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HÖSTSONATEN

Rock Progressivo Italiano • Italy


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Höstsonaten picture
Höstsonaten biography
Founded in Genova, Italy in 1996

FINISTERRE's bass player Fabio ZUFFANTI released three albums of his own compositions under the name of "HÖSTSONATEN". Symphonic band with the participation of FINISTERRE members. The music is pretty much on that band's style, a little less classic prog driven. Good flute passages feature on their symphonic music as well.
[ProgArchives.com]

After founding FINISTERRE, contributing as a major composer to the their best works, writing and recording the complex and very welcomed "Merlin - The Rock Opera", Fabio Zuffanti gives new life to the Hostsonaten project. This band is an 'open' group named after a very famous movie by Ingmar Bergman. Even if the most of the musicians he got around for the three CDs recorded under this cinema related name are the same, everything apart from Fabio can change. Hostsonaten represents Fabio's deepest love for progressive rock, jazz, folk and ethnic music. In these last years Hostsonaten is working on the 'Seasoncycle Suite' project, an ambitious concept in four parts and four cds dedicated to the four seasons. For now the third and fourth chapters ('Winterthrough' and 'Springsong') are available. The second chapter ('Autumnsymphony') is out by September 21, 2009.
[Bio from the band's website]

See also: HERE

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HÖSTSONATEN discography


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HÖSTSONATEN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.74 | 92 ratings
Höstsonaten
1997
3.53 | 86 ratings
Mirrorgames
1998
3.83 | 115 ratings
Springsong
2002
4.05 | 160 ratings
Winterthrough
2008
3.97 | 134 ratings
Autumnsymphony
2009
3.94 | 312 ratings
Summereve
2011
3.86 | 187 ratings
The Rime Of The Ancient Mariner - Chapter One
2012
3.88 | 145 ratings
Symphony N.1 - Cupid & Psyche
2016

HÖSTSONATEN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

HÖSTSONATEN Videos (DVD, Blu-ray, VHS etc)

3.67 | 10 ratings
Alive In Theatre
2013

HÖSTSONATEN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.78 | 20 ratings
Springtides
2004

HÖSTSONATEN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

HÖSTSONATEN Reviews


Showing last 10 reviews only
 Winterthrough by HÖSTSONATEN album cover Studio Album, 2008
4.05 | 160 ratings

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Winterthrough
Höstsonaten Rock Progressivo Italiano

Review by ElChanclas

4 stars Winterthrough is the 4th studio album by #italian symphonic and RPI prog band #höstsonaten and the second of the Seasoncycle Suite (an opera-like conceptual composition released in four different albums, one for each season of the year), but will be my first review and recommendation, for now!

Entering the Halls of Winter is the opening track and clocks just over 10 minutes, a song I can listen to over and over again. Dreamy atmospheric piano driven prog that slowly builds into an almost classical composition, with instruments entering and leaving, and coming back again, chaotic when it has to be, melodic and catchy on enough spots and very well suited for the coldest of season.

Red Sky blends in with the first hypnotic melody of the album in the form of a clarinet and saxophone discussion, beautiful but briefly interrupted by some narrating vocals in Italian, maybe talking about how crazy the world and its weather are. White Earth follows with acoustic guitars and piano welcoming what seems to be a light and calm snowfall, precise and short before rhythmic sections bring the somewhat atoned, messy and fenomenal track Snowstorm, an escalated version of its predecessor, changing and crazy, obscure and unexpected in behavior, as every storm should be.

Over The Plain becomes the jazzy interlude of the album, additional percussion and magnificent saxo playing are now part of the team rounding up any sharp corner, if there was ever any?before bringing back the listener to the main room again with The Crystal Light where a fat and thick bass (very Waters-like sounding) guides the small instruments to interact in the 2nd hypnotic melody so far. All very well structured and planned, the work of prog genius #fabiozuffanti and company.

Outside starts the short three song run before the epic finale. Drummer #maurizioditollo has the chance to show the listener what a great #wingman he is for Mr. Zuffanti, as well as the virtuoso tandem between guitarist #matteonahum and the keyboards twins #alessandrocorvaglia and #robertovigo in what could be the proggier track. Ruins and Through Winter's Air deliver the icy aftermath after te storm first with a cold and melodic loop and then with the 3rd hypnotic moment in the hands of?I haven't figured out what instrument, but definitely feeling very Celtic or Nordic but no for long.

Rainsuite closes this fabulous album with more than 12 minutes that are divided in 4 parts: i Prelude; ii New Year's Theme; iii Winter's End and iv Celebration/To the Open Fields? a track worth the wait! Incredibly dramatic and enigmatic, almost mysterious but unquestionably grandiose and beautiful, bro gong the 4th and 5th hypnotic melodies, those ear worm melodies impossible to discard or forget, really precious and memorable stuff. All instruments help mine crafting all layers and while doing different stuff they stay together and work as a team following the same path to the goal, the epic achievement. Great album, highly recommended!

 Symphony N.1 - Cupid & Psyche by HÖSTSONATEN album cover Studio Album, 2016
3.88 | 145 ratings

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Symphony N.1 - Cupid & Psyche
Höstsonaten Rock Progressivo Italiano

Review by Agnenrecords

4 stars My first foray into Italian record shops was on a trip to the Veneto in 2005 when there were two stores in Venice and another a short train ride away in Treviso. In those days I was aided by Jerry Lucky's Progressive Rock Files (Collector's Guide Publishing, 2000) when I'd scour entries for remarks like "if you're a fan of PFM then you'll like this" and, following up a reference to Celeste that described them as "influenced by early King Crimson but their sound is very original. You'll hear elements of Genesis circa Trespass and even bits of PFM's Per un Amico. A very beautiful, symphonic pastoral result. Lots of Mellotron. One of the genre's highly rated bands" I began to seek out their 1976 release Principe di un giorno and looked for references to Celeste in the listings. One of these was Finisterre, described as "Symphonic progressive rock with long tracks containing restrained hints of bands like Celeste or Banco. They've chosen to create a moody and atmospheric sound that relies more on the classical style than neo-prog. Long passages of dissonant harmonies and jazzy chord voicings". It wasn't until I updated to Lucky's The Progressive Rock Handbook (Collector's Guide Publishing, 2008), that I heard of Höstsonaten and La Maschera di Cera and was able to fathom out the relationship between them. I began to collect La Maschera di Cera CDs in 2009 and Finisterre CDs some time later but it wasn't until 2014 that I bought my first Höstsonaten release, the 2012 CD and DVD of the live performance of The Rime of the Ancient Mariner.

Unable to play the CD, bought at 2014's Prog Résiste festival where Fabio Zuffanti and the Z Band were playing, it was experiencing a live version of Rainsuite (from Winterthrough, 2008) at that gig that really turned me on to Höstsonaten, revealing a very symphonic progressive rock style that Zuffanti himself equated with The Enid. Zuffanti's projects are all essential listening for fans of the original progressivo Italiano movement and though I really enjoy Maschera di Cera's albums for their modern take on the original genre, remaining true to the spirit of the work of bands like PFM and Banco, the instrumental work by Höstsonaten comes closest to symphonic rock and the Enid comparison is well founded.

I pre-ordered a vinyl copy of Symphony N. 1 Cupid & Psyche and followed the story as it was released chapter by chapter, raising my expectations. When I finally got hold of the LP I was not disappointed. The music was conceived by Zuffanti but he stepped away from the limelight and his only instrumental credits are for bass pedals, 'treatments and devices', leaving Zuffanti collaborator Luca Scherani (La Coscienza di Zeno, La Curva di Lesmo) to handle the arrangements and orchestrations in addition to playing keyboards; guitar, bass and drums are provided by long-term Zuffanti associates Laura Marsano, Daniele Sollo and Paolo Tixi respectively. There are many precedents of full orchestration in progressive rock and progressivo Italiano has some very notable examples including the New Trolls' Concerto Grosso (1971, 1976, 2007) and Contaminazione by Il Rovescio della Medaglia (1973) but enhancing the symphonic scope of Höstsonaten seemed like a logical step, one true to the principles of progressive rock as it attempted to bridge the gap between high and popular culture. The melange of influences that inform their output, their RPI predecessors, jazz and Mediterranean folk are enhanced with inspiration from Stravinsky and Tchaikovsky.

I've thought quite hard about other orchestrated prog albums and there aren't many that genuinely seamlessly blend the rock and the orchestral moments; the pieces by Keith Emerson with the Nice were predominantly divided into distinct sections, band then orchestra then band. There are times when Yes' Magnification (2001) works well but this mostly comes across as orchestra instead of keyboards and has hints of Tony Cox's arrangements on Time and a Word (1970). I find the most satisfying orchestrated pieces of progressive rock to be Camel's Music Inspired by the Snow Goose (1975) and, stretching the point a little, Mike Oldfield's Hergest Ridge (1974). In terms of orchestration in progressivo Italiano, Passio Secondum Mattheum by Latte e Miele (1972) works well, but I think that Höstsonaten have come up with one of the most balanced mixes of rock and orchestra that at times reminds me of Pink Floyd's Atom Heart Mother (1970) and the eponymous 1972 release by Il Paese dei Balocchi. Laura Marsano provides some epic, melodic Gilmour-like guitar lines but it's the inclusion of classic prog keyboards, Moog, Mellotron, organ and piano which fit in so neatly with the strings and brass that bestow a sense of harmonious union between the classical and the rock instrumentation. Not surprisingly, there are refrains that hint of Höstsonaten's previous output and it goes without saying that the execution is consummate.

Another important link with the foundation of the genre is the appropriation of myth as subject matter (c.f. Genesis and The Fountain of Salmacis) with Zuffanti utilising the Apuleius story Metamorphoses. A translation by author, columnist and philosopher Pee Gee Daniel, providing a synopsis of the chapters that make up the ten tracks, is included in the gatefold sleeve.

La Maschera di Cera produced one of my all time favourite albums Lux Ade (2006) based on the Orpheus story, but that was an entirely rock affair; Höstsonaten ventured into composing for a theatrical performance with The Rime of the Ancient Mariner; Cupid & Psyche is a realisation of Zuffanti's dream to create a symphonic suite with group and orchestra that is also able to serve as the soundtrack for a ballet, in the manner of Stravinsky or Tchaikovsky. Beginning with an array of musical ideas suitable for the project and enlisting Luca Scherani to create a score for string, wind and brass instruments, the album easily succeeds in presenting a coherent piece of symphonic progressive rock which also fulfils the criterion of a ballet score; the piece was given its live premier on October 22nd 2016 at the Teatro Rina e Gilberto Govi, Genoa, with the ballet under the direction of choreographer Paola Grazzis.

A highly anticipated return four years after the previous studio record and a further confirmation of the robust state of health of the Italian prog scene, the amazing creativity of Fabio Zuffanti and Luca Scherani shines through in Höstsonaten's Cupid & Psyche. Four and a half stars

 Autumnsymphony by HÖSTSONATEN album cover Studio Album, 2009
3.97 | 134 ratings

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Autumnsymphony
Höstsonaten Rock Progressivo Italiano

Review by TenYearsAfter

4 stars Concert alert:

This Sunday interesting longtime Italian progrock band Hostsonaten comes for the first time to the Netherlands as a live band. The project exists since 1996 (many Italian musicians played in the project) but only in the last two years Hostsonaten became a live band. The line-up features Luca Scherani (keyboards), Fabio Zuffanti (bass pedal, guitar and percussion), Paolo Tixi (drums), Marcella Arganese (guitar), Daniele Sollo (bass) and Joanne Roan (flute). In order to celebrate this memerable progrock fact for Holland, I would like to go back to their wonderful album Autumn Symphony from 2009, almost 10 years ago.

Inside the fold out cover I read: "Autumn Symphony is the second part of the 'Season Cycle Suite', a musical celebration of season's power in four parts, part one is Summereve, part two is this Autumn Symphony, part three is Winterthrough and part four is Springsong". So in the footsteps of famous fellow Italian composer Vivaldi, this excellent Italian progrock formation is inspired by the four seasons. We could enjoy their wonderful previous effort entitled Winterthrough, this time the focus in on the third season, the autumn.

Led by the musical brainchild and multi-instrumentalist Fabio Zuffanti (bass guitar, bass pedals, acoustic - and electric guitar, Fender Rhodes electric piano, Mellotron and Minimoog synthesizer) Hostsonaten delivers a beautiful, very elaborate instrumental album. The sound on the 9 compositions ranges from 24-carat symphonic rock to avant-garde oriented climates, you have to be up to a lot of variety and very interesting musical ideas. A dreamy atmosphere with a trumpet solo, then a hypnotizing beat and a flute solo in the first track Open Windows To Autumn. Then warm classical guitar and Grand piano, followed by a howling electric guitar, culminating in a bombastic part featuring Mellotron and Minimoog and in the end wonderful flute and Japanese koto in the long and alternating Leaves In The Well (Including Riverbank Prelude). From trumpet, bagpipe, Mellotron and a pumping bass in As The Night Gives Birth To The Morning to a Bolero-like build-up in the final composition Autumn's Last Breath / The Gates Of Winter (slow Grand piano runs as the basic element, then repetitive drums beats, violin, choir-Mellotron and trumpet, very compelling).

Remarkable is the more experimental side of Hostsonaten in the tracks Out Of Water and Nightswan I and the jazz climate in the first part of Trees In November (followed by a slow rhythm with moving electric guitar, bass pedals, majestic choir- Mellotron and trumpet, very special).

One of the highlights on this album is Nightswan II: first prog folk like Dutch Flairck, then awesome symphonic rock with bombastic Moog, choir-Mellotron and howling electric guitar, goose bumps.

Adventure, emotion, skills, variety, a wide range of instruments, you can't beg for more! And I hope a lot of progheads team up during Hostsonaten their first gig in Holland next Sunday in Nieuwekerk!

 Symphony N.1 - Cupid & Psyche by HÖSTSONATEN album cover Studio Album, 2016
3.88 | 145 ratings

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Symphony N.1 - Cupid & Psyche
Höstsonaten Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Honorary Collaborator

4 stars Whether it's the luscious all instrumental four-album `Seasons' cycle or bombastic classical- influenced rock-operas such as `The Rime of the Ancient Mariner' and its live interpretation `Alive in Theatre', Hostsonaten has always been the most purely symphonic project modern Italian progressive music icon Fabio Zuffanti is involved in, and he and his music collaborators here return in 2016 with `Symphony N. 1: Cupid and Psyche'. Zuffanti and his musical friends, including La Coscienza di Zeno's keyboardist Luca Scherani, Laura Marsano on classical and electric guitars, Paolo `Paolo' Tixi on drums and Danielle Sollo on fretted and fretless bass, are backed up by multi- member brass and woodwind sections as well as a string quartet, and without a doubt they've delivered one of the most proudly grandiose, extravagant and bombastic symphonic Italian works of the year!

`Cupid and Psyche' was a story originally written in the 2nd century AD by Lucius Apuleius Madaurensis, concerning the overcoming of obstacles to the love between the above two characters and their ultimate union in a sacred marriage. The tale has not only been frequently retold in poetry, drama and opera, but depicted widely in painting and sculpture, and it makes for an ideal inspiration for the frequently theatrical and classical-flavoured style that Italian prog-rock is so often renowned for.

The album forms a continuous suite of instrumental music, and looking at some of the highlights, opener `The Sacrifice' blends skipping violin, triumphant horns and rollicking drums with whirring synth trills, and Mellotron and violin weave together dramatically with snapping up-tempo fanfare runs and spiralling synth soloing throughout `Zephyr'. Unsurprisingly with its title, `Love Scene' is a deeply romantic and softly swooning theme that would have fit right at home on any of the above- mentioned `Seasons' albums, and the extended guitar solo in the second half reminds instantly of the Flower Kings' Roine Stolt and Pink Floyd's David Gilmour. `Unmasking' fleetingly reminds of Osanna with its mix of heavier guitars, dominating Mellotron with call-and-response horn duels and intimidating orchestration, but the second half turns acoustic with reflective prettiness.

There are four pieces that then make up the `Trial' movement - `Venus (1st Trial)' is often playfully mischievous with an approaching tension, `Entrapped (2nd Trail)' is a sobering piano, flute, violin and classical guitar rumination that rises in dignity with subtle orchestration, the sprightly `Sheep and Water (3rd Trail)' surprisingly grooves with jazzy electric piano dashes and soaring orchestral flights of fancy, and `Underworld (4th Trial)' is excited and full of liveliness, culminating in immaculate Pink Floyd-like weeping bluesy guitar strains over carefully humming Hammond organ before roaring to life in the powerful finale. `The Awakening' instantly launches into a Moog- powered sprint with a heavy driving beat and scratchy Mellotron, and the joyfully stirring `The Ascension' is a dashing reprise of perfectly fused rock and orchestra unity to finish on.

For such an epic undertaking, it's actually a welcome relief to find that `Symphony n. 1' is a forty- four minute vinyl-length release, often broken into shorter passages that together mean the album can be given plenty of replays without an overwhelming length becoming too intimidating. Some will find the album impossibly stuffy, pompous and self-indulgent (but hey, pretty sure that's what a lot of prog-fans are here for!), but lovers of the grandest of progressive rock styles will find this to be luxurious symphonic prog at its very finest, one of Hostsonaten's grandest artistic statements to date, and certainly one of the most sophisticated Italian releases of 2016.

Four and a half stars.

 Symphony N.1 - Cupid & Psyche by HÖSTSONATEN album cover Studio Album, 2016
3.88 | 145 ratings

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Symphony N.1 - Cupid & Psyche
Höstsonaten Rock Progressivo Italiano

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars If there is any doubt about Fabio Zuffanti being a prog icon, the disbelievers have some kind of chip on their shoulder! This gifted Italian bassist/composer owns a distinguished career one could only dream about, fronting Finisterre back in the late 90s, recharging the dormant RPI School once so prolific in the 70s and then consolidating the legacy with the splendid La Maschera di Cera project. His list of contributions and projects is endless but there was one project that simply just took off like wildfire, Hostsonaten having begun its life as a one shot self-titled endeavour in 1997, drawing universally positive reviews. The four seasons on four separate albums was a veritable tour de force, a modern day Giuseppe Verdi. Both 'Winterthrough' and 'Summereve' were spectacular classics, while 'Springsongs' and 'Autumn Symphony' were totally tasty in their own right. The chemistry has evolved around the keyboard chair with first Boris Valle, then Roberto Viggo, Agostino Macor and now Luca Scherani, all extremely talented keyboardists that have the talent to imprint fresh symphonic ideas into the creative process. Thus the impetus to continue creating lavish works remains invigorated and positive.

The main theme here is decidedly neo-classical , aided by an outright string quartet section, some brass and woodwinds in full regalia, all determined to elevate the arrangements to new heights. On the windswept 'Zephyr', the spirited musicians adopt a sterling vibe full of immense bravado and delirium, highlighted by drummer Paolo Tixi killing it on the skins while Scherani molests his synths with passionate resolve. Italy is the home of romanticism, a mindset splattered all over their glorious culture and when 'amore' becomes the focus, the artful methodology comes oh so naturally, as on the palpitating 'Love Scene', featuring profound emotion (as the gifted Laura Marsano rips off another seductive axe solo), a truly magnificent piece of solemn beauty, allied with some reflective piano and delicate flute. Things do get dissonant and complex with whipping mellotron blasts rivaling the brass section in a stop and go dance that defies logic and suddenly gets real hot under the collar, swerving into very orchestral realms that are insistent, jangled and grandiose. Sofia Bartolini's obsessive bassoon does wonders weaving between Scherani's various ivories, furthered along by Joanne Roan's magical flute. On 'Venus First Trial', the mood is very classical orchestra that slowly veers towards a more rock approach, colossal mellotron waves smashing into the electric guitar, strong brass support and the spotlight rests on some stellar sax work that recalls Traffic's Chris Wood on 'Glad'. This endless ebb and flow between classical music in the shape of string quartet and piano on one hand and the more pugnacious RPI delivery led by strong rhythmic work and searing soloing from both electronic keyboards and electric guitars is what makes this work so compelling. Things also get funky with Scherani's e-piano, linked with some judicious brass work and tick-tack drum patterns, proving that these musicians know a thing or two about soul and feeling. Then having the smarts to blend in both mellotrons and orchestra proves my point perfectly. Then letting Marsano have some bluesy fun on her sexy guitar pushes the pleasure level even higher, keeping the listener constantly stimulated. Then giving the spotlight on Scherani to delve into his keyboard arsenal and let his fingers do the walking and talking ('The Awakening'), playing dipsy-doodle with an errant oboe before laying down some heady cascades of 'tron. A perfect example of instrumental symphonic RPI prog !

Another stellar chapter in the ongoing Hostsonaten discography, a step up from the previous 'The Rime of the Ancient Mariner', we are witness to a slew of incredibly gifted musicians enjoying the style they so obviously adore.

4.5 troubled cherubs

 The Rime Of The Ancient Mariner - Chapter One by HÖSTSONATEN album cover Studio Album, 2012
3.86 | 187 ratings

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The Rime Of The Ancient Mariner - Chapter One
Höstsonaten Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

4 stars ''Summerve'' was instantly followed by another album by Zuffanti's Hostsonaten, ''The rime of the ancient mariner: Chapter one'', infuenced by the everinspiring poem of Samuel Taylor Coleridge, so many Rock/Rock-related artists have used this as an influential background to their music.Main team remains the same as on the previous release, only seeing the return of Edmondo Romano on wind instruments.Vocals are delivered by five different guests, Alessandro Corvaglia of La Maschera di Cera, Carlo Carnevali, a constant collaborator of Zuffanti in several of his projects, Simona Angilioni of Aries and some new blood on Davide Merletto and Marco Dogliotti.Released on BTF in 2012.

Performed as a Symphonic Rock Opera with different vocalists and divided in five lengthy movements, ''The rime of the ancient mariner: Chapter one'' sees the ultimate return of Hostsonaten in the band's very early years.On a personal note and after listening to so many albums by the band, I finally have detected a relation between the use or not of diaeresis in the band's name, the presence of diaeresis showcase a strong link with a more Classic Prog sound compared to the more versatile albums by the band, it has something to do with this, no doubt.Musically this is one of the best offerings by the Italians, a magnificent piece of art with modern and vintage influences in a Classic Prog Rock vein, featuring the related sea/seashore sounds and offering incredible musicianship throughout.The best definition of Symphonic Rock this is, filled with thematic variations and instrumental majesty, led primarly by the quirky synth lines and the dominant use of Mellotron, accompanied by beautiful sax injections, Classical-drenched violin and delicate flute work, the one that provides the discreet folky colors in here.Piano work is along the lines of Classical Music and guitars are excellent to say the least, Matteo Nahum offers incredible solos and dramatic riffs all the way.Influences come from both the Italian Prog scene as well as Classic Prog masters like KING CRIMSON and CAMEL, but the lyrics are all sung in English by the superb vocal team of the album.No particular highlights, I think that every piece has its own charm, everything is well-played and the interplays, grandiose orchestrations, bucolic soundscapes and rockin' grooves come and go all the time.

The best Hostsonaten offering thus far?Propably yes.A dramatic interpretation of ''The rime of the ancient mariner'' with a nice lyrical background and excellent instrumental ideas, performed in a long symphonic suite.You have to lay your hands on this beauty...4.5 stars.

 Alive In Theatre by HÖSTSONATEN album cover DVD/Video, 2013
3.67 | 10 ratings

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Alive In Theatre
Höstsonaten Rock Progressivo Italiano

Review by Progulator
Prog Reviewer

3 stars Being a fan of the various projects of Fabio Zuffanti, I was very excited to recently get my hands on a copy of Hostsonaten's latest, a live CD/DVD combo entitled Alive in Theater. For those unfamiliar with Hostsonaten, you'll find many similar tendencies to MdC in that it clearly resides within the domain of symphonic prog and has a strong focus on the development of motifs to propel the album forward song after song. Fans of the band can expect a live recording worth picking up in the form of this latest release, performed, recorded, and filmed at Teatro Verdi in Genoa, Italy.

First and foremost, I would like to say that I primarily consider this a live album package with the DVD as a bonus rather than the focus. I give two reasons: firstly, in my opinion, the mini- lp style packaging rather than a DVD case hints that this is first and foremost a CD release. Secondly, while the DVD is very enjoyable to watch, the filming is not so stylized as many modern concert film releases (mostly a camera fixed at the back of the room alternating with one towards the side). The overall impression when viewing, therefore is more akin to sitting in the concert hall watching the performance from a fixed position rather than the numerous techniques of zoom, pan, close-ups, etc. that we might normally associate with a concert film. In terms of the audio CD, what we get is a very well recorded and produced live performance, in fact, one that is superior to the album version, which is saying a lot.

That said, the DVD is a solid bonus and very enjoyable due to the fact that it presents a visual addition to the artistic impact of the music by way of costumes and dancers. The fact that it drew my attention to particular singers and really allowed me to visualize them as characters, not just a voices, made for a much deeper listening experience. For example, seeing the entrance of the winged albatross and Corvaglia directing the tale to the wedding guest provided a very nice image to the sounds of Zuffanti's band. As the tale progresses and the icebergs slide out onto the stage it's quite fun to see him tell of the Mariner's travails in a sea of darkness just prior to the emergence of Simona Angiolini (the Albatross) in a ray of light as she descends as a symbol of the Mariner's luck. Seeing the young Mariner then emerge to slay the Albatross to the backdrop of Corvaglia's heartfelt/lamentful vocals was quite the powerful moment, if I do say so myself.

There were a number of other highlights from the stage production as well. Gianmarco Farne did a solid job presenting a young Mariner that was brash and controlling, and his solo at the end of "Part 2" was phenomenal as he passionately built a repeating motif which culminated visually in the Mariner having the Albatross hung on his neck, as represented by the dancers actually laying Angiolini on his burdened back. However, the highlight of the film for me was to be found in "Part 4" as Simona Angioloni takes center stage as soloist. Angioloini brilliantly portrayed her part as the Albatross, delivering a performance that was passionate in movement, expression, and interactions with other characters, at times desperate, and always emphasizing the narrative/interpretive aspect of the role. As if this wasn't enough, the shift to a dramatic and peaceful entrance of the Moon, as played by Carlotta Ferre, who capitalizes on dramatic movements and serenity of costuming, coupled with the band's powerful return, full of Mellotron choirs and slow but driving rhythm, all ensured that the production would go out with a bang.

If I have any complaints, it would be that the togetherness of the dancers was inconsistent at times, but then again, there were many great moments and the quality of audio for the live recording is superb in and of itself. In fact, I would dare say that in terms of audio this version sounds much huger and more alive than the original studio recording. Fans of the album certain should not miss out on this performance.

Overall I would certainly recommend this release to fans of symphonic prog, particularly those with an interest in the Italian scene. Not only would I say that in terms of a live CD it is exceptional, but many of us pretentious prog nerds certainly enjoy anything and everything that bands do to push their art beyond the mundane. In this case Mr. Zuffanti has gone above and beyond to call of duty and actually assembled a very enjoyable production, and hopefully continues to do more of this sort of thing in the future.

 The Rime Of The Ancient Mariner - Chapter One by HÖSTSONATEN album cover Studio Album, 2012
3.86 | 187 ratings

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The Rime Of The Ancient Mariner - Chapter One
Höstsonaten Rock Progressivo Italiano

Review by Progulator
Prog Reviewer

3 stars Time and time again I am realizing that Zuffanti is as good as gold. With so many projects that span so many different styles, it's hard to get bored when plunging into his discography. What he offers us with his newest Hostonaten release is an epic concept album based on Colerige's classic poem that is jammed packed with most everything you could want. The arrangements and instrumentations are amazing, bringing everything from classical guitar, to piano, violin, and of course, tons and tons of mellotron used in the most effective of ways. But, what makes this album stand out for me is the masterful use of melody and theatricality. The vocals and narrative approach remind me a bit of Ainur mixed with a lot of Peter Gabriel era genesis, however, this is no Genesis rip off. With Hostsonaten, Zuffanti combines the early Genesis feel with the best of classic Italian prog and what I consider to be a Scandinavian type sensibility for the mellotron (even though he's Italian). Once again, a huge applause to Mr. Zuffanti for yet another great album; I'd imagine most symphonic prog fans will love this. Plus, for those Iron Maiden fanboys out there looking for some more Rime of the Ancient Mariner, here's where you stop looking and start basking in the glory.
 Alive In Theatre by HÖSTSONATEN album cover DVD/Video, 2013
3.67 | 10 ratings

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Alive In Theatre
Höstsonaten Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Honorary Collaborator

4 stars With some regret, I have to admit that I never got around to picking up the most recent Hostsonaten studio album `The Rime of the Ancient Mariner', an interpretation of Samuel Taylor Coleridge's classic poem. I've always enjoyed Fabio Zuffanti's reflective and sublime instrumental project and their albums such as `Winterthrough', and when I read that album was very vocal heavy, I kind of dismissed it. So when an announcement arrived that this work would be released as a live concert DVD, and a theatrical ballet/dance accompaniment at that, I decided this would give me more incentive to explore this work further. So not only do you get to see and hear a bunch of talented current Italian progressive players in action (many who have been involved in numerous outstanding modern RPI works), but you also witness Susanna Tagliapetra's simple, restrained and effective stage direction that compliments the soundtrack perfectly.

Instrumental opener `Prologue' is equally bombastic and classically grand, frantic and uptempo one minute, sedate and reflective the next. Full of whirring synths, imperial Mellotron and grand gothic piano, it gives an early taste of the supreme keyboard flavour that Luca Scherani plies all over this performance. Then it's straight into `Part One', which is very comparable to the most recent La Maschera di Cera album `Le Porte Del Demani', not surprisingly as this 13 minute section features the same raspy, dominating vocals of Alessandro Corvaglia. Weeping violin, soaring electric guitar solos that climb to the skies, marching drumbeat tension, a haunting piano solo in the middle and a darkly dramatic pained vocal outro comprise with wondrous piece, as well as a lovely reprise of one of the winning themes from the opening introduction track. Drifting acoustic guitar, heavenly piano, sprightly grinding time changes and Gianmarco Farne's strident vocals highlight `Part Two', with plenty of spiraling Moog solos, intimidating Mellotron blasts and a chest-beating finale.

`Interlude', a newly written piece that was not included on the original studio album, begins with the same pleasant tones of Camel's `Snow Goose' before a dark unsettling piano passage and wilting violin bring some dark gothic classical romantic atmosphere.

The soothing vocals of Marco Dogliotti purr around a grand electric guitar theme, gentle flute and a sprinkling of thoughtful piano in `Part Three', before unleashing in a more bombastic and booming direction not unlike fellow Italian band Quasar Lux Symphonie's `Abraham: One Act Rock Opera'. Marco's voice turns shrieking (worryingly sounding close to Pain of Salvation's Daniel Gildenlow in a few spots) and the music grows wild and unhinged, a pumping beat, searing violin and devastating keyboard soloing tearing through. This is the part of the production that drifts the closest to outright heavy rock. A placid flute solo from Joanne Roan and melodic yet restrained bass soloing from Fabio calm the piece down again, before wrapping on walls of majestic Mellotron and exploding deranged synths over hearty vocals and a soaring guitar theme. Running water over a sobering accordion solo and the slightest of ambient synths open `Part Four', with a creeping piano, morbid violin and an eerie Peter Gabriel circa `Nursery Cryme'-era Genesis female vocal from Simona Angioloni ensures this finale is quite uneasy listening. The rising violin/piano section that follows is highly emotional with Simona's voice full of longing and desperation. The slow- building sedate piano build before the regal Mellotron and vocal choir climax is expertly performed and ends the show in a suitably epic and overblown way befitting a show of this stature.

Although you get the audio CD of the show with this package, the real selling point is the captivating theatrical stage footage recorded at the Teatro Verdi in Genoa. Through the dancers, alternating singers and the band (placed off to the side, but always easily seen), the performance successfully translates the story, allowing the viewer to visualize the magic words and music of the poem through multimedia elements, dance and stage actions. However the bonus backstage feature is a letdown, consisting of a barely four minute collage, first of the crew/band/performers setting up, and then an annoying two minute mix of them all screaming directly into the camera, `warming up' for the show no doubt, but it doesn't mean we want to watch more than 5 seconds of it! Sorry, this is a very minor and petty criticism though!

Sadly, there are just a couple of factors that do let this ambitious project down slightly. The biggest offense of all is the use of the English language. The Italian language is one of the defining characteristics of proper RPI music, and it would have worked beautifully here, considering how poetic and romantic that language is and would have sounded in this theatrical setting. Other than that, I do think Fabio's bass could have been mixed a little louder, and I probably would have enjoyed a few more fully instrumental, vocal-free passages to break things up a little. Also, the DVD is cut up into ten minute chapters, so you can't directly go to the start of a specific track.

There is no denying this is a complex and sophisticated work, and like the most recent Le Orme album `La Via Della Seta' reminded me, grand, pompous and classically inspired epic Italian prog can still be immensely satisfying and impressive when done well. The theatrical production and the talented musicians involved here makes `Alive In Theatre' a supremely classy and elegant effort.

Four stars.

 Summereve by HÖSTSONATEN album cover Studio Album, 2011
3.94 | 312 ratings

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Summereve
Höstsonaten Rock Progressivo Italiano

Review by sinslice

4 stars Of all the Zuffanti´s projects, Höstsonaten is what attracts me and completely captivates me. And in particular the seasons cycle albums. Musical passages imbued with great atmospheres that draw light and shadow, joy and anguish, hope, sorrow, nostalgia. Without being sung, the pieces convey different emotional nuances.

Summereve begins with power and finesse at a time, with the magnificent Season's Ouverture, followed by the warm Glares of Light, with its melancholic violins and flutes. Then the album goes through similar paths, tranquility and passion, culminating in the forceful, and rhythmic Edge of Summer.

The play takes place in less than 45 minutes, nothing else is needed, everything is brilliantly compressed without leftovers.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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