"Alberto Nones embarks on an almost impossible undertaking. Chopin's Mazurkas are the fruit of his most personal research, his intimate diary. The difficulty lies in rendering the rythmic  and harmonic liberty of the dances, without overlooking their formal structure, which is perfect. Alberto Nones succeeds marvellously. The journey is thrilling, it allows us to enter into Chopin's workshop". Dino Villatico on ROBINSON, cultural weekly insert of LA REPUBBLICA (26/3/2017, p. 33)

"[...] The great Chopin interpreters are capable of making one hear, with their playing, not just Chopin's music, but Chopin himself... Nones's reading makes us understand that Chopin's Mazurkas embody a suffering that is softened. A revelation." Artistic judgement: EXCEPTIONAL. Andrea Bedetti AUDIOPHILE SOUND 153 (p. 56, July-August 2016)

"[...] With an interpretation that makes justice to the dance aspects as well as the lightness which is present in these compositions, without ever becoming though superficial, and always displaying a high art of touch, a perfect balance between melody and accompaniment, finely chiseled ornamentations and perfectly crafted 'rubato', Nones is capable of rendering all the refinements of sound,  rhythm and harmony [...]  masterful". Prof. Dr. Monika Fink (University of Innsbruck, full review in German)


just published, available on the digital platforms from 10 June 2022

"Alberto Nones executes Chopin’s music with restrained elegance and poise, avoiding the trappings of indulgent virtuosity or sentimentality. Instead, these performances demonstrate unencumbered fidelity to the composer’s directions; it is almost as if we can hear Chopin’s own breath between each line and phrase.” George Richford (garmusic.net)

"Small but engaging, this book is different from any other publication on the Californian band because of the rigorous perspective of the author: Nones is not only a dedicated musician, but also a lecturer of political philosophy. Therefore, he provides a picture of the socio-cultural context which nourished the Doors, and takes on the theme of the ethical and aesthetical dimension of their art", Eugenio Tassitano on CLASSIC ROCK

"After the Titanic endeavour of recording the entire body of Chopin's Mazurkas with lucid mindfulness, Alberto Nones, together with violinist Franco Mezzena, faces the equally difficult and problematic Sonatas by Brahms. His liberty at phrasing and variety of touch is all there, as is the elegance of the violin" Dino Villatico on ROBINSON, cultural weekly insert of LA REPUBBLICA

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"[...] art songs partly published, but doomed to marginality and oblivion, were it not for the Trentino pianist Alberto Nones, who has now opened that drawer, freeing remembrances and poetic fragrances worthy of being presented in this Da Vinci CD. An album that not only has the editorial merit of the rarities brought to light with clarity of recording: it also has the merit of having involved an important and generous voice like that of Nunzia Santodirocco [...] a trait of Cimara's lyrics seems to be this: the regenerating fineness that the piano moves into the voice. When it does not even come to exercising the function of a stylistic signature, as Nones appropriately points out in the essay accompanying the album, which is the result of passionate research and originates from a criterion that is not simply suggestive but aesthetic. This original anthology bears a title that is not just occasional - L'Infinito, from the song on the verses of Leopardi (a very bold idea, and we understand why, to put them to music) - in the two hundredth anniversary of Leopardi's symbol-poem: it is that suspended time, motionless in a languor of sweet shipwreck that Cimara's music seems to evoke with light hand in the small form [...] the bouquet is pleasant and the last pages of the collection are especially valuable: from "Le campane di Malines" to the liquid flow (yet again Nones's pianism stands out in sparkling evidence) of "Presso una fontana". Gianni Gori on MUSICA (313, Feb. 2020, pp. 81-2)

"a book with a fitting syntethical style. [...] Alberto Nones gives us a tale of Zandonai's life in a few essential steps, insisting with a thoroughness never seen elsewhere on the historical and political context that is its problematic background [...]. With sharp sensitivity Alberto Nones captures these various sensations, these sudden moves of the spirit", Diego Cescotti in the PREFACE 

"Following his Verdi success, Alberto Nones is back with a new biography – this time on the life and work of the Italian composer Riccardo Zandonai (1883-1944). In writing this new volume, titled Zandonai:  Un musicista nel vento del Novecento (Zandonai:  A Musician in the Crosswinds of the Twentieth Century), the author has taken his customary-yet-unique approach to biography and applied it to this composer as well", Phillip Nones, FLORENT SCHMITT, April 23, 2015 (this it the link to the full review and interview)


"In 2013, the bicentennial anniversary of Verdi’s birth, an important new work was published in Italy about Giuseppe Verdi.  The book’s full title is Ascoltando Verdi:  Scrigni di Musica, filosofia politica e vita (Listening to Verdi:  Shrines of Music, Political Philosophy and Life), and its author is Alberto Nones. The book approaches the topic differently than the usual biographical and musicological volumes that are published about composers.  Instead, the book reveals the composer and the man through the 26 operas that Verdi created over his lengthy career. The story behind each opera — incorporating the musical, artistic, philosophical, social and political aspects — is presented.  In doing so, we come to know the persona of Verdi in a surprisingly different and revealing way.  And since the trajectory of Verdi’s life paralleled the struggle for Italian unification and independence, the musical and the socio-political were inextricably combined.  It makes for a highly interesting adventure", Phillip Nones, su FLORENT SCHMITT, August 9, 2014 (full review and interview)

Professor Dorottya Fabian,The University of New South Wales, Sydney

"Stemming from a stimulating conference, this volume provides well-researched new contributions to performance studies. It will be especially valuable to researchers of J.S. Bach's reception history and of new compositions and their performances. Importantly, the book fills a significant gap in our Anglo-centric world of knowledge as it largely focuses on events and artistic creativity in Italy and South America (esp. Colombia). Added value is the audio material that illuminates the discussions."

Dr. Ann DuHamel,
University of Minnesota, Morris

"In this volume, the reader will find a rich diversity of scholarship all somehow linked to J. S. Bach and musical tradition. From Michael Maul's fascinating consideration of the text-painting craftsmanship in Bach's cantatas, to Alberto Nones's spell-binding discussion of the marriage of harmony and text in different settings of Leopardi's magical L'Infinito, we arrive full-circle with the demonstrated influence of Bach in Marco Alunno's challenging and exciting recently composed piano études."

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Hamsa Al-Wadi Juris

Sibelius Academy

The University of the Arts Helsinki 

"I warmly endorse any book that deals with music of any kind, especially the present one. With great interest I enjoyed the variety of articles contained therein. The world’s new reality caused by the coronavirus pandemic is highlighting over and over that music has the power to uplift and console, not to mention to heal. The publication’s CD illustrates in sound how many genres thrive during these troublesome times. Music is an essential part of our souls and thus also of the fabric of human society."


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Filippo Focosi

De Musica, 2020 - XXIV (2)

pp. 164-168

"[...] in addition to bringing to light a protagonist of the musical Baroque, Francesco Antonio Bonporti, composer of great interest, and besides enticing to listen his refined work, Nones's book, despite its brevity, also has the advantage of stimulating reflections and parallels that are at times truly surprising. They are made possible by the "impossible dialogue" form chosen by the author, and by his sharpness. Nones indeed is able to touch with "Bonportian" levity issues of paramount importance and gravity, which I cannot fully detail here (I mean, for example, the debate between philological and modern interpretation). I leave it to the reader to discover such - and possibly imagine other - possible triangulations."



"a charming pianist from Trentino entered the platform who, in his features, enclosed the image of a young Cimbrian prince and an aristocrat of the Hohenstaufen house. Alberto Nones, pianist graduated in philosophy in Bologna, master of economics in London, PhD at the University of Trento is undoubtedly a character of singular caliber. When he sat at the Petrov of the ducal palace, a very impervious instrument, he immediately showed that he knew how to tame the difficult keyboard. Having arranged the timbre perspective, the young trentino master  allowed us into his particular vision of Chopin's repertoire, an elegant and formally impeccable game of Mazurkas of op. 30 and Op. 50 and Fantasies, in particular of the Polonaise-fantasia, a small ethical path in Chopin's aesthetics. With transparent clarity Nones has traveled across the quivers of the Polish national dance, drawing historical resonances and deep cultural presences. But above all what emerged was a sense of elegance that probably the musician inherited from some of his masters, Ciccolini in particular and Franco Scala, recognized creator of talents. Those who, following Nones's reading, agreed to be dragged into the often enigmatic vortex of Chopin's music could perhaps make themselves aware of an arcane phrase by a famous novel by Pavese: "the forest danced Chopin", emblematic of a dramatic tension that always emerges when an intelligent pianist reads the music of the great Polish beyond his parlor's lacquer. Nones has recently completed his recording of Chopin's Mazurkas, a monumental diary of emotions and memories with which the Polish master has been able to recount his life. But the complete dances in their complexity are a Borges puzzle, a tiny aleph from which the complexity stems of a whole world. When we will hear this discographic undertaking by Nones, we might be enriched."