and insight beyond her years.” MusicWeb International Le jeu de Benelli-‐Mosell, disons-‐le tout de suite, se plaît dans ces œuvres puissantes, amples, dans lesquelles la virtuosité arbitraire (celle, par exemple, des premiers Liszt) cède le pas à une virtuosité nécessaire, celle imposée par la musique elle-‐même. Celle de Prokofiev et du Liszt de la Rhapsodie espagnole, des œuvres d’essence orchestrale où les plans sonores dégagent mille sonorités opposées et dix mille timbres colorés. Dans Haydn, elle s’attelle à faire surgir la puissance du discours au-‐delà de l’apparente simplicité du discours – car c’est là la sonate la plus tragique de Haydn. Enfin, son Scriabine déborde de diaboliques déliquescences névrosées. Vanessa Benelli-‐Mosell, une jeune pianiste à suivre de près, maintenant qu’elle a assuré ses débuts sur une majorité de grandes scènes internationales." Abeille Musique Benelli Mosell has chosen a demanding program that shows her remarkable talents and exploits the potential of the piano to the fullest. Furthermore, a precision of high purity technique and a chameleon ability to match each one of the different styles and moods of the programme." Melomano Challenging program chosen by Vanessa Benelli Mosell for her début album. Works that require it remarkable technical skills beyond sensitivity of interpretation. Armed with a prestigious curriculum that places her among the most talented pianists of our age, the young Vanessa securely tackles this challenge by offering high-‐level performances. SUONO This is a promising début recital, showing flashes of inspiration and virtuosity. Young female contemporaries might just have a contender waiting in the wings. International Record Review



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S T O C K H A U S E N ‘S M U S I C

Vanessa Benelli Mosell has the power to let people appreciate my music.

Karlheinz Stockhausen

Vanessa with Karlheinz Stockhausen

In my opinion "understanding" in art is a concept that turns people away from enjoyment of art itself.

The distance emphasizes when it comes to approach the arts of XXth and XXIst centuries. I am speaking from a very lucky position, as when I first came in contact with art, music in particular, I was three years old, the first opera I went to was Boris Godunov by Mussorgsky when I was five, and it was "love at first listening" with the music by Stockhausen when attending a recital of Maurizio Pollini at Carnegie Hall in NY when I was eleven years old.

I want to clarify that I don't come from a musical family.

In my very young age I was not considering the problem of understanding the music I was hearing. Everything started from my personal curiosity and enjoyment. I have always been very receptive and positive regarding contemporary arts: in my teen age, I had a Le Corbusier and Mies Van der Rohe period and have been fascinated by the rational architecture. I wanted to absorb and not to judge (who was I to judge such artworks) all forms of art, especially the ones of our time and of the century before. I wanted to receive and would not deprive me of anything.

I feel the XXth century has been giving the world such a vast and diverse Arts heritage. The key is the parameters. Starting from our music schools to concert seasons, society has continued to give us the simple, old and wrong parameters in use, such as pleasure, beauty, happiness, unhappiness, tonality, harmony and all things we like on the surface, to harshly judge music, without taking any care of the natural its evolution.

Whether we "like" it or not, whether we receive from it any pleasure or not. Art is free. Free from all parameters. It can be related to them. Music can be about everything, can express feelings, can provide enjoyment, express beauty and ugliness, frustration and madness, personal ideas and original structures but those are the stories that it tells to us. It is not the substance of itself but the infinite possibilities of it.

Technologies offered to composers in the 1960s were giving Stockhausen the possibility to explore a new conception of Sound, as one of the most extremely important element in his piano music. Nowadays the use of these technologies would sound pathetically ancient.



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At the time, the acoustic instrument seems not be enough for the demand of his piano music. Ideally electronics can provide a much wider range of sounds and which are potentially more expressive. I tried not to have just an acoustic limited range of sounds : listening to most of his electronic music works has been extremely helpful to get the inspiration for the kind of imaginative sounds required on the acoustic instrument.

Lately Stockhausen would go back to research on the natural durations of Sounds on the acoustic piano with "Natuerliche Dauern", something that can only be explored on a live instrument.

The experience of his music has been very strong since the beginning. When I first met him, it was in order to give him directly in his hands the recording I made of his I-‐IV Klaviestücke. He looked at me with surprised eyes and after two weeks he wrote me a letter home, telling he was carefully listening to my recording, over the past weeks and he would enjoy working with me on these pieces together in Kuerten.

His remarks were very few, and this has been extremely meaningful for me as I was obliged to look back on my work to keep understanding him. His music asks for precision in rhythm and tempos, fidelity to the text, big range of dynamic levels and especially coherence between them, personal interpretation. The score is very detailed and there are many interpretational signs such as dynamics, touches, tempo remarks and indications which give the performer a huge freedom, despite what one could think, as each remark is subjected to a personal approach and interpretation: that’s why the few recordings of his piano pieces are completely different from each other.

When the idea of recording his piano pieces came up, he told me that if I would want to make it happen it should be for the reason to make a better version then the latest recording, the one himself curated for his recording label. I took the challenge, having always been always inspired by the music and the score.

© Vanessa Benelli Mosell, 2014

Vanessa with Stockhausen



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R E P E R T O I R E

Bach Concerto No. 1 in D minor, BWV 1052

Bach Concerto No. 5 in F minor, BWV 1056

Bartòk Concerto No.3

Beethoven Concerto No. 1, in C major op.15

Beethoven Concerto No. 3, in C minor op.37

Benjamin Duet for Piano and Orchestra

Bernstein Age of Anxiety

Chopin Concerto No. 1, in E minor op.11

Granados Concerto Patetico

Haydn Concerto No. 11, in D major

Haydn Piano Sonata in E Minor Op. XVI:34

Liszt Concerto No. 1 in E flat major

Liszt Concerto No. 2 in A major

Liszt Concerto No. 3 in E flat major

Liszt Liebestraum in A flat, No. 3

Liszt Galop Russe

Liszt La Danza No. 9

Liszt Grand Galop Chromatique

Liszt Rhapsodie Espagnole, S. 254

Liszt Valse Impromptu

Liszt Capricco Alla Turca

Liszt La Leggierezza No. 2

Liszt Hungarian Rhapsodies No’s 6, 10, 11 & 12

Mendelssohn Concerto for violin, piano and string in D minor

Mozart Concerto K. 246 in C major

Mozart Concerto K. 365 in B flat major

Mozart Concerto K. 414 in A major

Mozart Concerto K. 488 in A major

Mozart Concerto K. 466 in D minor

Poulenc Concerto in D minor for 2 pianos and orchestra

Prokofiev Concerto n. 3

Prokofiev Piano Sonata No. 7 in B-‐Flat, Op. 82

Rachmaninov Rhapsody on a theme of Paganini

Rachmaninov Piano Concerto No.2

Rota Concerto Soiree

Saint-‐Saens Concerto No. 2 Carneval of animals for 2 pianos and orchestra

Scriabin 24 Preludes Op.11, 3 Pieces Op.2, Etude Op.8 No.12

Scriabin Piano Sonata No.1 in F Minor, Op. 6 (1892)



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Stockhausen Klavierstück XII: Examination From Thursday From Light

Stockhausen 8 Klavierstücke

Stravinsky Trois Mouvements de Petrouchka

Tchaikovsky Concerto No. 1



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D I S C O G R A P H Y

Decca Classics March 2016

VANESSA BENELLI MOSELL | LIGHT

• Alexander Scriabin – 24 Preludes Op.11, 3 Pieces Op.2, Etude Op.8 No.12 • Karlheinz Stockhausen – Klavierstück XII: Examination From

“Thursday From Light

"Sound as clear as possible...great technical skills and panache" "great interpretive power" "the energy and enthusiasm which Benelli Mosell has for Stockhausen shows her thorough approach plus the excellent sounding recording makes her contributions worthwhile"

Decca Classics May 2015

VANESSA BENELLI MOSELL | (R)EVOLUTION

• Stockhausen -‐ 8 Klavierstücke • Beffa -‐ Suite WORLd premier rECORDING • Stravinsky -‐ Trois Mouvements de Petrouchka

“Mosell confronts this music fearlessly, shaping the smaller-‐scale pieces … as elegantly as she can, taking their technical challenges in her stride and above all conveying the sense of cutting-‐edge invention and innovation that is so characteristic of Stockhausen’s early music.”

Brilliant Classics,

Sept 2012

Vanessa Benelli Mosell | A Liszt Recital

• Valse Impromptu • Capriccio alla turca • La leggierezza No. 2 • Hungarian Rhapsodies Nos. 6, 10, 11 & 12 • Liebestraum in A flat, No. 3 • Galop russe • La Danza No. 9 • Grand galop chromatique

“…dazzling with her technique and surprising with her emotional maturity…” MusicWeb International

Brilliant Classics,

Feb 2011

Introducing Vanessa Benelli Mosell | Virtuoso Piano music “…This is a promising début recital, showing flashes of inspiration and virtuosity. Young female contemporaries might just have a contender waiting in the wings.” International Record Review

• Prokofiev -‐ Piano Sonata No. 7 in B-‐Flat, Op. 82 (1939–42) • Liszt -‐ Rhapsodie Espagnole, S. 254 (1863) • Haydn -‐ Piano Sonata in E Minor, Hob. XVI:34 (1784) • Scriabin -‐ Piano Sonata No.1 in F Minor, Op. 6 (1892)

"Benelli Mosell has chosen a demanding program that shows her remarkable talents and exploits the potential of the piano to the fullest. Furthermore, a precision of high purity technique and a chameleon ability to match each one of the different styles and moods of the programme." Melomano

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