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ID: CNT2025
CDs: 1
Type: CD
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Subcollection: Harpsichord
World Premiere Recording
6 pages booklet Italian/English
Harpsichord Pascal-Jospeh Taskin, 1769, copy - J.D. Dulcken, copy
"In reference to the biography of Pietro Domenico Paradies (Paradisi) (1707-1791), we have already mentioned it in the preface of the CD dedicated to his first six Sonate di Gravicembalo, published in 1754 by the London publisher John Johnson along with the subsequent ones recorded here.
To underline the importance of the harpsichord (clavicembalo) production of this Neapolitan composer, we would like to remind that, besides the existence of a multitude of manuscript material, there are also numerous productions, following one another, subsequent to the first one, in particular the Parisian one of Le Clerc (1765) and the London ones of Welcker (1770), Blundell (1781), Preston (1790), Longman & Broderip (1790).
It is about an editorial tradition which lasted for about fifteen years, very much indicative of the fame that Paradies reached in both quality of composer and teacher and concert performer. It is not easy to fully appreciate whether the twelve sonatas in the subject have been conceived at the same time or in different periods. The variety of stylistic references, the cross- references to a typical Neapolitan taste as well to the French one, resorting to the technique of Domenico Scarlatti as well as to the one of Johann Christian Bach, would lead us to assume different chronological moments; however it may also be a wisely handled versatility.
In the analysis of these monuments glorifying the triumph of the galant style, another element that would lead us to reflect could be the character typically of "harpsichord" of some works contrasting others with movements typically of the "Piano". (by Filippo E. Ravizza)
Iconography: Gianluca Corona, Nautilus - 2001 - oil on wood |
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ID: CNT2035
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Piano and Cello
World Premiere Recording
20 pages booklet I/E/F/G
DDD 32 bit recording, 64 bit remastering
Silvia Chiesa, cello G. Grancino 1687
Maurizio Baglini, piano grancoda Fazioli
Concerto is particularly proud of having brought together in this recording several of the best of Italy's musical world to apply their talent to a completely French program: two of the most important makers of present and past musical instruments, of world wide fame, Fazioli and Grancino; two excellent young musicians, Maurizio Baglini and Silvia Chiesa; and the well known and important composer, Azio Corghi, all of whom meet over Chopin and Debussy music for cello and piano.
Gianpaolo Minardi's notes or, variations on some songs from the French Revolution provide the introduction: ça ira?
We hope so. The impressive acoustics of the Fazioli Concert Hall where performance was recorded are captured in this 64-bit recording.
The piece composed by Corghi, presented here for the first time ever, is dedicated to the Baglini-Chiesa Duo. |
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ID: CNT2053
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: String instruments
STEREO DDD - 32 bit recording, 96 kHz
Booklet: Italiano / English
Two small gems, Duets for violin & viola KV 423 and 424, and a renowned masterpiece, Divertimento KV 563, are presented in this recording. The Duetti are particularly precious for the quality of the writing and because it is rare to find pieces written by Mozart for two instruments (in fact, if we discount the twelve duets for basset-horn, opera 411, a few transcriptions from Bach, and of course, the Sonatas for keyboard and instrument, there are no such others among Mozart's works). Contrary to common practice of the time, in these two pieces, both instruments bear equal weight and the result is a dialogue between near equals, with the viola being just as important as the violin. As far as the Divertimento is concerned, much has been written: Mila's comment sums it up best when he wrote: a smile from angels, purified of all earthly misery.
The exceptional performers from the well-known Quartetto della Scala di Milano executed this recording on antique instruments: a Gennaro Gagliano viola made in 1800 and a Giovanbattista Guadagnini violin made in 1773. |
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ID: CNT2052
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Chamber Ensemble
World Premiere Recording
"Their work touches us because it is a mix of brutality, magic, sensuality and honesty - all of which are human." So spoke John Adams, one of the most important contemporary American composers, in comparing Neruda's poetry, Marquez's novels, Borges' writing and Piazzolla's music. All of these South American artists came to the attention of North American and European cultural circles almost simultaneously in the 1970's.
Astor Piazzolla (1921-1992) became popular in Europe when a few important performers - whose repertory was largely classical: Gidon Kremer, Yo Yo Ma, Daniel Barenboim - grew more interested in fusing musical styles. In fact the Argentinean musician's training was replete with classical influence. His music language has surely become very popular among various generations - it crosses various territories and music influences by conveying popular music together with a more cultured one: going from a kind of restlessness from the twentieth century to some Indios and African light influences based on ancient cultures from European descents who approached the river mouth of Rio de la Plata through various generation of migrants.
We experience the same cultural influence by listening to the Concerto by the Argentinean
contemporary composer Máximo Diego Pujol (Buenos Aires, 1957) which entitles the whole CD Luminosa Buenos Aires by being a world premiere too.
This very nice recording is enriched by awesomeness and quotations and brings to a sort of "sad feelings to be expressively transmitted through a dance" this is Tango, which starting from the beginning of the past century has been fascinating everyone in the world. |
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ID: DSPRCD059
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Piano
Originally recorded for Gamut in 1990 and 1994, these recordings of unusual piano repertoire are now available on CD for the first time in 20 years -a must have for piano music enthusiasts! |
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ID: CNT2048
CDs: 1
Type: CD
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Subcollection: Violin
World Premiere Recording
DDD 32 bit recording - mastered at 64 bit
12 pages booklet I/E
Alberto Bologni, violin, Santo Serafino 1734
Giuseppe Fausto Modugno, fortepiano, Johann Schantz 1815
It's known that in the Hoboken catalogue, except for Hob:32 - which has been for a long time considered as the sole authentic Sonata for violin and piano by Haydn and published in Vienna in 1794 by Artaria - there isn't any further Sonata for these instruments; surely a bit surprising since we are talking about the composer who has been from everyone acknowledged as the father of string quartet. However Alberto Bologni and Giuseppe Modugno have discovered within the archives of the Civico Museo Bibliografico in Bologna, the copy of a printed edition dating to the early 1800's which are supposedly including other three Sonatas, i.e. XVa. Among these at least the entire Sonata in C major had been performed by the well-known Italian violinist Sandro Materassi together with his friend Luigi Dallapiccola. Remarkable the fact that both of the last concerts he performed in his career opened with the Sonata in C. Let's leave to the musicologists any discussion to this regard, we should just enjoy this delightful music which is enhanced by the extraordinary instruments which have been used for this recording: an original fortepiano Johann Schantz dated from 1815 (which was considered as the "Stradivari" among fortepianos in Vienna during the 19th century and even Franz Joseph Haydn was fond of such precious instrument) and a beautiful violin Santo Serafino dated from 1734. The recording is well performed by two excellent artists as Giuseppe Modugno and Alberto Bologni who give us moments of real good music. |
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ID: CNT2043
CDs: 1
Type: CD
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Subcollection: Piano and Cello
64 bit recording
Booklet: Italiano / English
The rediscovery in recent years of the enormous catalogue of Nino Rota's music held by the Cini Foundation in Venice is perhaps finally inverting an inversely proportional trend between the composer's popularity as author of film music and as classical music composer. In fact, if on the one hand the happy, thirty-year-long artistic marriage between Federico Fellini and himself inevitably led to identifying the composer with the sound tracks of many twentieth century masterpieces of the "seventh art" (La Strada, La dolce vita, Amarcord, Prova d'orchestra only to name a few of his films with Fellini, but also: Rocco e i suoi fratelli by Luchino Visconti, The Godfather - which earned him an oscar - by Francis Ford Coppola, as well as many others) on the other hand we are beginning to rediscover an artist who fits perfectly (who better than he?) in the area circumscribed by those parameters which delimit "Italian excellence", a much discussed phenomenon today, if not always intentionally. Refined, gifted with the same ease for composing that Mozart had (at the age of eleven he wrote his first Oratorio), but at the same time aloof and ironic, with a melancholic and paradoxical outlook on mankind, Rota is for both musicologists and impassioned fans - as they gradually uncover some new masterpiece played in concert halls - a constant surprise. This recording presents his Concerto per violoncello with Enrico Bronzi, one of the greatest and most sensitive musicians of the new generation, playing the solo part and leading the excellent Musici di Parma also in the undisputedly neoclassic Concerto per Archi (presented here in the revised version from 1977). In the Trio con clarinetto of 1973, the magic sound of Alessandro Carbonare blends together with that of Bronzi and Miodini (who play together in the Trio di Parma). |
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ID: CNT2057
CDs: 1
Type: CD
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Subcollection: String instruments
Not even three years stand between the two Sonatas presented together in this CD. In this short period of time the composer's personal life was turned completely upside down by the sudden and unexpected death of his wife.
We can feel just the same dramatic tension animates the Sonata in A from beginning to end; "Tempestoso", a dialogue between two characters - the piano and the violin - opens the first movement and the dramatic tension, riddled with a suffering humanity. Pizzetti's dualism between dramatic excitement and soothing meditation is strongly reinforced in the second movement: entitled by the composer "Preghiera per gli Innocenti" [Prayer for the Innocents. Here, too, is the echo of a distant polyphonic response. In the end comes the catharsis, through the gentleness of the prayer, the final, liberating movement where Pizzetti opens to a different, but just as basic, sensibility, one enlivened by hints of the rustic life, riddled with popular whims.
Finished in March 1919 and published by the English editor Chester, the Sonata was first performed in July 1919 played by Ernesto Consolo and Mario Corti and was to become part of the repertoire of many famous performers.
The emotional circumstances surrounding the creation of the Sonata for Cello can be seen in the very structure of the piece in the arch drawn by the three movements. When Pizzetti began to compose the Sonata in F on July 27th, 1921, only a few months had passed since his wife, a young pianist had tragically died. The composer introduces the Cello in the opening "Largo", which is clearly a dialogue between the two instruments. The piano evokes and talks of things, while the cello is suffering personified. It is a dialogue infused with a secret restlessness. This gentleness however does not stop the grief from erupting violently in the second movement "Molto concitato e angoscioso" with the piano's tumultuous, unisonous quadruplets over which the various, harsh notes of the cello are introduced: ephemeral moments of suspense, interrupted by the plundering return of the quadruplets. It is only in the final bars of the soul's torment seems to abate. With the beginning of the third movement, the cello has melted, and becomes "stanco e triste" in an anxious monologue where it gradually evolves into sweet melodic whisper. The piano enters discretely with arpeggiated sequences to slowly, gently, "con crescente emozione" arrive at a delicate embrace that lets comforting light shine through to the "perdendosi" finale.
The Sonata was first performed at the Società del Quartetto in Milan in December 1921 by Ernesto Consolo and Enrico Mainardi. |
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ID: CNT2056
CDs: 1
Type: CD
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Collection: Chamber Music
Subcollection: Historical Instruments
Booklet: Italiano / English
The works presented by the Trio di Parma in this first CD are paying homage to the great Italian composer Ildebrando Pizzetti. However lately he hasn't been performed so much anymore and therefore his works remained quite unexplored, especially as far as the chamber instrumental production is concerned. And yet the Trio has been performed for the first time in '25 by some exceptional artists like George Enesco, playing the violin and Hans Kindler the cello. Even Tre Canti , just one year before, had been first executed at Palazzo Pitti in Florence by a prodigy of performing like Mario Castelnuovo-Tedesco and Enrico Mainardi. We may then enjoy listening to some really precious works for violin and piano which are well completing the CD (i.e. two Arias and a Colloquio) among which a worldpremiére written for cello: an extemporaneous homage to a very young cellist (just seven years old) named Amedeo Baldovino, who has then turned to be one of the major cello interpreter at that time.
The notes which introduce this recording are well written by Gian Paolo Minardi, while the Trio di Parma is herein giving us a fascinating interpretation of some works written by his renowned fellow citizen, coming from the beautiful town of Parma as well. |
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