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Enjoy our classical music recording catalogue dedicated to the little-known or unpublished repertoire of great composers and find out the cultural initiatives and events promoted by our Association.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

MASSIMILIANO DAMERINI

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THAT CERTAIN FEELING

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.

FABIO BIDINI PLAYS CHOPIN AND SCHUBERT

FABIO BIDINI

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WANDERER FANTASIE D 760 OP.15 IN DO MAGGIORE

This cd is the Fabio Bidini's homage to Chopin and Shubert. Born in 1968, Fabio Bidini starded musical studies at the age of four. He graduated in 1985 at S. Cecilia Conservatory in Rome obtaining a first class degree. He has won numerous national awards including the "Muzio Clementi" In Florence. 3rd price at the "A. Casagrande" international contest in Terni in 1984. 2nd price at the "Tomassoni" international contest in Koln in 1986. 2nd price at the international contest in Pretoria in 1988. 3rd price at the "F.Busoni" international contest in 1988. 1st price at the "Cittŕ di Marsala" contest in 1989. Every year Fabio Bidini tours aborad (South Africa, Germany, Austria, etc..) and also teaches in major universities. He has performed, numerous concerts with orchestras in the major italia concert halls as well as abroad with the most prestigious line-ups, including the American Synphonic Orchestra, the Bolzano and Trento Haydn, the State South Africa Orchestra. He has recorded many radio and TV shows. He studied composition on his own.

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.

CASTELNUOVO TEDESCO-GUITAR CHAMBER MUSIC

ARTURO TALLINI

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ROMANCERO GITANO PER CORO E CHITARRA

PIANO WORKS-CARL MARIA VON WEBER

STEFANIA CAFARO

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VARIAZIONI SU UN'ARIA RUSSA SCHONE MINKA OP.40

The piano works included in this CD show Carl Maria von Weber's talent as a virtuoso and communicative musician. Although this author has long remained unknown to the general public and was often excluded from the repertoire of the most famous pianists, its production is interesting because it contains the seeds of a number of important elements which the great Romantics are certainly indebted to. Carl Maria von Weber's works are performed by the Sicilian pianist Stefania Cafaro.

GIOACHINO ROSSINI-MUSICA DA CAMERA

POLIMNIA ENSEMBLE

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VARIAZIONI PER CLARINETTO E PICCOLA ORCHESTRA

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.

NAPOLI, BELLA NAPOLI

ENSEMBLE VOCI ITALIANE

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O SOLE MIO

The songs on this record cover an entire century of Neapolitan melodies and two important historical periods in its evolution. The first, in the nineteenth century, saw the coming together of the folk tradition and the tipically melodramatic style of singing. This is the period in which composers such as Mercadante, Donizetti and Rossini all make use of Neapolitan style and forms. Another section of the Cd is dedicated to the repertoire drawn from the period between the end of the nineteenth century and the beginning of the twentieth. This was a golden age in the production of Neapolitan music. These are the years of Salvatore Di Giacomo and Francesco Paolo Tosti, two great scholars and interpreters of Neapolitan culture.

GEORGE GERSHWIN - THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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PROMENADE

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.

KZ MUSIK VOL.1

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

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RAVENSBRUCK,RAVENSBRUCK

LUIGI BOCCHERINI-GUITAR WORKS

F.LEPRI-G.GALIA-QUARTETTO DI ROMA

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QUINTET IN D MAJOR G.448

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.

GIUSEPPE TARTINI-VIOLIN CONCERTOS

INTERPRETI VENEZIANI

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CONCERTO IN LA MAGG. PER VIOLONCELLO, ARCHI E CONTINUO-ALLEGRO

This cd collects violin concerts by Giuseppe Tartini, really important figure within the Italian instrumental schools in the second half of the eighteenth century. Tartini, altough mantaining a high virtuosism, takes distance from the authentic Baroque tradition and anticipates the expressive atmosphere typical of the Classicism. Interpreti veneziani were founded in 1987 by Paolo Cognolato. They played Tartini's work in Venezia and Pirano, performing with a violin that belonged to Tartini himself.

OPERA ARIAS

LEO NUCCI

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PER ME GIUNTO (DON CARLO)

Italian baritone Leo Nucci performs arias from operas by Giuseppe Verdi, Gioachino Rossini, Ruggero Leoncavallo, Vincenzo Bellini.

RUSSIAN PIANO WORKS - BORODIN,GLAZUNOV,LJADOV,SKRJABIN

VLADIMIR SOFRONIZKIJ

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PRELUDE AND FUGUE IN A MINOR OP.101

This CDs 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.

AVE MARIA 3

VARI

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WUNDEN TRAGST DU

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

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

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

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CHANGING THE FINGER IN RAPID PLAYNG-ALLEGRO 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.

HEIFETZ'S TRANSCRIPTIONS

VINCENZO BOLOGNESE-LUISA PRAYER

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MARCH

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 IN B MINOR OP 30 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.

LUIGI BOCCHERINI-6 QUINTETTI OP.56

QUARTETTO ELISA-PIERO BARBARESCHI

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II QUINTETTO(G.408)

Six Piano Quintet op. 56 belong to the period of Boccherini's intense creativity. Each piece was conceived to stand apart from the others , in terms of overall sound, rhythmic progression and harmonic arrangement, but also because the construction of their internal form is based on something unforseeable, on an elemnt of surprise or on a wilful teasing the imagination. The work are performed by Piero Barbareschi (piano) and by Elisa Quartet.

ALEXANDER BORODIN-ANTONIN DVORAK

QUARTETTO DI FIESOLE

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QUARTETTO IN FA MAGGIORE OP.96-MOLTO VIVACE

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.

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

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

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EXTENSION THE HAND QUIET-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.