Faith and spirituality in great musicians work. Music by Schubert, Rossini, Tchajkovskij, Schumann, Puccini and many more. The three cds in the series "Ave Maria" were distributed by the newspaper "L'unità".

Faith and spirituality in great musicians work. Music by Schubert, Rossini, Tchajkovskij, Schumann, Puccini and many more. The three cds in the series "Ave Maria" were distributed by the newspaper "L'unità".

Recorded during the live TV concert show of summer 1991, when the famous eight sopranos performed together in the enchanting scenery of Venice's St. Mark's Square. A spectacular and unique event witnessed by this historical CD. Daniela Dessì, Mariella Devia,Cecilia Gasdia, Raina Kabaivanska, Katia Ricciarelli, Luciana Serra, Lucia Valentini-Terrani, Renata Scotto. Orchestra of the Theatre La Fenice di Venezia, director Daniel Oren.

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 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.

Faith and spirituality in great musicians work. Music by Schubert, Rossini, Tchajkovskij, Schumann, Puccini and many more. The three cds in the series "Ave Maria" were distributed by the newspaper "L'unità".

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.

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.

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".

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.

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.

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.

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.

Faith and spirituality in great musicians work. Music by Schubert, Rossini, Tchajkovskij, Schumann, Puccini and many more. The three cds in the series "Ave Maria" were distributed by the newspaper "L'unità".

Faith and spirituality in great musicians work. Music by Schubert, Rossini, Tchajkovskij, Schumann, Puccini and many more. The three cds in the series "Ave Maria" were distributed by the newspaper "L'unità".

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

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.

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.

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.