Quatuor pour la fin du Temps is one of the most touching pages of the entire work by Messiaen. It was composed in the nazi lager of Goerlitz, where the composer was imprisoned in winter 1940-1941. The work is inspired by the vision of the Angel announcing the end of Time, as narrated at the beginning of the tenth chapter of the Apocalypse of John. The quartet was performed on the 15th of january 1941 in the lager, in front of 5000 prisoners. In this cd the work is performed by Francesco Malatesta (violino), Ugo Gennarini (clarinetto), Francesco Sorrentino (violoncello), Cristofer Giorgilli (pianoforte).

This CD is a tribute to the unforgettable italian songs composed by Cesare Andrea Bixio, performed by one of the most famous italian opera singer: the baritone Leo Nucci. The music is arranged for the chamber group"Salotto Ottocento Ensemble" by M° Paolo Marcarini, pianistand conductor of the Ensemble. "Il Tango delle capinere", "Violino Tzigano", "La mia canzone al vento", "Torna piccina", "La Strada nel bosco" and many other melodies including the most famous, Mamma, and the most widely hummed, "Parlami d'Amore Mariù" that entitled this cd.

Boccherini's correspondance qith his publisher, Pleyel in Paris, bears witness to the fact that the Six Piano Quintet op. 56, like the similar series op.57, belong to his period of intense creativity in Madrid. The fact that the score was sent to Paris, also shows that the composer was intent on establishing his reputation there, given that the piano was very much in vogue in the city at the time. We also know, however, that the same Quintest had already been performed in Madrid, in the palace of the Mrquis Benavente, in the version for strings and guitar. This version was something of a private affair and was undoubtedly due to the Marquis' predilection perhaps even his gift for the guitarl. The piano version has the merit of giving us an insights into works which would otherwise have been lost forever. The performance does not trumpet the differences, but rather, as Boccherini hoped, exalts the evrchanging nature of light and shade and of stasis and motion.

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

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.

This cd includes four hands piano works by Gaetano Donizetti. The composers' piano music show evidence of a dovetailing of musical entertainment with piano virtuosity.

This cd includes four hands piano works by Gaetano Donizetti. The composers' piano music show evidence of a dovetailing of musical entertainment with piano virtuosity.

This is both the first CD issued by Musikstrasse and the first recording experience of the Polimnia Ensemble, a group of Italian artists including conservatory teachers and leading musicians from Italy's main orchestras. This collection contains Rossini chamber works, ranging from brief, simple compositions, both vocal and instrumental, to brilliant, virtuoso excerpts, characterized by the rich timbre of the orchestra ensemble. Among the pieces played here are few famous ones - i.e. Une Larme for cello and piano - along with rarities such as Toast pour le nouvel an, for four voices.

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.

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.

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.

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.

Boccherini's correspondance qith his publisher, Pleyel in Paris, bears witness to the fact that the Six Piano Quintet op. 56, like the similar series op.57, belong to his period of intense creativity in Madrid. The fact that the score was sent to Paris, also shows that the composer was intent on establishing his reputation there, given that the piano was very much in vogue in the city at the time. We also know, however, that the same Quintest had already been performed in Madrid, in the palace of the Mrquis Benavente, in the version for strings and guitar. This version was something of a private affair and was undoubtedly due to the Marquis' predilection perhaps even his gift for the guitarl. The piano version has the merit of giving us an insights into works which would otherwise have been lost forever. The performance does not trumpet the differences, but rather, as Boccherini hoped, exalts the evrchanging nature of light and shade and of stasis and motion.

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".

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.