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Enjoy our classical music recording catalogue dedicated to the little-known or unpublished repertoire of great composers and find out the cultural initiatives and events promoted by our Association.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

ANTONIO BACCHELLI

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SOUVENIR D'UNE MARCHE BOCHE

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.

ZORONGO-OMAGGIO A GARCIA LORCA

ARTURO TALLINI

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DESEO

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.

FOUR HANDS PIANO WORKS-GAETANO DONIZETTI

MARY ELIZABETH SADUN-DANILO MANTO

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SONATA IN FA MAGGIORE

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.

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

LUIGI BOCCHERINI-6 QUINTETTI OP.56

QUARTETTO ELISA-PIERO BARBARESCHI

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VI QUINTETTO(G.412)

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.

GIUSEPPE TARTINI-INTERPRETI VENEZIANI

INTERPRETI VENEZIANI

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CONCERTO IN SI MIN.PER VIOLINO,ARCHI E CONTINUO D.125-LARGHETTO(

This CD dedicated to Giuseppe Tartini (1692-1770) is a must-have for the connoisseurs of eighteenth century music. A delicate, intense and charming performance by the wind ensemble Interpreti Veneziani (the Venetian Performers) which climaxes in the Violin Concertos, where an "Amati" is played, dating back to 1740, that belonged to Tartini and is currently kept in the house where the Venetian composer was born, in Pirano (Republic of Slovenia).

IGOR STRAWINSKY- THE COMPLETE PIANO WORKS

ANTONIO BACCHELLI

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SERENADE EN LA-ROMANZA.

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.

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.

TRIO CHITARRISTICO DI ROMA-RECITAL

TRIO CHITARRISTICO DI ROMA

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SUITE GALLEGA

A collection unmatched up to now, featuring the unusual proposal of three guitars. A most diverse repertoire ranging from classical to popular, including even contemporary compositions by one of the three performers and a clever transcription of Mozart's Fantasia by Luciano Chailly, who has dedicated it to the Trio Chitarristico di Roma (the Rome Guitar Trio), Fabio D'Ettorre, Fernando Lepri and Arturo Tallini. .

GIOACHINO ROSSINI-MUSICA DA CAMERA-SERIE AGORA'

POLIMNIA ENSEMBLE

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SONATA PER ARPA

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.

S.MERCADANTE-CHAMBER WORKS

POLIMNIA ENSEMBLE

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DECIMINO IN MI BEM.MAGG.-ALLEGRO MAESTOSO-MODERATO

Even if Mercadante is mostly known as operas composer, the music of this collections witness not only the peculiar creative potential of the author but also his natural attitude to the instrumental genre. Infact we can place the "Variazioni in fa maggiore" (Variations in Fmajor) and the "Quartetto in mi bemolle maggiore" (quartet in E durmajor) in the composer's youth, whereas the two "Decimini" are part of his late production. As to the latter - along with their uniqueness asa form in instrumental music - the "Decimino con pianoforte" (the cd'sopening track) is a real rare issue. This cd is part of a Polimnia Ensemble trilogy dedicated to chamber music of great opera composers, along with compositions by Rossini and Donizetti already released with Musikstrasse.

GEORGE GERSHWIN-THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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PROMENADE

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

GIUSEPPE TARTINI-INTERPRETI VENEZIANI

INTERPRETI VENEZIANI

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CONCERTO IN MI MIN. PER VIOLINO, ARCHI E CONTINUO-ALLEGRO

This CD dedicated to Giuseppe Tartini (1692-1770) is a must-have for the connoisseurs of eighteenth century music. A delicate, intense and charming performance by the wind ensemble Interpreti Veneziani (the Venetian Performers) which climaxes in the Violin Concertos, where an "Amati" is played, dating back to 1740, that belonged to Tartini and is currently kept in the house where the Venetian composer was born, in Pirano (Republic of Slovenia).

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.

AVE MARIA 2

VARI

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JESUS DE NAZARETH

Spirituality and faith in great musicians work. Music by Donizetti, Mahler, Debussy, Respighi and many more. Second volume in the series distributed by "L'unità"

PIANO WORKS-CARL MARIA VON WEBER

STEFANIA CAFARO

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INVITO ALLA DANZA OP.65

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.

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

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

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DELICATE AND DISTINCT TOUCH IN BROKEN CHORDS-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.

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

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

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TO ACQUIRE A FIRM TOUCH-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.