Johann Sebastian Bach
Das wohltemperirte Klavier
The Well Tempered- Clavier - Book I
01 - No. 01: Prelude and Fugue in C major, BWV 846 - 4'23"
02 - No. 02: Prelude and Fugue in C minor, BWV 847 - 5'06"
03 - No. 03: Prelude and Fugue in C sharp major, BWV 848 - 5'43"
04 - No. 04: Prelude and Fugue in C sharp minor, BWV 849 - 7'15"
05 - No. 05: Prelude and Fugue in D major, BWV 850 - 4'11"
06 - No. 06: Prelude and Fugue in D minor, BWV 851 - 4'44"
07 - No. 07: Prelude and Fugue in E flat major, BWV 852 - 7'08"
08 - No. 08: Prelude in E flat minor and Fugue in D sharp minor, BWV 853 - 9'04"
09 - No. 09: Prelude and Fugue in E major, BWV 854 - 3'18"
10 - No. 10: Prelude and Fugue in E minor, BWV 855 - 4'18"
11 - No. 11: Prelude and Fugue in F major, BWV 856 - 2'59"
12 - No. 12: Prelude and Fugue in F minor, BWV 857 - 6'56"
Tot. Time: 66'13"
01 - No. 13: Prelude and Fugue in F sharp major, BWV 858 - 3'53"
02 - No. 14: Prelude and Fugue in F sharp minor, BWV 859 - 4'38"
03 - No. 15: Prelude and Fugue in G major, BWV 860 - 4'40"
04 - No. 16: Prelude and Fugue in G minor, BWV 861 - 4'26"
05 - No. 17: Prelude and Fugue in A flat major, BWV 862 - 4'25"
06 - No. 18: Prelude and Fugue in G sharp minor, BWV 863 - 4'54"
07 - No. 19: Prelude and Fugue in A major, BWV 864 - 4'53"
08 - No. 20: Prelude and Fugue in A minor, BWV 865 - 7'49"
09 - No. 21: Prelude and Fugue in B flat major, BWV 866 - 3'40"
10 - No. 22: Prelude and Fugue in B flat minor, BWV 867 - 5'23"
11 - No. 23: Prelude and Fugue in B major, BWV 868 - 3'59"
12 - No. 24: Prelude and Fugue in B minor, BWV 869 - 12'12"
Tot. Time: 64'58"
Nicola Lamon at the Silbermann harpsichord built by Romain Legros (Verona) Italy
24bit/88.2kHz original recording made at Main Hall, Villa Masiero e Centanin, Arquà Petrarca, Italy, on February, 12, 13, 14, 2021
Production: VELUT LUNA
Executive Producer: Marco Lincetto
Musical producer and editing engineer: Mattia Zanatta
Recording, mix and mastering engineer: Marco Lincetto
Design and Layout: L'Image
Critical text: Myriam Gugliemo
Con la stesura dei 24 Preludi e Fuga (BWV 846-869) Bach partecipa alla vexata quaestio intorno al “temperamento” e si inserisce in un dialogo che a partire dal Rinascimento raggiunge, con echi non meno intensi, le declinazioni novecentesche in merito alla suddivisione razionale dei suoni. Stabiliti gli elementi che costituiscono il modello compositivo, il preludio e la fuga, il compositore sperimenta le potenzialità armonico-contrappuntistiche del sistema basato sulle tonalità maggiori e minori cogliendo tutti gli stimoli provenienti dal crescente interesse verso l’ordinamento cromatico.
Anche nel Clavicembalo ben temperato, come in gran parte della produzione bachiana, emerge l’influenza dello stile musicale italiano. Nel caso specifico uno dei riferimenti principali è sicuramente Girolamo Frescobaldi, l’unico compositore italiano citato da Philipp Emanuel Bach tra gli autori apprezzati e studiati dal padre sin dagli anni della gioventù artistica.
With the drawing up of the 24 Preludes and Fugue (BWV 846-869) Bach takes part to the vexata quaestio about the “temperament” and is enclosed in a dialogue that, starting from Renaissance reaches, with not less intense echoes, 900hunderth declinations concerning the rational division sounds. Once the composer has set the elements constituting the composing model, prelude and fugue, the composer experiments the harmonic-contrapuntal potentialities of the system based on major or minor tonalities, taking all incentives deriving from the growing interest towards the chromatic arrangement.
Also in the Well-termpered Harpsichord, just like in most of Bach’s production, the influence of the Italian style stands out.in the specific case, one of the main reference points is definitely Girolamo Frescobaldi, the only Italian composer quoted by Philipp Emanuel Bach among the authors appreciated and studied by his father ever since the years of his artistic youth
Nicola Lamon ha studiato al conservatorio “B. Marcello" di Venezia diplomandosi nel 2001 con il massimo dei voti e la lode sia in Organo e composizione organistica con Elsa Bolzonello Zoja che in Clavicembalo con Sergio Vartolo e Marco Vincenzi.Ha conseguito inoltre il diploma in Canto Gregoriano a pieni voti con Lanfranco Menga. Nell’anno accademico 2005-2006, presso il Conservatorio “B. Marcello” di Venezia ha conseguito con il punteggio di 110 e lode il diploma accademico specialistico di II livello in organo. Ha partecipato a numerosi corsi di perfezionamento presso varie accademie internazionali: in organo e improvvisazione con H. Davidson e W. Porter a Smarano (TN), con J.L. Gonzalez Uriol a Daroca (Spagna), presso l'Accademia Chigiana di Siena, per il clavicembalo, con Cristophe Rousset, conseguendo il diploma di merito. Ha ottenuto diversi riconoscimenti in vari concorsi nazionali e internazionali: in organo il terzo premio a Borca di Cadore nel 2001 e nel 2005, il primo premio a Viterbo nel 2003 e il terzo premio a Fano Adriano (TE) nel 2006; in clavicembalo il primo premio a Fusignano (RA) nel 2003 e il primo premio a Pesaro nel 2005. Svolge l’incarico di secondo organista presso la prestigiosa Basilica di San Marco in Venezia, collaborando con la Cappella Marciana nelle esecuzioni concertistiche e discografiche. Segue e studia con particolare interesse il partimento storico e l’improvvisazione finalizzata alla ricerca e all’esecuzione del basso continuo. Con il collega David Brutti al cornetto ha fondato il duo “Seicento Stravagante” impegnato nella valorizzazione degli strumenti a tasto rinascimentali e barocchi partecipando a registrazioni discografiche e concerti. Svolge inoltre attività di organista e clavicembalista continuista in in diverse formazioni collaborando inoltre come tale a masterclass e corsi di perfezionamento.E’ stato docente a contratto presso il conservatorio “C.Pollini di Padova” di pratica della tastiera e lettura del repertorio vocale e, attualmente, svolge attività di accompagnatore al clavicembalo presso i conservatori Arrigo Pedrollo di Vicenza e Agostino Steffani di Castelfranco Veneto (TV). E’ impegnato altresì nella monumentale esecuzione integrale dei due libri del Clavicembalo ben temperato e l’Arte della Fuga di J.S.Bach
Nicola Lamon studied at the “B. Marcello" Conservatorium of Venice, obtaining in 2001 the degree with full marks in Organ with Elsa Bolzonello Zoja and harpsichord with Sergio Vartolo and Marco Vincenzi. He has got also the diploma in Gregorian Chant with full marks with Lanfranco Menga. In 2005-2006, at Conservatorio “B. Marcello” of Venice. He was given the Virtuositè Organ diploma with full marks and cum laude. He has attended several courses on Organ and organ improvisation with H. Davidson e W. Porter in Smarano (TN), with J.L. Gonzalez Uriol ,Daroca (Spain), at Accademia Chigiana of Siena, for harpsichord , with Cristophe Rousset. He has received several successes in National and International competitions: organ third prize in Borca di Cadore in 2001 and in 2005, first prize in Viterbo 2003 and third prize in Fano Adriano (TE) 2006; at the harpsichord first prize in Fusignano (RA), 2003 and first prize Pesaro , 2005. He is appointed as second organist in the historical Basilica di San Marco, Venice, collaborating with the Cappella Marciana in performances and recordings. He carefully studies particularly the historical praxis of improvisation, in the research and performance of the thorough bass. With David Brutti cornetto he founded the duo “Seicento Stravagante” to enlighten the renaissance and baroque keyboard and chamber music performing concerts and recordings. He participates as Organist and Harpsichord in several groups and ensembles. He has been teacher at Conservatorio “C.Pollini”di Padova for keyboard practice and reading vocal repertoire and now he is accompanist at the harpsichord at the Conservatoriums Arrigo Pedrollo, Vicenza, and Agostino Steffani di Castelfranco Veneto (TV). He is involved also in the monumental performance of The Well Tempered Keyboard of J.S. Bach.
Original composition by George Gershwin. Hallo Mr. Sax, saxophone orchestra / Mario Marzi, conductor / Paolo Zannini, grandpiano 24Bit / 96 kHz Digital Recording. Live in studio at Chiuppano Public Auditorium (Vicenza, Italy) April, 2003 A new ensemble of classical saxophones, directed by Mario Marzi, first sax of the Philharmonic Orchestra of the theatre "La Scala", offers an original interpretation of authentically outstanding masterpieces like Rapsody in Blue, The Cuban Ouverture, Porgy and Bess, I Got Rhythm. Twelve saxophones manage to reproduce perfectly all the different tones of the classical symphonic orchestra, while the piano and percussion sections are the same as originally written by Gershwin.
VENTIQUATTRO MELODIE E ALTRI RACCONTI
CLASSICAL FROM 20th CENTURY: original compositions by Leopoldo Armellini, bassoon / Paolo Muggia, guitar / Ugo Orlandi, mandolin / Fabiano Maniero, trumpet / Luisa Giannini, soprano / Lorella Ruffin, piano / Maura Mazzonetto, piano 20 Bit Digital Recording. Live in studio at Hotel Ritz (Abano Terme), SS.Felice e Fortunato Church (Noale) . January 1997 This is a collection of previously unreleased chamber music by Adriano Lincetto for piano and bassoon, piano and guitar, piano and mandolin, organ and trumpet, organ and soprano. The composition is of great power and sensibility and finds a perfect place within the traditional Mitteleuropean history of the Twentieth Century and among the echoes of Debussy, Malipiero and Omizzolo.
MUSICA PER PIANOFORTE
CLASSIC FROM 20th CENTURY: original compositions by (1905 - 1991) Giovanni Tirindelli, Grandpiano / Romano Zancan Dall'Alba and Annalisa Ogeniti, four hands Grandpiano. 20 Bit Digital Recording. Live in studio at Pollini Auditorium (Padova, Italy). June - October, 1997 These ten studies on the Trillo could be easily called "Transcendental Studies for a Concert", due to their unique artistic virtues and the absolute skill of their talented interpreter, Giovanni Tirindelli. With this work Tirindelli becomes a solid and clear point of reference for those who dare to interpret this fascinating score which represents a consistent continuance of Debussy's work.
MUSICA DA CAMERA
CLASSICAL FROM 20th CENTURY: original compositions by Silvio Omizzolo (1905 - 1991) Ezio Mabilia, Edoardo Lanza, Ines Scarlino, Franco Angeleri, Grandpiano / Giovanni Guglielmo, violin / Elio Peruzzi, clarinet / Giambattista Valdettaro, cello / Tiziana Zoccarato, soprano / Chamber Ensemble: Andrea Danese, flute, Francesca Guerra, hautebois, Ivan villanova, clarinet, Steno Bosso, basson, Eugenio Pegoraro, french horn, Pietro Juvarra, violin, Fulvio Bertagnin, viola, Giordano Pegoraro, cello, Mario Caldieron, doublebass. 20 Bit Digital Recording. Live in studio at Pollini Auditorium (Padova, Italy). June - August, 1997 This other work by Omizzolo, no less interesting than the other, reveals even more the capabilities and the creativity of this multi-talented artist who here presents a journey through his most significant production of chamber music: sonatas for violin, clarinet, violoncello, all accompanied by piano, the solo protagonist of another passage and two pieces for a small chamber music ensemble (9 and 11 instruments) with the addition of a soprano.
CLASSICAL FROM 20th CENTURY: original compositions by Tommaso Vittorini, Giorgio Gaslini, Corrado Pasquotti, John Rea, Terry Riley, Ex Novo Ensemble, John Celona. Ex Novo Ensemble: Daniele Ruggeri, flute / Davide Teodoro, clarinet / Carlo Lazari, violin / Giovanni Petrella, viola / Carlo Teodoro, cello / Aldo Orvieto, piano / Nunzio Dicorato, percussions / Special guest: Pietro tonolo, sax / Conductor: Claudio Ambrosiani / 20 Bit Digital Recording. Live in studio at Studio Papillons (Padova, Italy). January, 1998 At the beginning of the 90s the International Centre of Instrument Research of Venice, directed by Claudio Ambrosini, promoted a project whose aim was to encourage the exchange and mutual integration among different instruments and cultures. This project was called, significantly, "Ouverture" alluding to the strong desire to "open" and stimulate the communication between different worlds and traditions, from ethnical music to jazz, progressive, etc...
ALBENIZ, LINCETTO: PIANO SOLO
â€œRecuerdos de Viajeâ€?, Isaac Albeniz; â€œSchizzi per pianoforteâ€?, Adriano Lincetto Alberto Boischio, grandpiano 20 Bit Digital Recording. Live in studio at Taio Public Auditorium (Trento, Italy). August, 1997 Isaac Albeniz, in his widely famous composition, masterfully performed by Alberto Boschio. The CD also includes some formerly unreleased pieces by the prematurely deceased M° Adriano Lincetto.
ROTA, FRANCAIX, MARTINU - TRIOS FOR PIANO, FLUTE AND VIOLINS
Classical from 20th Century: music from Nino Rota, Jean Francaix, Bohuslav Martinu. Trio Marinetti: Lorella Ruffin, grandpiano / Stefani Maffizzoni, flute / Riccardo Malfatto, violin 20 Bit Digital Recording. Live in studio at "Large Empty Hall" (Padova, Italy). February, 1999 The Marinetti Trio mean to express through "...force, love, courage, cunning and rude will, without hesitation nor rest, by fury, impatience, running at a breakneck speed..." their dynamic, plastic, blazing hot concept of Music.
CLASSICAL FROM 20th CENTURY: original compositions by Claudio Mandonico Orchestra di Mandolini e Chitarre CittÃ di Brescia, Claudio Mandonico, conductor / Alessandro Bono, solo guitar / Ugo Orlandi, solo mandolin / Elena Contin, solo flute / Quintetto a Plettro Raffaele Calace 24Bit / 96 kHz Digital Recording. Live in studio at Rehearsal Hall (Brescia, Italy). October - November, 1999 This CD will be a great and sweet surprise for anyone who will listen to its fantastic content. A new concept of band joining in plectrums and several guest instruments (flutes, harmonica, solo guitar, percussions). The notes range from the atmosphere of great Authors of film music to classical chamber pieces to authentic explosions of rhythm and joy. A sumptuous journey that makes its way along a path of diverse genres like stomp, blues, mambo and concludes with a peculiar "Elegy and Dance" for solo guitar and orchestra.
1842: SCHUMANN, COMPOSER AND CRITIC
CLASSICAL: original compositions by Robert Schumann (quintet, op. 44), Louis Spohr (Trio, op. 111) Trio Stradivari: Federico Guglielmo, violin / Pietro Bosna, cello / Jolanda Violante, piano / special Guests: Carlo Lazari, violin / Enrico Balboni, viola 24Bit / 96 kHz Digital Recording. Live in studio at Gabinetto di Lettura, Este (Padova, Italy). August, 2000 NOT AVAILABLE
IMAGENES DE TANGO Remastered V L H D
CLASSICAL FROM 20th CENTURY : original compositions by Astor Piazzolla Modern Saxophone Quartet / Simone Zanchini, accordeon 24Bit / 96 kHz Digital Recording. Live in studio at Chiuppano Public Auditorium (Vicenza, Italy) May, 2000 Radu Lidijenko, famous and esteemed east European musicologist, describes this original study for saxophone and accordion quartet of eternal works like Libertango, Fear, Asleep, and Oblivion as "the result of love and gratitude towards Astor Piazzolla, a human being whose magnificent gift was the capability of provoking endless joyful moments in other human beings."
CLASSICAL FROM 20th CENTURY: original compositions by Ennio Morricone, Luciano Berio, Giovanni Bonato, Francesco Erle. Mario Brunello, cello / Nuovo Gruppo Italiano di Percussioni, percussions / Schola S.Rocco, vocal ensemble / Vita Nova, vocal ensemble / Saverio Tasca, marimba / Luigi Marasca, clarinet / Conductor: Francesco Erle 24Bit / 96 kHz Digital Recording. Live in studio at Cava Arcari (Vicenza, Italy) September, 2000 The special feature of this CD, a collection of previously unreleased contemporary works of some of the most important Italian Artists, is made even more interesting by the place that was chosen to record it: a huge, dark and humid stone cave.
CLASSICAL: original compositions by Franz Schubert, Robert Schumann. Daniele Roccato, double bass / Marco Tezza, piano 24Bit / 96 kHz Digital Recording. Live in studio at Auditorium Sandro Pertini, Adria (Padova, Italy) May, 2001 The interpretations included in this CD present a really fascinating and creative take on some of the most famous Romantic airs: Fantasiestucke op.73, Romanzen op.94 together with Abendlied from op.85 by Robert Schumann and finally the widely known Schubert's "Arpeggione", a peculiar instrument that can be considered an archaic form of violoncello. Throughout the work the brilliant transcriptions of Daniele Roccato manage to take the original compositions and, strictly keeping their genuine flavour, present them in a newer, fresher series of timbres.