Critically acclaimed for her "immediate, fresh musicality and superior technical ability" Fabiana Biasini made her North American debut at the Spoleto Festival in Charleston, where she was hailed as "a major talent with exceptional strength and power".  
Since then, she has performed in many leading venues in the United States, Europe, Latin America, and the Far East. 

Her concerto performances include collaborations with orchestras such as the Bolshoy Opera Minsk Orchestra, the Santa Cecilia Orchestra, the Budapest Symphony Orchestra, the Kiev State Symphony Orchestra, the Miskolc Symphony Orchestra, the Orchestra Sinfonica di Roma e del Lazio, among others. Some of her festival performances include the Gilmore International Keyboard Festival - USA, the Festival Pro Mondo Uno - Italy, the Festival do Teatro Amazonas - Brazil, the Settimane Musicali Senesi - Italy, the International Brahms Festival - Switzerland.  
Fabiana plays a comprehensive repertoire, maintaining a balance between standard concert masterpieces and works she feels are deserving of a wider popularity. Particular areas of interest include music from the late 19th and early 20th century, and the stylistic variety of contemporary music. As a result, her carefully crafted programs have been defined as “adventurous and unique”. She is extremely active as a chamber musician as well, and plays regularly with renowned artists.  
In 2005 she has completed the performance of the entire chamber music works for piano and strings by Johannes Brahms. 

In 2001 she was the first woman to perform an official recital in Teheran since the 1979 revolution, marking a new era in the cultural relations between Iran and Western Countries. In October 2005 she was chosen to perform for the celebrations of the 60th anniversary of FAO of the United Nations.  
Fabiana Biasini began her musical studies at the age of five in her native Italy.  
She graduated with the highest honours from the Santa Cecilia Academy in Rome, where she studied with Carla Giudici, and was awarded the coveted biennial prize for outstanding musicianship. She pursued further studies in chamber music at the Accademia Chigiana, where she was awarded the Chigi-Saracini Award for “great artistry and mastery of phrasing". Later on, she travelled to New York City to continue her studies at the Manhattan School of Music, with Byron Janis and Miyoko Lotto. Also, she worked closely with eminent pianists such as Nikita Magaloff, Dimitri Bashkirov, Alexis Weissenberg.  
She has been a featured artist on radio and television in the United States, Latin America, Germany, France, Spain and Italy. Since 2004 she is also Pianist-in-residence for the Rome Symphony Orchestra (Orchestra Filarmonica di Roma e del Lazio).   

Die erste Begegnung mit dem Komponisten Josef Hofmann hatte ich, als mir zufällig seine eigene, atemberaubende Einspielung von "Kaleidoskop" in die Hände fiel. Begierig, mehr über diese Kompositionen in Erfahrung zu bringen, schrieb ich an die Bibliothek in Krakau und durchforschte die Bibliothek für Darstellende Künste in New York sowie die Kongressbibliothek in Washington nach seinen Noten. Besonders beeindruckte mich, dass ich eine beachtliche Anzahl romantischer Klavierkompositionen fand, die kaum jemand kannte. 
Lange hegte ich den Wunsch, Hofmanns kostbare Kompositionen der Öffentlichkeit nahezubringen, ein Wunsch, den ich mir nun mit Hilfe eines guten Freundes erfüllen kann, der in Deutschland ein kleines Klassiklabel betreibt.  
Mit den vorliegenden Aufnahmen versuchte ich, einen möglichst umfassenden Einblick in Hofmanns Klavierkompositionen zu vermitteln, so gut die beschränkte Spielzeit einer CD dies erlaubt. Um die Aufnahme so authentisch wie möglich zu realisieren, spielte ich auf einem alten Steinway "Grand Piano" aus der Zeit Hofmanns, dessen warme "alte" Klangfarbe mir angemessen erschien, den Farbenreichtum seiner Werke darzustellen.  
Die CD beginnt mit Opus 19, dessen Kompositionsstil und Harmonien sehr an Hofmanns Heimat erinnern. Danach folgt das Opus 20, Nr.1: Die perlenden Sechzehntel bilden einen schönen Kontrast zum gesanglich eindringlichen Mittelteil mit durchsichtiger Akkordbegleitung. Eine klassische Stimmung prägt das "Menuett", wohingegen in der "Elegie" das Gefühl melancholischer Ruhe von einer der schönsten Melodien Hofmanns hervorgerufen wird, die alsbald zu einem ekstatischen Höhepunkt mit vielstimmiger Begleitung anschwillt. Die Preludien Opus 30 sind kurze, minuziöse Gefühlsbilder, die uns Hofmanns Begabung im Umgang mit Miniaturen demonstrieren. Ein Beispiel für seine spätere Reife und Kultiviertheit ist die Verwendung von mehr Chromatik und komplexeren Harmonien in seinem Opus 40, in dem das Klavier schon fast sinfonischen Qualität entwickelt. Aus dem Bereich seiner leichteren "Salonmusik" zeigt der brillante "Valse Caprice" vortrefflich Hofmanns unbegrenzten musikalischen Einfallsreichtum und seine melodische Begabung. Der spezielle Charakter der letzten Stücke dieser CD lassen sowohl den dezenten französischen Einfluss als auch einige typische Eigenarten der Kompositionen seines Freundes und Bewunderers Sergej Rachmaninoff erkennen.  

The first encounter I had with Hofmann as a composer was when I came across his own recording of  Kaleidoscope, which I found breathtaking. Eager to learn more about his compositions, I wrote to the Public Library in Krakow and searched for his scores in the New York Public Library for the Performing Arts and in the Library of Congress in Washington. I found a significant production of romantic piano works that were virtually unknown to the public, and that made a deep impression on me.  
For a long time I nourished the desire to bring Hofmann’s valuable compositions to the public, a desire which I can now finally fulfil, with the help of a good friend who operates a small classical period label in Germany. 
I tried to offer as comprehensive a view of his compositions as I could, given the time constraints of the CD. To be as authentic as possible, I recorded on a Steinway Grand piano from Hoffmann’s time; its "old" sound with warm tonalities was appropriate for portraying the colours of his compositions. 
The CD is organized chronologically: it starts with Opus 19, whose harmonies and style bring to mind Hofmann's homeland, and continues with Opus 20 N. 1, where the scintillating sixteenth-notes are contrasted by a lyrical, intense middle section that sings with a transparent chordal accompaniment.  
The Menuet switches into a classical mood, whereas in the Elegie a mood of melancholic tranquillity is evoked by one of Hofmann’s most beautiful melodies, which is then developed to an appassionato climax, with a melodious multi-voiced accompaniment. 
The Preludes Opus 30 are brief, sharply defined mood pictures showing  Hofmann’s ability as a miniaturist. 
Opus 40 is an example of his later maturity and refinement of style, including the use of more chromatic and complex harmonies, and the development of a nearly symphonic quality of the piano. 
The brilliant Valse Caprice is a perfect example of his lighter “salon” music that never ceases to show musical inventiveness and a gift for melody.  
The last pieces on the CD have a special flair, bringing to mind both a slight French influence and some of the typical traits of the compositions by his friend and admirer Sergei Rachmaninoff.

Ma première confrontation aux compositions de Hofmann eu lieu par hasard lorsque j’entendis son enregistrement du « Kaléidoscope » qui me laissa époustouflée. Intriguée et désireuse d’en apprendre plus au sujet de ses compositions, j’écrivis à la Bibliothèque Publique de Cracovie, fis des recherches sur ses œuvres à la Bibliothèque Publique des Arts du spectacle de New York ainsi qu’à la Bibliothèque du Congrès à Washington. J'ai ainsi trouvé une importante production romantique pour piano (pratiquement inconnue par le public) qui m’a profondément impressionnée. 
Depuis longtemps je nourrissais le désir de révéler au public les précieuses compositions de Hofmann, un rêve que je peux maintenant enfin réaliser, grâce à l’aide d'un estimable ami produisant en Allemagne un petit label de musique classique. 
Lors de cet enregistrement j'ai essayé de fournir une vue d’ensemble de ses compositions, en fonction des contraintes liées à la durée du CD. Pour en restituer l’authenticité autant que possible, j'ai joué sur un ancien piano à queue Steinway datant de l’époque de Hoffmann, dont la chaude tonalité des sons anciens restituait de manière adaptée la florissante coloration de ses compositions. 
Le CD est organisé chronologiquement: il commence par l’Opus 19, dont le style de composition et les harmonies évoquent la patrie de Hofmann. S’ensuit l’Opus 20 N. 1 : les double-croches pétillantes forment un charmant contraste avec la section intermédiaire, intensément lyrique, accompagnée d’accords limpides. 
Le « Menuet » prend une tournure classique, alors que l' »Elégie » - l’une des plus belles mélodies de Hofmann - évoque une humeur tranquille et mélancolique se déployant ensuite vers un point culminant passionné accompagné d’une polyphonie mélodieuse. 
Les préludes de l'Opus 30 représentent de courtes et minutieuses images impressionnistes dévoilant le talent minimaliste de Hofmann. L'opus 40 constitue un exemple de sa maturité et de son épuration stylistique ultérieure, développant l'usage de chromatismes et d’harmonies plus complexes ainsi qu’une exploitation presque symphonique du piano. 
La brillante « Valse Caprice » est le parfait exemple d’une musique de "salon" plus légère qui n’a de cesse de montrer une musicalité inventive illimitée ainsi qu’un talent mélodique.  
Les derniers morceaux du CD ont une intonation spéciale, évoquant à la fois une légère influence française et quelques-uns des traits propres aux œuvres de son ami et admirateur Serge Rachmaninoff. 

Sono venuta in contatto per la prima volta con le composizioni di Josef Hofmann quando ascoltai la sua incisione di Kaleidoscope, che mi colpì moltissimo e fece nascere il desiderio di conoscere altri suoi lavori. Scrissi quindi alla Biblioteca pubblica a Cracovia, e feci ulteriori ricerche nella New York Public Library e nella Library of Congress a Washington. Trovai un significativo numero di sue composizioni, sconosciute al grande pubblico, che a mio parere meritavano maggiore considerazione. Per lungo tempo avrei voluto 
contribuire alla loro diffusione: questo desiderio è stato reso possibile da un caro amico che dirige una casa discografica tedesca, entusiasta del progetto. 

Nonostante lo spazio limitato del CD ho provato a offrire una panoramica delle composizioni pianistiche di Hofmann il più completa possibile. Inoltre, nel desiderio di ricreare un ambente vicino all’originale, ho registrato i brani  suonando un pianoforte Hamburg Steinway del tempo, trovando che le tonalità calde del suo timbro “antico” ben si prestassero per rappresentare i colori delle sue composizioni. 

I brani sul CD sono organizzati in senso cronologico: a partire dall’ Op. 19, in cui risuonano gli echi della patria di Hofmann, e poi l’Op. 20 N.1, dove alle brillanti figurazioni di sedicesimi si contrappone la sezione centrale lirica e intensa, sostenuta da un trasparente accompagnamento accordale. Il Minuetto torna a un’atmosfera classica, mentre nell’Elegie una della più belle melodie di Hofmann  evoca una malinconica tranquillità, prima di essere sviluppata fino all’appassionato climax dove si intrecciano diverse linee melodiche. 
  
I preludi Op. 30 sono brevi immagini caratteristiche, che dimostrano la grande abilità di Hofmann come miniaturista. L’Op. 40 è un esempio dell’evoluzione del suo stile, con un impiego frequente di cromatismi e armonie complesse, e nel contempo un uso “sinfonico” del pianoforte. 
Il Valse Caprice è un brillante esempio di “Salon Music”, che Hofmann tratta con una grande esuberanza, libertà creativa e invenzione melodica.  

I brani che chiudono il CD trasportano in una dimensione ancora inascoltata, e ricordano sia aspetti della musica francese del tempo, sia alcuni elementi tipici delle composizioni di Sergei Rachmaninoff, che di Hofmann era amico e ammiratore.