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Enjoy our classical music recording catalogue dedicated to the little-known or unpublished repertoire of great composers and find out the cultural initiatives and events promoted by our Association.

KZ MUSIK

The Encylopaedia KZ MUSIK is the only work that collects music composed in concentration camps all over the world, between 1933 and 1945.



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CASTELNUOVO TEDESCO-GUITAR CHAMBER WORKS

ARTURO TALLINI

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ROMANCERO GITANO PER CORO E CHITARRA

Rarely performed and unjustly, almost forgotten, Mario Castelnuovo Tedesco (1895-1968) was first and foremost an Italian composer, despite taking American citizenship in 1939 after anti-semitic persecution in his birth-country. His music clearly belongs with the mainstream of Italian compositions, written between the two Wolrd Wars, the school of what we moght define the moderate modernists. Despite having much in common with these composers , Castelnuovo Tedesco's music follows its own original road , an expression of the composer's delicate and refined personality and an approach to music which is consistently elegant, never descending into vulgarity or discordancy for fashion's sake. Arturo Tallini performed in Italy and in all European countries , both as a soloist and also appearing with Chamber groups and orchestra .He was a guest in many important international events . In 2006 he wrote and directed for Radio Vaticana a programme about guitar called "Guitar, an instrument of human feeling".

KZ MUSIK VOL.1

A.DE LEONARDIS/L.GRANATIERO/L.APRILE/A.S

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POUPATA-PRED USNUTIM C.3

IGOR STRAWINSKY- THE COMPLETE PIANO WORKS

ANTONIO BACCHELLI

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TANGO

Another outstanding Italian pianist, Antonio Bacchelli prematurely died in 1986; in this double CD, he faces Igor Stravinsky's piano complete work. Musikstrasse reissues this beautiful collection, recorded by Maestro Bacchelli back in 1980 at the Auditorium of Radio Montebeni, that has been universally praised since then.

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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OCTAVES BRAVURA-VIVACE

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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CLEARNESS IN RUNNING PASSAGES-MOLTO ALLEGRO

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

ALEXANDER BORODIN-ANTONIN DVORAK

QUARTETTO DI FIESOLE

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QUARTETTO N 2 IN RE MAGGIORE-SCHERZO

As a genre, the string quartet, or quartet in general, belongs to a classical age and to a definite geographical Austro-Germanic area, not simply as a result of the contributions made by the composers in this region, but also because of a kind of unique conception philosophy that they succeeded in giving to the idea of four instruments. It is no coincidence that Goethe decribed the Quartet as a "conversation between four intelligent people. In terms of both structure and concept it belongs to central Europe and the musical trends that were born here and developed over the years. When "folk" elements from outside this area, especially if from Easten countries come into contact with this form there il always an attempt to preserve their own structure by constructing variegations typical of the geographical areas they originate from. Russian and Czech music are the perfect example of this. In Russia, expecially in the latter half of the nineteenth century the confrontation between western and "autochthonous" cultures gave rise to a twin style; one side of which was sustained by P.I.Tchaikovsky and the other by the so-called Group of Five. Even if Tchaikovsky is supposed to have sustained the West while Mussorgsky, Rimsky Korsakov, Cui, Borodin and Balakirev defended the Holy Mother, Russia, the language of both factions, inevitably contains elements of the other on account of birth and schooling. A. Borodin's Second Quartet composed in 1881 is a good example.

ZORONGO-OMAGGIO A GARCIA LORCA

ARTURO TALLINI

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CANCIONES POPULARE ESPANOLES-ROMANCE DE DON BOYSO

In this cd, guitarist Arturo Tallini and jazz singer Ada Montellanico perform songs by spanish poet Federico Garcia Lorca. Tallini, in his trascription, stroves to add colours and images, altough, retaining their harmonic fabric which is the most significant relationship that Lorca had with the folk tradition.

LUIGI BOCCHERINI-GUITAR WORKS

F.LEPRI-G.GALIA-QUARTETTO DI ROMA

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INTRODUCTION AND FANDANGO

This is a didactic cd including some compositions of Luigi Boccherini as instrumental bases that on one hand can contribute to the formation or extension of a chamber music repertoire and on the other hand create a stimulus to play real ensemble music. The pieces were recorded without the guitar. This was added later in order to show that gratifying results can be obtained by playing over a pre-recorded base. This CD is very easy to use: you need to tune your guitar to an A at 440 hz using a diapason.

LUIGI BOCCHERINI-GUITAR WORKS

F.LEPRI-G.GALIA-QUARTETTO DI ROMA

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INTRODUCTION AND FANDANGO

This is a didactic cd including some compositions of Luigi Boccherini as instrumental bases that on one hand can contribute to the formation or extension of a chamber music repertoire and on the other hand create a stimulus to play real ensemble music. The pieces were recorded without the guitar. This was added later in order to show that gratifying results can be obtained by playing over a pre-recorded base. This CD is very easy to use: you need to tune your guitar to an A at 440 hz using a diapason.

GEORGE GERSHWIN - THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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MY ONE AND ONLY

A new edition of the collection of George Gershwin's piano works. Helped by his sense of rhythm and his virtuoso hand, Maestro Massimiliano Damerini follows the american musicianŐs complex and ever-changing path, performing pages in a perfect balance between jazz, popular music and serious music: a witness of a versatile talent.

CASTELNUOVO TEDESCO-GUITAR CHAMBER WORKS

ARTURO TALLINI

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SONATINA PER FLAUTO E CHITARRA

Rarely performed and unjustly, almost forgotten, Mario Castelnuovo Tedesco (1895-1968) was first and foremost an Italian composer, despite taking American citizenship in 1939 after anti-semitic persecution in his birth-country. His music clearly belongs with the mainstream of Italian compositions, written between the two Wolrd Wars, the school of what we moght define the moderate modernists. Despite having much in common with these composers , Castelnuovo Tedesco's music follows its own original road , an expression of the composer's delicate and refined personality and an approach to music which is consistently elegant, never descending into vulgarity or discordancy for fashion's sake. Arturo Tallini performed in Italy and in all European countries , both as a soloist and also appearing with Chamber groups and orchestra .He was a guest in many important international events . In 2006 he wrote and directed for Radio Vaticana a programme about guitar called "Guitar, an instrument of human feeling".

HEIFETZ'S TRANSCRIPTIONS

VINCENZO BOLOGNESE-LUISA PRAYER

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AO PE DA FOGUEIRA

Performed by the young violinist Vincenzo Bolognese, this CD includes all famous transcriptions by Jascha Heifetz, one of the most renowned violinists in the history of music. A collection of well-known themes by various composers, from Mozart to Prokofiev, from Chopin to Godowsky, already recorded by Heifetz himself and by the greatest performers. An important album therefore, for the young Vincenzo Bolognese and also a recording full of interest in its own right.

CHOPIN- PIANO WORKS

VLADIMIR SOFRONIZKIJ

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MAZURKAS INF MINOR OP 63 N 2

This CD is a tribute to the legendary Russian pianist and his magic touch and contain invaluable first issues that stand in witness of Sofrinitzskij?s talent, only aknowledged after his death (Moscow, 1961). We are confronted to an artist who makes us still appreciate his peculiar way of playng the piano, making it almost sing, and his quick-phrased style, especially detectable in the pieces where he plays his favourite Chopin and Skriabin, who was his father-in-law. Top-quality remastering makes it possible to enjoy such unforgettable recordings dating back to 1959 in Moscow.

PARLAMI D'AMORE MARIU

LEO NUCCI

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MINIERA

In this cd, 15 famous song by composer C.A. Bixio, are performed by baritone Leo Nucci. From "Lasciami cantare una canzone" to "Violino tzigano", the great classics of Italian tradition.

GABRIEL URBAIN FAURE'-BARCAROLLES

MASSIMILIANO DAMERINI

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BARCAROLLES N. 12 IN E FLAT OP. 106 BIS

In the panorama of the late nineteenth century piano music, Gabriel Fauré's work is particularly rich in distinctive detail and innovation. Just as Proust tempted his readers to the pleasure of literature with digressions and deliberately "irritating" descriptions, Fauré's compositions for pianoforte are a quest for harmonic and tonal suggestionwithin a structure that never disturbs the pleasure of listening or performance. Unfortunately his scores are not often played in the concert hall, perhaps because of the commitment and attitude they demand of both the performer and the listener. The Barcarolles, like Fauré's Nocturnes, seem to have run parallel to the life of the composer and in these genres it is easy to find two moods and two manners of expression blended together. Massimiliano Damerini. Graduated in piano studies and composition under Alfredo They and Martha Del Vecchio in his hometown of Genova. Regarded as one of the most representative musicians of his generation, he has played in many of the major international theatres and concert Halls.

IGOR STRAWINSKY- THE COMPLETE PIANO WORKS

ANTONIO BACCHELLI

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SERENADE EN LA-RONDOLETTO

Another outstanding Italian pianist, Antonio Bacchelli prematurely died in 1986; in this double CD, he faces Igor Stravinsky's piano complete work. Musikstrasse reissues this beautiful collection, recorded by Maestro Bacchelli back in 1980 at the Auditorium of Radio Montebeni, that has been universally praised since then.

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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UNIFORMITY IN RAISING THE HANDS-MOLTO ALLEGRO

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

KZ MUSIK VOL.1

A.DE LEONARDIS/L.GRANATIERO/L.APRILE/A.S

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RAVENSBRUCK,RAVENSBRUCK

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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DOUBLE OCTAVES-MOLTO VIVACE

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

AVE MARIA 3

VARI

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ASSUMPTA EST MARIA

Third volume of the series "Ave Maria", faith and spirituality in great musicians work.