Liliana Kehayova / Kristina Miller NIKOLAI MYASKOVSKY Cello sonatas NIKOLAI RIMSKY-KORSAKOV Serenade for Cello and Piano Op. 37

 

CELLO SONATAS -  SERENADE FOR CELLO AND PIANO

 

Orchestra e Coro Donizetti Opera / Jean-Luc Tingaud DONIZETTI L'Ange de Nisida

 

L'ANGE DE NISIDA

 

Francesco Galligioni / L'Arte dell'Arco ANTONIO VANDINI Complete Works

 

COMPLETE WORKS

 

Quartetto Energie Nove / Vladimir Mendelssohn BRAHMS The Two String Quintets

THE TWO STRING QUINTETS

 

Nuccio Trotta SCRIABIN 10 Piano Sonatas

10 PIANO SONATAS

Ilia Kim DEBUSSY Clair de lune, Deux arabesques and Other Works

CLAIR DE LUNE

Orchestra e Coro del Teatro Lirico di Cagliari / John Neschling ANTÔNIO CARLOS GOMES Lo Schiavo

Brazilian composer Antônio Carlos Gomes was among the many musicians who travelled to Italy to master the language and the rules of operatic works. He studied in Milan and succeeded in having a few operas staged at Italian venues, before returning to Brazil where he was hailed as the most famous living national composer. Gomes felt compelled to commit his work to the country’s anti-slave cause, which was still legal practice then.

Lo schiavo was therefore conceived as a politically engaged work. However, the issue was rather volatile and the composer had to change the contemporary time setting to a more distant one. In Brazil the opera was a triumph, but elsewhere it failed to gain popularity and soon fell into oblivion. This recording of the Teatro Lirico di Cagliari’s production documents the opera’s first performance in modern times and reveals Gomes’ flamboyant richness of melodic creativity, his sound grasp of construction, and a technical mastery of the theatrical mechanisms that are always of the highest level.

‘The most popular title of the entire Brazilian repertoire. The most represented and, perhaps, the most loved one.’ (John Neschling, conductor)

Silvia Frigato / Accademia d’Arcadia / Alessandra Rossi Lürig ET MANCHI PIETÀ

Inspired by the work of painter Artemisia Gentileschi (Rome 1593Naples ca. 1656), this release aims to explore features of both paintings and music of the early Italian Baroque, highlighting their creative features and their emotional foundations. Daughter of Orazio Gentileschi (one of the rst Italian Caravaggesque painters) Artemisia was, until a few decades ago, remembered chiey for the scandal of the rape trial she brought against Agostino Tassi, one of her fathers artistic partners, who abused her when she was 17. She had to wait over 300 years to see her value as a painter fully recognised. The music is performed by Accademia d'Arcadia, an ensemble comprising 13 musicians playing period instruments and a singer. The CD contains a 28 page, full colour booklet featuring 3 of Artemisias most famous paintings, detailed infos and texts, together with detailed background information, resulting in a concept that is both interesting and affecting.

Maria Clementi MUZIO CLEMENTI Piano Sonatas

It is rather curious for a musician whose family name is Clementi to perform the works of a composer who lived two centuries ago and bears the same surname… could she be a descendant? Muzio Clementi’s music has long been underestimated, even though there have been great admirers of it among pianists, first and foremost Vladimir Horowitz, whose repertoire included the three Sonatas here recorded by Maria Clementi. They are works that are both spectacularly virtuosic and musically relevant, and the young pianist from Milan highlights this with the freshness of her truly innovative and quite original reading. Born in Milan, Maria studied with Piero Rattalino at the Conservatory “Giuseppe Verdi” in Milan, graduating summa cum laude. Thereafter she continued studying at the International Piano Academy “Incontri col maestro” in Imola under Lazar Berman, Boris Petrushansky and Alexander Lonquich. A very young winner of many piano competitions, a first prize at the International Competition for Piano and Orchestra of Cantù in Italy, at the age of 16 a third position at the International Music Competition “G.B.Viotti” of Vercelli and she won the second prize at the 38th National Piano Competition “Premio Città di Treviso”.

Roberto Loreggian J.S. BACH Goldberg Variations

Italian organist and harpsichordist Roberto Loreggian obtained his organ and harpsichord diplomas with distinction. He then continued to study at the Royal Conservatory of The Hague under Ton Koopman. In addition to his busy career as a soloist, Roberto Loreggian is much in demand as continuo player in both orchestras and chamber ensembles. He is particularly interested in the great harpsichord heritage of 17th and 18th-century Italy, and has adapted all existing manuscripts of G.B. Ferrini’s works for the keyboard. The resulting recording was awarded the ‘Preis der duetschen Schallplattenkritik.’ For his new release, he has opted to record Bach’s Goldberg Variations, a staple in keyboard repertoire. Roberto Loreggian teaches at the Conservatory of music ‘C. Pollini’ in Padua.

Profili Barocchi / Davide Ferella / Dorina Frati J.S. BACH Harpsichord Concertos Transcribed for Mandolin

Bach was a great transcriber and arranger of both his own works and those of other composers, something that is eloquently demonstrated in his output. For example, there are 6 concertos for organ (BWV 592-597) and 16 concertos for harpsichord (BWV 972-987), all transcribed from works by other composers. Bach generally favoured works by contemporary Italian composers for his transcriptions, including Vivaldi, Albinoni, Alessandro and Benedetto Marcello, Bonporti and others. On this album, the Italian mandolinist Davide Ferella has himself taken four of Bachs concertos for one and two harpsichords and arranged them for one and two mandolins, strings and basso continuo. Davide Ferella handles these transcriptions with both deftness and respect for Bach's originals, sometimes assigning passages to the strings that were originally for the harpsichord, in order not to lose any of the rich contrapuntal texture of Bach's writing.