KURT! è un progetto capitanato dalla cantante Valentina Fin che insieme al pianista Mauro Spanò, ha sviluppato una ricerca dedicata alla figura di Kurt Weill, compositore e musicista tedesco del primo Novecento. La formazione cameristica abbina il classico quartetto d'archi al duo pianoforte e voce. Il sestetto, basandosi sulle partiture originali, ha sviluppato arrangiamenti inediti e contemporanei, riproponendo poi le stesse atmosfere a cavallo tra il jazz e la classica contemporanea, in alcuni brani originali scritti appositamente per la formazione ed ispirati ad alcune poesie dello storico amico e collaboratore di Weill, Bertolt Brecht. KURT! is a project led by vocalist Valentina Fin who, together with pianist Mauro Spanò, has developed a research dedicated to the early 20th century German composer and musician Kurt Weill. The chamber ensemble combines the classic string quartet with the piano-voice duo. The sextet, based on the original scores, has developed new and contemporary arrangements, proposing the same atmosphere between jazz and contemporary classical music, in some original compositions too, inspired by some poems of Weill's historic friend and collaborator, Bertolt Brecht.
KHOREIA The title “Khoreia” (Greek for “dance”) embraces the sense of our project, which has become breeding ground for our common interests. “Khoreia” takes life from the wish to present the charming and diverse universe of the four hands repertoire, particularly by presenting little-known compositions with concealed qualities. We would like to offer an historical voyage from Johann Christoph Friedrich Bach (1732-1795) to the illustrious Irish composer Philip Martin (1947-). Of the former, we have elected a musical pearl representing the “sensitive style”, “Sonata in A Major”. Of the latter, we are honoured to present a commissioned work with a unique atmosphere. “Electric Prisms”, inspired by a painting with the same name by Sonia Delaunay (1885-1979), captures the new modern world and technology in Paris at the beginning of the 20th Century. Moreover, we have thought as well to embrace the passionate and intimate character of Robert Schumann through his collection of miniatures in music the “Ball-Scenen op.109”, which represents the most impulsive yet reflective face of his compositional style. To fulfil the idea of dance, we have chosen two of the five movements of the baroque influenced “Holberg Suite” by Edvard Grieg (1843-1907), transcribed for piano four hands by the German composer Theodor Kirchner (1823-1903). May “Khoreia” take you into a sublime dance, where thanks to the most varied melodies and sonorities you may understand the musical beauty and complexity of this multi-shaded form of art. Volt & Potenza Duo Volt & Potenza piano duo has, since their collaboration started in October 2014, performed in important venues in UK such as St James`s Picadilly and St Martin-in-the-Fields. The duo has been chosen to take part in the Powderham Castle New Generation Artists Scheme of Exeter. More information at www.voltandpotenzaduo.com Oda Voltersvik The norwegian pianist has been considered by the renown conductor Marios Papadopoulos as a “pianist with great sensitivity and lovely tone” and by the pianist Gabriele Baldocci “a musician with a wonderful control of the instrument and innate sense of the music.” Oda Voltersvik, holds a Master in Performance degree from the Royal College of Music in London in 2014 under tutelage of professors Andrew Ball and Niel Immelman, and a Postgraduate Artist Diploma with Distinction from Trinity Laban Conservatoire of Music and Dance in 2015 under professor Gabriele Baldocci. During the prestigious summer piano festival academy of Oxford Philharmonic Orchestra she has played for renown international pianists including Menahem Pressler, Gary Graffmann, Christina Ortiz, Marios Papadopoulos and Vladimir Krainev. In Norway she has taken part in masterclasses by Leif Ove Andsnes, Håvard Gimse, Ihle Hadland and Jiri Hlinka. Concert venues at which she has performed in Norway include the opening concert during the Grieg Jubilee 2007, Norwegian National Broadcasting and several solo and chamber music concerts for the Bergen Chamber Music Society and the Grieg in Bergen Series. Other concert venues include Leipzig Town Hall, the 1st International Folk Music Festival in Beijing, Amaryllis Fleming Hall, Regent Hall, Marlow Recital Society and the Norwegian Ambassadors Residence in London, and Jacqueline du Pré Concert Hall in Oxford. During summer 2014 and 2015, she was Artist in residence at Troldhaugen (Grieg`s home) in Bergen, Norway for one week. She has performed concertos with the Sinfonietta of Athens 2010, and with the Norwegian–Polish Youth Orchestra in Poland and in Bergen 2014. Oda was a finalist in the Trinity Laban Soloist`s Competition 2016. She is a founder of the Volt Ensemble consisting of young and upcoming musicians from Scandinavia. Giulio Potenza Considered by Martha Argerich “a very gifted and deep pianist” and by Pascal Rogè “a pianist with a flawless technique and a spontaneous refined musicality, Giulio Potenza, was born in Palermo in 1990 (Italy). He entered at the Conservatory of Trapani where he received his Piano Diploma with the highest ranking under the tutelage of Walter Roccaro . He studied in Milan with Bruno Canino and in London with Gabriele Baldocci and Mikhail Kazakevich at the Trinity Laban Conservatory where he gained a Post Graduate Diploma, a Postgraduate Artist with Distinction. In the past years he has attended master classes and lessons held by pianists such as Andrzej Jasiński, Martino Tirimo, Barry Snyder, Deniz Gelenbe, Franco Scala, Andrei Gavrilov, Pascal Rogè, Irene Inzerillo, Denis Pascal. He performed as a soloist and chamber musician for major festivals The Martha Argerich Project of Lugano, the Hammamett Piano Festival of Hammamett, he Grieg in Bergen Series in Bergen, the Shubert Festival of London and venues like the Steinway Hall of London, St. John’s Smith Square, St. Martin-in-the-Fields in England, the Bellinzona Theater in Swiss, the Atelier Marcell Hastir in Bruselles, the Rai Auditorium of Palermo, the Auditorium S. Stefano in Florence. He played with many orchestras including the Florence Symphony Orchestra, directed by Piero Bellugi, the University of London Symphony Orchestra, directed by Daniel Capp and the North Beds Orchestra directed by Jan Kaznowski. Winner of the prestigious “Hanna Brooke Prize” in piano, for the excellence in the concert career from the Trinity Laban Conservatory, he won prizes at several important piano competitions like the international piano competition “Premio Seiler” of Palermo, the “AGI.MU.S” music competition of Rome, the “Highly Commended Award” at the Jacques Samuel Piano Competition of London. Giulio also has been chosen by the prestigious Concordia Foundation of London, to be part of the Young Artist Programme. His recitals has been recorded by the BBC Radio 3, Swiss Classic Radio, Radio Mozart Italia and Rai television in Italy. He has been invited to give piano masterclasses in Tunisia, England and Italy. He is professor of piano at the Windsor Piano Academy of Windsor and artistic director of the Windsor International Piano Competition. Giulio holds a Bachelor in History from University of Palermo.
THE WELL TEMPERED-CLAVIER, BOOK 1
Johann Sebastian Bach Das wohltemperirte Klavier The Well Tempered- Clavier - Book I CD1 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" CD2 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.
TO RUSSIA WITH LOVE
CVLD332 - UPC: 8019349783651 Nikolaj Karlovi Medtner 01 - Sonata Reminiscences op.38 in A minor n.1 from Forgotten Melodies I, 15'56" Pyotr Ilyich Tschaikovsky & Michail Vasil'evi Pletnëv The Nutcracker Suite, 17'50" 02 - March, 1'59" 03 - Dance of the Sugar Plum Fairy, 2'09" 04 - Tarantella, 1'22" 05 - Intermezzo, 4'13" 06 - Trépak (Russian Dance), 1'12" 07 - The Tea (Chinese Dance), 1'22" 08 - Pas de deux (Andante maestoso), 5'33" Igor Fyodorovich Stravinsky Trois mouvements de Pétrouchka, 17'40" 09 - Danse russe, 2'50" 10 - Chez Pétrouchka, 5'17" 11 - La semaine grasse, 9'33" Tot. time: 51'32" Kostandin Tashko, pianoforte 24bit/88.2kHz original recording made at Laboratorio ZANTA, Camponogara, Italy, on December 3, 4, 2020 Kostandin Tashko plays on Steinway & Sons D274 Concert Grandpiano, prepared and tuned by Silvano Zanta Production: VELUT LUNA Executive producer: Marco Lincetto Recording, mix and mastering engineer: Marco Lincetto Musical producer and editing engineer: Mattia Zanatta Text: Myriam Guglielmo Inside photo: Marco Lincetto Design and layout: L'Image Kostandin Tashko “... visione profonda del testo, unita a grande maturità musicale. Giovanissimo, ma già padrone di tecnica pianistica di grande rilievo e di vasto ed importante repertorio... " Daniel Rivera, pianista (2020) “..forte personalità musicale e talento emergono chiaramente dalle capacità artistiche…non fa mai sfoggio di virtuosismo fine a se stesso… lo subordina sempre a una visione intellettuale superiore, che riflette una chiara consapevolezza dell'architettura musicale. Alessandro Taverna, pianista (2020) Vincitore di numerosi concorsi internazionali in Albania, Italia, Croazia, Gran Bretagna, Macedonia, Kossovo, Svizzera-Francia, Slovenia, il pianista albanese Kostandin Tashko si è esibito in importanti sale da concerto e festivals. Il CD di debutto, con l'etichetta KNS, include opere di Liszt, Scriabin e Ravel. Allievo del Liceu “J.Misja” di Tirana con Valbona Kasaj, si è diplomato con menzione d’onore presso il Conservatorio di Musica di Trieste “Giuseppe Tartini” sotto la guida di Teresa Trevisan. Masterclass con B.Lupo, A.Delle Vigne, R.Dalibaltayan, O.Gardon, D.Tomsic, R. Kinka, M.Miladinovic, V.Balzani, C.Elton, P.Gililov, N.Grubert. “...profound vision of the text combined with an important musical maturity. Very young and already master of a piano technique of great importance beside a vast and important repertoire...” Daniel Rivera, Pianist (2020) “..strong musical personality and talent clearly emerges from his artistic skills….never shows off a virtuosity that is an end in itself...always subordinates it to a higher intellectual vision, which reflects a clear awareness of the music architecture. Alessandro Taverna, pianist (2020) The Albanian pianist Kostandin Tashko is the winner of wide range of international competitions in Albania, Italy, Croatia, Great Britain, Macedonia, Kossovo, Switzerland-France, Slovenia. He already performed in some of the most important venues and festivals. The debut CD with KNS label includes works by Liszt, Scriabin and Ravel. A student of the Liceu “Jordan Misja” in Tirana with Valbona Kasaj, he graduated at the Trieste Music Conservatory ”Giuseppe Tartini” under the guidance of Teresa Trevisan. Masterclasses with B.Lupo, A.Delle Vigne, R.Dalibaltayan, O.Gardon, D.Tomsic, R. Kinka, M.Miladinovic, V.Balzani, C.Elton, P.Gililov, N.Grubert. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Russia! La scrittura per pianoforte tra composizione, trascrizione e restituzione Il percorso proposto da Kostandin Tashko all’insegna della tradizione musicale russa si dipana lungo un sentiero che seppur tracciato all’interno del contesto novecentesco tende a ripiegare con nostalgia verso un passato dai contorni vagamente definiti, tra l’onirico tardo romantico di Medtner, il fiabesco di Tchaikovsky e l’ancestrale di Stravinsky. Protagonista indiscusso è il pianoforte, strumento storicamente legato all’attività compositiva sia come punto di partenza per la stesura di pagine pianistiche affidate all’esecuzione dello stesso compositore, sia come destinatario di trascrizioni tratte da brani orchestrali ad opera dell’autore o di interpreti successivi. Russia! Piano writing among composition, transcription and returning The course suggested by Kostandin Tashko in the sign of Russian musical tradition unravels along a path that, though drawn within the 20th century context, tends to withdraw with nostalgia towards a past with vaguely defined outlines, among Metner’s late romantic oneiric, Tchaikovsky’s fairy-tale and Stravinsky’s ancestral. The piano is a self-evident protagonist, an instrument historically connected to the writing activity both as starting point to draw piano pages assigned to the performance of the same composer, and as receiver of transcriptions drawn from orchestra pieces played by the author or by following interpreters. Myriam Gugliemo
JOHANN SEBASTIAN BACH
CVLD328 - UPC: 8019349896566 Sonata in fa maggiore BWV 1035 per flauto e basso continuo 01 - Adagio ma non tanto, 2:16 02 - Allegro, 3:13 03 - Siciliano, 3:47 04 - Allegro assai, 3:13 Partita in La minore BWV 1013 per flauto solo 05 - Allemanda, 4:32 06 - Corrente, 2:47 07 - Sarabande, 3:38 08 - Bourèe anglaise, 2:00 Concerto in Sol minore BWV 985 per cembalo solo 09 - (Allegro), 2:46 10 - Adagio, 2:15 11 - Allegro, 2:24 Sonata in Si minore BWV 1030 per flauto e clavicembalo obbligato 12 - Andante, 7:40 13 - Largo e dolce, 3:11 14 - Presto, 6:23 tot. time: 50:14 Maria Giovanna Fiorentino, flute and recorder Nicola Lamon, harpsichord 24bit / 88.2kHz original recording made at Studio Rosso, di Zanotto Strumenti, in Silvelle di Trebaseleghe, Italy, on July, 4, 5, 6, 2020 Production: VELUT LUNA Executive producer: Marco Lincetto Musical producer and editing: Mattia Zanatta Recording, mix & Mastering: Marco Lincetto Photo: Marco Lincetto Design & Layout: L'Image Johann Sebastian Bach (1685 Eisenach, 1750 Lipsia) è stato un compositore e musicista tedesco, Thomaskantor a Lipsia dal 1723 alla morte. Considerato tra i più grandi geni nella storia della musica, le sue opere sono notevoli per profondità intellettuale, padronanza dei mezzi tecnici ed espressivi e per bellezza artistica. Operò una sintesi mirabile fra lo stile tedesco di Pachelbel e Buxtehude e le opere dei compositori italiani (particolarmente Vivaldi del quale trascrisse numerosi brani, assimilandone soprattutto lo stile concertante). La sua opera costituì la summa e lo sviluppo delle varie tendenze stilistico - compositive della sua epoca. Il grado di complessità strutturale, la difficoltà tecnica e l'esclusione del genere melodrammatico, tuttavia, rese la sua opera appannaggio solo dei musicisti più dotati e all'epoca ne limitarono la diffusione fra il grande pubblico, in paragone alla popolarità raggiunta da altri musicisti contemporanei come Haendel o Telemann. Nel 1829 l'esecuzione della Passione secondo Matteo, diretta a Berlino da Felix Mendelssohn portò alla conoscenza di un vasto pubblico la qualità elevatissima dell'opera compositiva di Bach, che è da allora considerata il compendio del contrappunto barocco. Il kantor di Lipsia dove compose tante cantate e lavori sacri, rimane un miracolo del Barocco e della Musica in generale, sicuramente. Mi sono decisa a inserire nel CD la Sonata BWV 1030 per flauto e clavicembalo obbligato, la partita a flauto solo BWV 1013, il clavicembalista dei lavori trascritti da Telemann e la sonata a flauto e continuo 1035 per amore del compositore e dei brani. Johann Sebastian Bach (Eisenach 1685-Leipzig 1750) a German composer and musician ended his career as Thomaskantor in Leipzig since 1723 to the death. He is known as one of the greatest geniuses in History of Music, his works are wonderful in intellectual deepness, mastership of the technical and expressive means and artistic beauty. He reached a stunning result uniting the German style of Pachelbel and Buxtehude with Italian master composer like Albinoni and Vivaldi, transcribing many pieces and most of all mastering the concertante style. His works became the summa and the development of the stylistic and compositive trends of his era. The complex structure, the technical difficulty and his absence from the melodrama scene destined his composition to be performed only by the most talented musicians and limited the diffusion to the large public, comparing it to the audience of his contemporary musicians like Haendel and Telemann. In 1829 the performance of the Matthaeuspassion, directed by Felix Mendelssohn in Berlin, let a large public recognize the miraculous quality of Bach’s compositions, since then seen as exemplar of baroque counterpoint. The Kantor of Leipzig, where he composed many cantatas and sacred works, comes out as prodigy of the Baroque and of all Music history. We choose for the CD the sonata BWV 1030 for flute and obliged harpsichord, the solo flute Partita BWV 1013, for solo harpsichord a transcription from Telemann, and the sonata BWV 1035 for flute and continuo enjoying the composer and his works. ----------------------------------------------------------------------------------------------------------------------------------------------- Maria Giovanna Fiorentino nata a Padova nel.1961, ha studiato flauto dolce a Padova con S. Balestracci (1976-1982) e ha conseguito il diploma in flauto dolce presso il Conservatorio Tartini di Trieste. Laureata in Lettere a pieni voti presso l'università di Padova con tesi in Storia della Musica, collabora con articoli, conferenze e lezioni-concerto a ricerche musicologiche. Ha tenuto 163 concerti in Italia e all'estero e diverse registrazioni in formazioni come il C.M.A. di Padova, l’Orchestra da camera di Padova, Accademia Bach, la Compagnia dei Febi Armonici, Interensemble e Serenissima Chamber Orchestra nel XXIII Festival di Musica Antica ad Urbino. Ha inciso le sonate di D. Bigaglia per flauto e b.c., l'opera V di Corelli, le Triosonate di Sammartini e le Sonate di Bellinzani e Barsanti per la Tactus.Ha proseguito con i Concerti a 4 di Vivaldi nel 2014 e con l’opera XXXVII di Boismortier per Urania Records, come i Concerts Royaux d F. Couperin, in uscita in Settembre Ottobre 2017. Ha insegnato flauto dolce al Conservatorio "G. Tartini" di Trieste e presso la Musician School di Reggio Emilia e flauto dolce e Storia della Musica presso la Fondazione Morello di Castelfranco Veneto 1997-2003. Dal 2008 al 2011 è presidente di ERTAItalia, l’associazione di insegnanti e studenti di flauto dolce in Italia, gemellata con le consorelle europee, ora ne è vicepresidente é perfezionata per quattro anni con Pedro Memelsdorff, superando nel 1988 l'esame di repertorio presso la Civica Scuola di Musica di Milano e con Frans Brüggen, Marijke Miessen, Kees Boeke, Walter van Hauwe e Matthias Weilenmann. 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 Maria Giovanna Fiorentino “First of all it the sound of Fiorentino is really remarkable and supported by a smart and wise technical skill, by an articulation always interesting and by an inspired and learned phrasing, always well style conscious. The improvisation full of verve of the slow movements is quite impressing” Gianni Toffano CDClassica “Quelle merveille ce nouveau cd !" Qu'il fait du bien de voir que des gens n'hésitent pas à innover et à nous donner un autre visage du grand Arcangelo Corelli. ” Denis Grenier, Radio Quèbec e responsabile iconografico dei CD Alfa. “The ensemble I Fiori Musicali has a perfect mastership of their instruments, and their balance is clearly an example in this field” “One of the leading European baroque ensembles.” Fedor Lederer, direttore Journées Baroques sur Vienne.She has studied with S. Balestracci and Pedro Memelsdorff and attended masterclasses with F. Brüggen, M. Miessen, K. Boeke and W. van Hauwe. She graduated in History of Music at Padua University. She has held several concerts in Italy and abroad. for celebrated festivals and concert series, where artists as Gustav Lenohardt, Quartetto Arditti, Cristina Miatello Gabriele Cassone and Fabio Biondi performed. She has recorded for Rivoalto, Ariston, Pavane Records and Symphonia. As a soloist she has recorded Rigaglia’s Sonatas, Corelli’s Opus V and Sammartini triosonatas for Tactus, as well as Bellinzani’s and Barsanti’s sonatas. Then Vivaldi’s Concerti a 4, Tactus Label 2014, 2016 Boismortier Opus XXVII trios, Urania Records as Les Concerts Royaux of François Couperin, Urania Records. She has taught recorder at Conservatorium "G. Tartini" of Trieste, at Musician School of Reggio Emilia and recorder and history of music at Fondazione Morello of Castelfranco Veneto (1997-2003). Since 2008 she is Chairwoman of ERTAItalia, the European Recorder Teachers’ Association Italia, actually she is vicechairwoman. 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.
CVLD327 - UPC: 8019349987677 Cello Sonata N.1 in E Minor Op. 38 1 - Allegro non troppo 14:34 2 - Allegretto quasi minuetto 5:50 3 - Allegro 6:39 Cello Sonata N.2 in F Major, Op. 99 4 - Allegro Vivace 9:06 5 - Adagio affettuoso 6:37 6 - Allegro appassionato 7:43 7 - Allegro molto 4:50 total time: 55:24 Luca Giovannini, cello Leonora Armellini, piano 24bit / 88.2kHz original recording made at Magister Recording Area, Preganziol, Italy, on July 12, 2020 Leonora plays on Steinway & Sons D274 Concert Grandpiano, tuned and prepared by Silvano Zanta Production: VELUT LUNA Executive producer: Marco Lincetto Musical producer and editing engineer: Michele Sartor Recording, mix and mastering: Marco Lincetto Design and layout: L'Image Text: Myriam Guglielmo Photo: Marco Lincetto Videomaker: Michele Sartor Johannes Brahms e i violoncellisti delle Sonate op. 38 e op. 99: una retrospettiva fotografica Nel complesso insieme di pagine cameristiche che figurano all’interno del catalogo brahmsiano le due Sonate per pianoforte e violoncello (dicitura che per volere dell’autore sottolinea il carattere paritario degli strumenti coinvolti) vengono considerate tradizionalmente come elementi portanti del repertorio dedicato a tale formazione. La loro notorietà, dovuta ad una fortunata ricezione e alla continuità esecutiva di cui siamo ancor oggi testimoni, non deve precludere all’ascoltatore quanto all’interprete una visione d’insieme delle due Sonate, spesso accantonata in favore di un mero confronto sul piano cronologico e compositivo. Sebbene tra la stesura dei primi due movimenti della Sonata in mi minore op. 38 e la pubblicazione della Sonata in fa maggiore op. 99 intercorrano ventiquattro anni, possiamo considerare comune ai due periodi l’interesse rivolto alla scrittura per violoncello, alimentato dalla presenza di figure chiave nella cerchia del compositore. In una fotografia datata 7 maggio 1894 troviamo Brahms, nel giorno del suo sessantunesimo compleanno, circondato da amici e colleghi presso la casa della famiglia von Miller zu Aichholz (archivio Gesellschaft der Musikfreunde, Wien). Tra i convitati, oltre a Ignaz Brüll, Anton Door, Julius Epstein, Eusebius Mandyczewski, Gustav Walter, Eduard Hanslick e Richard Mühlfeld, sono presenti i dedicatari delle due Sonate per pianoforte e violoncello: Josef Gänsbacher e Robert Hausmann. Johannes Brahms and the cello players of Sonatas op. 38 and op. 99: a photographic retrospective In the complex whole of chamber pages inside Brahms catalogue, the two Sonatas for piano and cello (a caption that for the author’s will underlines the equal role of the involved instruments) are traditionally considered as carrier elements of the repertoire devoted to such composition. Their fame, due to a lucky reception and to the continuous performances we still witness nowadays, should not prevent either the listener and the performer a unit vision of the two Sonatas, which is often set aside, in favour of a plain comparison on the chronological and compositional level. Although between the writing of the first two movements of the Sonata in the key of E minor op. 38 and the publication of the Sonata in the key of F major op. 99 twenty-four years passed, we can consider the interest towards the writing for cello common to both, fed by the presence of key figures in the circle of the composer. In a photo dated May 7th, 1894, we see Brahms surrounded by friends and colleagues in the house of the family von Miller zu Aichholz, on his 61st birthday (archive Gesellschaft der Musikfreunde, Wien). Among the guests, beyond Ignaz Brüll, Anton Door, Julius Epstein, Eusebius Mandyczewski, Gustav Walter, Eduard Hanslick and Richard Mühlfeld, we can notice the dedicatees of the two Sonatas for piano and cello: Josef Gänsbacher and Robert Hausmann. Myriam Guglielmo ----------------------------------------------------------------------------------------------------------------------------------------------- Luca Giovannini, nato a Rovigo nel 2000, ha frequentato il Francesco Venezze di Rovigo con il M° L. Simoncini e si è diplomato a 17 anni con lode e menzione d'onore. Arricchisce il suo percorso di studio frequentando l’Accademia R. Romanini di Brescia, nella quale ha studiato con G. Sollima e successivamente con G. Capuçon alla "Classe d'excellence" della fondazione Louis Vuitton. Sin da giovanissimo, Luca si è affermato in numerosi concorsi, tra i più prestigiosi vi sono il primo premio nel 2018 al J. Brahms competition di Pörtschach in Austria, primo Italiano ad aggiudicarselo, nel 2016 il terzo premio al concorso "Schönefeld" in Cina, e il Premio Nazionale delle Arti 2020. Ha avuto la possibilitá di suonare per i nomi piú illustri del mondo musicale, come G. Kremer, A. Schiff, N. Gutman E. Dindo, M. Brunello, B. Canino, D. Rossi e molti altri ancora, cogliendo prospettive differenti e spunti altamente stimolanti. Si è esibito in numerosi paesi e importanti teatri come la Suntory Hall di Tokyo la Carnegie Hall di NY Musikverein di Vienna il Berliner Philharmoniker, Sale Apollinee della Fenice e la Sala Maffeiana di Verona. Luca studia attualmente con F. Helmerson alla Kronberg Academy, Francoforte. Suona un Ansaldo Poggi gentilmente concesso dal M° M. Brunello. Vincitrice del Premio Janina Nawrocka per la "straordinaria musicalità e la bellezza del suono" al Concorso Chopin di Varsavia (2010), la pianista Leonora Armellini (1992) si esibisce come solista, camerista e a fianco di numerose orchestre in prestigiose sale in tutto il mondo (Carnegie Hall di New York, Teatro Mariinsky di San Pietroburgo, Salle Cortot di Parigi, Filarmonica di Varsavia, Teatro La Fenice di Venezia, e in tutta Europa, Cina, Corea del Sud, Giappone, ...). Intrapreso lo studio del pianoforte a quattro anni con Laura Palmieri, si diploma a dodici con il massimo dei voti, lode e menzione. Vince il “Premio Venezia” (2005) e prosegue con Sergio Perticaroli presso l’Accademia di S. Cecilia di Roma, diplomandosi con lode e diventando la più giovane diplomata dell’istituzione (2009). Dopo gli studi con Lilya Zilberstein ad Amburgo, si perfeziona con Boris Petrushansky all’Accademia di Imola. Ha al suo attivo diversi progetti discografici, tra cui i due Concerti di Chopin e l’integrale dell’Album per la Gioventù di Schumann, e molti suoi concerti sono stati trasmessi da TV e radio italiane e internazionali. Nel 2014 pubblica con Matteo Rampin il libro di divulgazione musicale “Mozart era un figo, Bach ancora di più” (Salani). ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Luca Giovannini, born in 2000, he took his Master Degree in Italy, Rovigo, under the tutelage of Luca Simoncini. He enriched his musical studies attending the Romanini Academy with the cellist and composer G. Sollima and being part of the Classe d'excellence of G. Capuçon at the Louis Vuitton fondation in Paris. Luca partecipated to many competition, as the "Alice und Eleanore Schönefeld" in Harbin China winning the third prize un 2016, the Janigro young competition, second prize and the first prize at the J. Brahms competition in 2018. I had the possibility to play for some of the greatest musical personalities like G. Kremer, A. Shiff, L. Harrel, G. Hoffman, N. Gutman, K. Gerstein, A. Tamestit and so, catching many different prospectives and musical ideas receiving always positive impressions on his sensibile and mature playing. He played in many countries (as Spain,Italy France, Switzerland, Finland) and many halls, as Suntory Hall in Tokyo, Carnegie Hall of NY, the Musikverein of Vienna and at the Berliner Philharmonie. He is currently studying with Frans Helmerson at the Kronberg Accademy, sponsored by Angela Winkler- stipendium .He plays a rare Ansaldo Poggi cello, kindly given by the italian cellist M. Brunello Winner of the “Janina Nawrocka Award” for her “remarkable musicality and beauty of sound” in the International F. Chopin Piano Competition in Warsaw (2010), Leonora Armellini (1992) performed as soloist, and with orchestras in important concert halls and festivals worldwide (Carnegie Hall - New York, Mariinsky Theater - Saint Petersburg, Salle Cortot - Paris, National Philharmonic - Warsaw, Teatro La Fenice – Venice, and in China, Japan, South Korea, …). She collaborated with many artists in various chamber music groups. Leonora graduated summa cum laude from the Padova Conservatory at the age of 12 with Laura Palmieri and won the first prize at the “Premio Venezia” (2005). She graduated summa cum laude at the age of 17 at the National Academy of S. Cecilia in Rome under the guidance of Sergio Perticaroli and then studied with Lilya Zilberstein (Musikhochschule Hamburg) and Boris Petrushansky (Accademia Pianistica di Imola). She recorded numerous CDs, including the two Chopin Piano Concertos and the complete Album for the Youth by Schumann, and a lot of her concerts and interviews were broadcast by Italian and international TVs and radios. Along with Matteo Rampin, she published a book entitled “Mozart era un figo, Bach ancora di più”, available in Italian and Spanish.
WITHIN & WITHOUT - Homage to Rakhmaninov
VELUT LUNA CVLD330 UPC: 8019349894562 01 - Farewell my Dreams Op.9, 6:42 02 - Siberian Blizzard Op.10, 11:31 03 - Waltz of the Fairies Op.11, 7:54 04 - Dusk Spirits Op.12, 11:53 05 - Gloomy Sparks Op.16, 11:47 06 - The Devil in Love Op.14, 15:33 total time: 65:22 All compositions by Edoardo Brotto 88kHz / 24bit digital recording made at Magister Area Recording, Preganziol, Italy, on September 15, 16, 2020. Analog mix & mastering made at Velut Luna Studio, Padova, Italy, on October 17, 2020 Edoardo Brotto plays on STEINWAY & SONS D274 CONCERT GRANDPIANO, serial number: 592126 granted, tuned and prepared by Silvano Zanta Marco Lincetto choose RIBERA R12 tube microphones, Millennia Media HV 3C mic preaplifier, and Rupert Neve Design 5059 summing mix Production: VELUT LUNA Executive producer: Marco Lincetto Musical producer: Edoardo Brotto Recording, mix & mastering engineer: Marco Lincetto Cover photo: Edoardo Brotto Inside photo: Claudio Dalla Costa Design: Francesca Brotto Questo album è il mio omaggio ad un compositore e pianista che amo profondamente, Sergej Rakhmaninov. La bellezza nel senso più ampio del termine, della natura, di un viso, del profumo del vento invernale, è stata fonte di ispirazione di tutti i brani qui presentati. L’assidua ricerca della stessa, dell’armonia ideale al momento ideale, della forma e della logica della struttura di ogni brano, dei contrasti, delle melodie e delle vivaci note danzanti, mi ha portato ad un attento e lungo lavoro sui più minuziosi dettagli, spesso stravolgendo interamente ciò che era, a favore dell’incertezza del nuovo. Ogni tessera di un puzzle è stata costruita minuziosamente e adattata all’immagine nella sua interezza. Nessuno di questi lavori è scritto su carta ma, al mio solito, è stato composto e “scritto” nella mia mente. Questo processo mi permette, letteralmente, di osservare i piccoli pezzi ed i grandi pezzi da una visuale preferenziale, ove posso giocare con le varie tessere, ricombinarle a mio piacimento creando un vastissimo numero di possibili soluzioni. È poi questa stessa visuale, simile a quella che si prova dall’alto di una vetta, o di un grattacielo, che mi permette di scegliere l’insieme di elementi che secondo me raggiungono la forma più bella. Edoardo Brotto This album is my homage to a composer and pianist whom I deeply admire, Sergei Rakhmaninov. All works presented here have been inspired by the notion of beauty in the broadest sense, of nature, of a face, of the scent of winter wind. An assiduous quest for musical beauty, of the ideal harmony for a particular moment, of form and structural logic, of contrasts, of melody and lively figuration have led me on a path of meticulous detail upon which I have frequently altered course, leaning towards the uncertainty of the new. Each piece is realised in such a manner as to depict the titular image in its poetic entirety. As is usual to my artistic process, none of these works have been notated; rather, they have been fully worked out in my mind. This process allows me to visualise both small and large ideas that constitute a work as tiles to be played with, moved and recombined according to spontaneous preference, and thus resulting in a vast number of potential manifestations. From such a vantage point, similar to a mountain peak or atop a skyscraper, I am able to arrange elements to conform to the most beautiful overarching shape. Edoardo Brotto
BACH - ALTERNATIVE HARPSICHORD CONCERTOS
BACH ALTERNATIVE HARPSICHORD CONCERTOS VELUT LUNA CVLD322 UPC: 8019349898980 Concert For Harpsichord and Orchestra in D Minor BWV 1052a Roberto Loreggian, harpsichord 1 - Allegro, 7:43 2 - Adagio, 7:59 3 - Allegro, 8:32 Concert For Harpsichord and Orchestra in G Minor BWV 1056a Roberto Loreggian, harpsichord 4 - Allegro, 3:42 5 – Adagio, 2:38 6 - Presto, 4:27 Concert For Flute, Violin, Harpsichord and Orchestra in D Major BWV 1050a Francesco Padovani, flute, Federico Guglielmo, violin, Roberto Loreggian, harpsichord 7 – Allegro, 8:28 8 – Adagio, 6:14 9 - Allegro, 5:26 tot. time: 55:16 Roberto Loreggian, harpsichord L’Arte dell’Arco Federico Guglielmo, Gianpiero Zanocco, violins Mario Paladin, viola Francesco Galligioni, cello Alessandro Pivelli, double bass 24bit/88.2kHz original recording made at Abbazia di Santa Maria delle Carceri, Main Hall, Carceri (Italy), on November 11, 12, 2019 The recording was made by Marco Lincetto, using the very special and custom VLR Sound Recording System, including pure analog devices such as Rupert Neve Design Mic Preamplifiers 5024 and Analog Summing Mixer SATELLITE 5059, Ribera R12 Vacuum Tube Microphones and the ADC Prism Sound AD2 Dream Production: VELUT LUNA Executive Producer: Marco Lincetto Balance, recording, mix and mastering engineer: Marco Lincetto Musical producer: Mattia Zanatta Editing engineer: Michele Sartor Critical text: Myriam Guglielmo Photo: Marco Lincetto Cover design concept and layout: L'Image
Prokofiev - Piano Sonatas
VELUT LUNA CPRD001 - UPC: 8019349989787 CD 1 tot. time: 56:30 Sonata No. 1 In Fa Minore, Op. 1 - 8:33 01 - Allegro, Meno Mosso, Allegro Rakhat-Bi Abdyssagin, piano Sonata No. 2 In Re Minore, Op. 14 - 19:29 02 - Allegro Ma Non Troppo / 03 - Scherzo, Allegro Marcato 04 - Andante / 05 - Vivace, Moderato, Vivace Elisa D'Auria, piano Sonata No. 3 In La Minore, Op. 28 - 8:54 06 - Allegro Tempestoso, Moderato, Allegro Tempestoso, Moderato Dolce, Più Animato, Allegro I, Poco Più Mosso Carmen Anastasio, piano Sonata No. 4 In Do Minore, Op. 29 - 19:30 07 - Allegro Molto Sostenuto / 08 - Andante Assai / 09 - Allegro Con Brio Ma Non Leggiere Sara De Ascaniis, piano CD2 tot. time: 64:30 Sonata No. 5 In Do Maggiore, Op. 38 - 16:25 01 - Allegro Tranquillo / 02 - Andantino / 03 - Un Poco Allegretto Cristian Monti, piano Sonata No. 6 In La Maggiore, Op. 82 - 28:10 04 - Allegro Moderato / 05 - Allegretto / 06 - Tempo Di Valzer Lentissimo / 07 - Vivace Claudio Bonfiglio, piano Sonata No. 7 In Si Bemolle Maggiore, Op. 83 - 19:50 08 - Allegro Inquieto, Andantino / 09 - Andante Caloroso / 10 - Precipitato Fabiano Casanova, piano CD3 tot.time: 53:35 Sonata No. 8 In Si Bemolle Maggiore, Op. 84 - 29:12 01 - Andante Dolce, Allegro Moderato, Andante Dolce Come Prima, Allegro 02 - Andante Sognando / 03 - Vivace, Allegro Ben Marcato, Andantino, Vivace Come Prima Simone Rugani, piano Sonata No. 9 In Do Maggiore, Op. 103 - 24:20 04 - Allegretto / 05 - Allegro Strepitoso, Andantino, Allegro tempo I 06 - Andante Tranquillo / 07 - Allegro Con Brio Ma Non Troppo Presto Martin Malmgren, piano 88.2kHz / 24bit original recording made live-in-studio at Auditorium Pollini, Padova, on January 11, 12, 2019 Production: Velut Luna Executive producer: Marco Lincetto Musical producer: Marco Lincetto Recording, Mix and Mastering engineer: Marco Lincetto Editing engineer: Mattia Zanatta Cover Photo: Marco Lincetto Design and layout: L'Image Questo progetto è stato realizzato sotto l'egida del Conservatorio Cesare Pollini di Padova, e del suo direttore, Maestro Leopoldo Armellini, che ha riunito nove straordinari interpreti selezionati per la master class del Maestro Kostantin Bogino. A coronamento del lavoro svolto all'interno della masterclass si sono tenuti per una serie di concerti e questa registrazione, realizzata a margine dei concerti stessi con la modalità del "live-in-studio" senza pubblico, garantendo così anche la massima qualità sonora, senza perdere l'emozione e l'impatto di una presa diretta. Una delle grandi pagine del repertorio pianistico mondiale, l'integrale delle Sonate di Serg Prokofiev, trova così, in questo triplo CD, una delle sue migliori e più brillanti edizioni, anche grazie alla spettacolare qualità del suono garantita dallo splendido pianoforte Steinway & Sons D274 Concert Grand residente all'interno dell'Auditorium Pollini di Padova e, appunto, dalla registrazione realizzata da Marco Lincetto con la sua esclusiva tecnica di ripresa specialmente messa a punto per il pianoforte solo, che prevede l'utilizzo anche dei raffinati microfoni valvolari Ribera R12. Questa produzione discografica si avvale anche del contributo del PROGETTO LPM.
SE FOSSI UNA RONDINELLA
VELUT LUNA CVLD321 UPC: 8019349889896 01 - La Dosolina - Eddy Serafini, 2:44 02 - Gran Dio del Cielo - Armando Franceschini, 3:09 03 - ‘Ndormenzete popin - Erika Eccli, 2:42 04 - E col cifolo del vapore - Nikos Betti, 3:22 05 - La sposa morta - Marco Uvietta, 2:20 06 - Il Maritino - Armando Franceschini, 2:04 07 - La Madonnina - Camillo Moser e Italo Varner, 2:10 08 - La casa del mio bèn - Armando Franceschini, 1:38 09 - Ninna Nanna - Eddy Serafini, 1:59 10 - L’è tre ore che son chi sotto - Erika Eccli, 1:23 88.2kHz / 24bit original digital recording made at Areamagister Studios, Preganziol (Italy) on December, 28, 29, 2019 Production: Velut Luna Executive Producer: Marco Lincetto Musical Producer: Marco Lincetto & Barbara Bertoldi Recording, Mix & Mastering Enegineer: Marco Lincetto Photo: Marco Lincetto Design & Layout: L'Image Costantino Nigra pubblica nel 1888 i “Canti popolari del Piemonte”, utilizzando per la prima volta un approccio etnologico, comparatistico e dialettologico alla poesia popolare italiana. E’ una ricerca lunga, appassionata, nell’ambito dei “canti veramente popolari, cioè senza che se ne conosca l’autore, quei canti che si odono nei campi, nelle stalle, parto di poeti contadini”, come scrive in una lettera ad uno studioso sardo il suocero di Nigra, Giovenale Vegezzi Ruscalla. Nasce con Nigra la nuova metodologia di ricerca, che prima era area di studio e lavoro di letterati e filologi, prevalentemente toscani. Da questi studi discende che il canto popolare, se è di autore anonimo per quanto riguarda la scrittura, è però ben identificabile come area di diffusione. Ed è anche ben visibile la traccia storica che il testo compie attraverso le modificazioni cui esso è soggetto nel corso degli anni, se non dei secoli. I temi trattati investono la vita tutta dell’uomo e della donna, narrando del lavoro, dello svago, dell’amore, dei lutti e delle guerre. Sono testi, come quelli riportati nel presente CD, fortemente dialettali, propri dell’area dell’Italia settentrionale, con diffusione anche in Francia, Provenza, Catalogna e Portogallo. Poi, come è tipico della narrazione popolare, questa viene variata ed adattata alle situazioni e ai tempi diversi, senza variare l’impianto narrativo, di modo che si può sempre, o quasi, risalire al testo originale. I canti di questo CD, scelti dalla musicista interprete e ri-armonizzati per violoncello e voce da compositori amici e colleghi, riportano la narrazione alla sua rappresentazione più veritiera, quando l’interprete non era un coro, ma una o al massimo due voci, accompagnate da uno strumento, chitarra o violino che fosse, suonati molto spesso ad orecchio. L’accompagnamento del violoncello dà una veste raffinata e inedita nel vasto campo delle esecuzioni di canti popolari. Le ri-armonizzazioni proposte dai vari compositori rendono la narrazione variata e diversa, a seconda delle differenti sensibilità, pur nel rispetto della armonizzazione primitiva.
John Williams, among the greatest soundtrack composers, is for sure also one of the most refined contemporary orchestrators. Here now the challenge of shifting the pages of well-known movies such as Jaws, Close Encounters of the third kind, Memoirs of a Geisha, Schindler's List till actual cult movies of the cinema: Star Wars and The Empire Strikes Back from the orchestra to an instrument like the organ. And I underline he is not using an ordinary organ, but the grand organ of the Auditorium "Cesare Pollini", in the premises of Padua Music Conservatory. A really unique repertory, that allows to make the most of all the registers of this instrument, from pianissimo to the symphonic "tutti", considering that we chose to give room to John Williams’ various musical languages, from the most celebrative and epic to the more intimist and meditative, in order to please the taste of those who know the more blockbuster Williams, but also who know or wish to deepen the knowledge of a less known but nevertheless brilliant Williams.
PIAZZOLLA - SOLO PIANO
LOREDANA PILUSO is a Sicilian pianist who has lived and worked in Veneto for many years. She began studying piano at a very young age, graduating at the age of 20 with the highest grade. She completed advanced training with international masters, undertaking a brilliant concert activity that led her to perform in Italy and abroad. She currently performs both as a soloist and in chamber music ensembles, and works together with actors and choreographers, curating the music of original international productions. This recording project is the result of her collaboration with the piano manufacturer Luigi Borgato who, on this occasion, gave her the chance to play his latest creation, BORGATO GRAND PRIX 333. GRAND PRIX 333, 10,93ft long, is the greatest and the longest concert grandpiano in the world: about 1,64ft longer than the traditional others concert grand pianos. It is completely handmade, using precious woods such as rosewood for the inside covering, mable for the bridges, beech as headrest for the mechanic, hornbean for the levers and the ebony for the black keys and, last but not least, the "magic" spruce - personally selected by Luigi Borgato from the famous Spruce Wood in Passau, Germany - which is especially in charge for the extraordinary speed of the sound, 9.842 ft/second instead of the usually 4.921 ft/second of all the others spruce wood. This grand piano is made using more than 15.000 pieces and weigh about 1.500 lb. His building takes more than 135 working days. The GRAND PRIX 333 is actually considered the new reference all over the world, opening new horizon to the expressive chance of the sound of the piano. Velut Luna is the first company ever to publish a recording fo Borgato Grand Prix 333
Roberto Loreggian. Having achieved, with the highest grades, a diploma in organ and harpsichord, he perfected his talents at the Conservatory of The Hague (NL) under the direction of Ton Koopman. His activities led him to perform in the most important halls: Parco della Musica - Rome, Sala Verdi - Milan, Hercules Saal - Munich (Germany), Teatro Colon - Buenos Aires, Kioi Hall - Tokyo... at highly important festivals: MITO, Sagra Malatestiana (Malatestiana Festival), Pergolesi Spontini Festival, Accademia di Santa Cecilia, musical evenings... performing both as a soloist accompanist and soloist with numerous orchestras, Orchestra dell'Accademia di Santa Cecilia, Chamber Orchestra of Mantova, the Orchestra of Padua and the Veneto, I Virtuosi Italiani, L'Arte Dell'Arco, I Barocchisti... He has recorded numerous CDs for record labels such as Chandos, Tactus, Arts... which have been internationally acclaimed. He has recorded the complete collection of keyboard music by G. Frescobaldi for the label 'Brilliant' winning the 'National Award for Classic Music Track 2009', for the same label he recorded the complete keyboard music of A. Gabrieli, the complete Harpsichord concerts of B. Galuppi and the harpsichord music of G. F. Haendel. His recordings devoted to harpsichord music by B. Pasquini (Chandos Chaconne) and by G. B. Ferrini (Tactus) received the award 'Preis der Deutschen Schallplattenkritik'. He teaches at the Conservatory 'C. Pollini' in Padova, Italy.
GUSTAV MAHLER - Symphony N. 1 in D Major, Titan
CONSIDERAZIONI INTRODUTTIVE di Leopoldo Armellini, direttore del Conservatorio C.Pollini La scelta di eseguire la Sinfonia n. 1 “Titano” di G. Mahler è stata difficile, ma non troppo. Di certo ha prevalso la volontà di cimentarsi con un brano del grande repertorio sinfonico molto conosciuto, musicalmente complesso e tecnicamente ostico. Il rischio di mostrarsi presuntuosi quanto inadeguati era pericolosamente incombente. Ma tant’è, è prevalsa la temerarietà ed è stato giusto che sia stato così anche dal punto di vista meramente didattico. Eseguire il Titano ha significato alzare di molto l’asticella per gli studenti chiamati a comporre un’orchestra sinfonica di 100 elementi. Tuttavia, se l’esecuzione fosse stata anche solo sufficiente, avrebbe rappresentato una pietra miliare per i giovani orchestrali stabilendo idealmente un prima e un dopo il “Titano”. Dunque, partendo dalla fine, non potrò mai dimenticare gli occhi degli studenti dopo il concerto: 50 minuti tiratissimi, dall’inizio alla fine senza mollare mai con la concentrazione, senza indulgere neanche per un secondo a considerazioni auto laudatorie dopo aver eseguito bene un passo difficile. Nulla di tutto questo e i ragazzi se ne sono accorti perché dalle loro espressioni si poteva vedere che musicalmente, e forse anche umanamente, avevano compiuto un salto. Era come se a quel punto nulla potesse essere impossibile per loro considerando il punto di partenza delle prime prove, quelle per sezioni orchestrali. Credo che buona parte degli orchestrali credesse che in realtà il Titano non si sarebbe eseguito, che dopo le prime prove il Docente di Esercitazioni Orchestrali, Giuliano Medeossi, avrebbe detto:” bene, ragazzi, torniamo al classicismo viennese che è meglio!”. E invece, giorno dopo giorno, battuta dopo battuta è arrivato il punto di non ritorno ovvero quando diventa consapevolezza comune che “si può fare!”. Non si può dire sia stato facile, è stato molto complicato anche perché essendo gli esecutori degli studenti (spesso anche di liceo o Università) era impossibile pretendere la presenza simultanea di tutti, in tutti i giorni di prove. In questo, il Docente è stato un vero prestigiatore, anzi, un’alchimista: con quello di cui disponeva di giorno in giorno ha costruito una cattedrale sonora di incredibile bellezza. L’esecuzione è stata fonte di fortissime emozioni. Dalla platea, in certi momenti, si percepiva nettamente il pubblico respirare con l’orchestra e il livello di empatia, grazie anche allo splendore della musica, era tale che non pochi spettatori si ritrovarono in lacrime al termine dell’esecuzione. Il CD del Titano eseguito dall’Orchestra Sinfonica del Conservatorio di Padova non è per gli ascoltatori che pretendono la perfezione euclidea. A costoro consiglio l’acquisto di una versione registrata in studio, con centinaia di tagli e insert. Questa è un’esecuzione live e si sente chiaramente, compreso il trascinamento di una sedia di un esecutore che curiosamente sembra l’attacco fuori tempo di un corno. Tuttavia, essendo chi vi racconta questa storia un vecchio orchestrale reduce da tante battaglie, vi posso assicurare che la dinamica (escursione piano-forte), i colori, la timbrica e l’energia globale espressa dall’orchestra sono assolutamente coinvolgenti ed emozionanti. Le imprecisioni (per la verità, poche) sono contenute e assorbite da un contesto generale di fortissimo coinvolgimento ed emozione. Peraltro, chiunque tra voi volesse verificare, è possibile ascoltare su youtube esecuzioni di orchestra blasonate non proprio perfettissime. Dunque, questo disco ha un suo perché, ha un suo scopo. Innanzitutto per far crescere un centinaio di ragazzi straordinari, e in seconda istanza per far vivere ad una platea più vasta l’emozione irripetibile di una serata, quella del 25 marzo 2018, che rimarrà nei cuori e nella memoria di tutti gli spettatori dell’Auditorium “C. Pollini” di Padova.
ORIGINAL COMPOSITIONS FOR PIANO
I believe that these my Original Compositions For Piano could be just a diary of a paradoxical attempt to overcome the perception of the crisis thanks to Music. It's impossible for me to think of these compositions of mine as a definitive work, because I believe that the art of the composer should be an action to share feelings and to search all time to fix a too much complex reality to be correctly celebrated. Therefore I hope that the mistery of the Creation of the Music could talk better than any words, and that Music could take her life beyond any words that you could say. For me Music is the evidence of everything you cannot explain, but just display, and also the proof of a reality that is dazed and unstable while you are composing it. It's important for me to say that I turn down any kind of identification between "The Composer" and "The Composition", and I hope that my Music could acquire new life in future, thanks to new interpretations of any other musician which would play it and would "be unfaithful to" it. "Verily, with other eyes, my brethren, shall I then seek my lost ones; with another love shall I then love you.
PETITE MESSE SOLENNELLE - Original Version for 12 Soloists (Passy,1863)
English text "Twelve singers of three genders, males, females and castrati will be enough for the performance. (…) A total of twelve cherubs". This was what seventy one years old Gioachino Rossini wrote into the score of Petite Messe Solennelle, composed in Paris, on 1863, 30 years after the mysterious retiring from the Opera business.The musicians staff on stage is completed by two pianos and harmonium, as Rossini has tought of a performance for a small audience, inside the private chapel of the Pillet-Will Family, to whom the mess was dedicated. Just the chamber-music dimension of this masterpiece is what we tried to recover during the performance recorded live at Teatro Olimpico in Vicenza, using a group of young singers from Conservatorio Benedetto Marcello of Venezia, true talents, some of them just professional acting in many important Opera House. This performance was probably the first in Italy, absolutely the first in which all singers are soloists. The Latin text of the Catholic Mass is sung as we go on from the entire ensemble (in the initial Kyrie and during the big fugues of Cum Sancto Spiritu and of Et vitam), sometimes using antiphonal interventions of four soloists (Gloria e Sanctus), or using a fascinating single soloist (tenor in Domine Deus, bass on Quoniam or soprano on Crucifixus and Salutaris Hostia), or at last harmonizing two or three voices (Qui tollis, Gratias agimus tibi). It's present a pure instrumental interlude for solo piano (Prelude religieux for the Piano I), but the most brilliant opportunity of the entire Mass is reserved to the Rossini's beloved alto voice, who sings the final, moving, Agnus Dei, with chorus of the other soloists. In 1867, a few years after the composition, Rossini orchestrated the accompaniment of his little mass (probably afraid that someone else could do it…) in a version for solo, chorus and orchestra: so, the famous "twelve cherubs" of the original version become dozens and dozens... In this way the music acquires a more monumental importance, but looses the freshness, the grace, the transparency and the whole undestatement, which shines through the autograph notes on the original score: "Twelve were the Apostles in the Leonardo's famous painting, La Cena and - who could imagine! - there is someone through your apostles who sings notes out of tune!, Oh Lord, be sure: I promise that there will be no Giuda at my dining table and that my Cherubs will sing correctly and with love, praise and glory to You and this little composition, which is, unfortunately, the last venial sin of my life".
LANDSCAPES - Classic Piano Solo
Composer, pianist and photographer (listed in strictly alphabetical order): three forms of artistic expression uniquely concentrated at the pinnacle of excellence in a single remarkable person. These three arts are inexorably interconnected in Edoardo Brotto: the musical compositions are directly linked to the images of nature that he first perceives and then captures with his photographic lens. They are a source of inspiration and his music describes their shapes and colors. And finally, the pianist translates these images into sound. Edoardo creates his compositions by improvising directly at the keyboard in real time, sometimes applying his profound musical knowledge to work in the style of great historical composers (which in itself, is by no means a small accomplishment) but much more often with an original and unique creative vein. The compositions that arise from these improvisations are works of both unparalleled technical virtuosity and intense musical depth; equivalent in style, beauty and complexity to the music of the historical composers who have inspired these creations. Speaking of his music, with sincerity I can say that it is simply wonderful. Each piece is characterized by transcendental musical and technical demands. The formidable complexity is not an end in itself, nor shallow virtuosity for the sake of showmanship, but rather a necessary vehicle to convey the pure musical structure of the content and the real images, "photographed and developed" by Edoardo?s creativity. Finally, it is tonal music, which is accessible to everyone, but it is not common: it is music with deep roots in the great classics; it metabolizes them and combines their essence into a new light of continuity, shining into the future. Neither mannerist, nor disrespectful, nor pompous or trivial.
The flute concertos presented in this recording constitute a central part of the flute repertory, having been composed between the second half of the 18th century and the first half of the 19th, thus sharing a classical form. Written in galant style, the concertos all share the singular characteristic of being in the key of G major, with the sole exception of Mercadante?s concerto, which is, however, composed in its relative minor key of E minor. Subdivided into three movements, they follow the traditional scheme of a denser first movement allegro, a more lyrical and melodic second movement, and a lively and technically brilliant third movement. The theme, having been introduced by the orchestra, is entrusted after a few bars to the flute protagonist. Continuing in the same tonality, the solo instrument begins to ?play?, in a manner that emphasizes the player?s ability and generosity.
Giorgio Gaslini (1929-2014) Moto Velocetto Perpetuo ?With a vaguely Paganini-like assonance, it represents a continuous flow of agile lines traversing the score, with a counterpoint of nervous twitches and, here and there, of resonant chorale? Giorgio Gaslini (2006) Domenico Giannetta (1974) MODUS (2008) ?This piece, which takes a tripartite form (Con moto ? Poco Andante ? Tempo I), is characterized by a ruefully elegiac tone with themes based on fragments of an octatonic scale, a densely woven counterpoint and the temporal relationships of note values, recalling the modus (longa and brevis divisions) in 14th-century musical theory. Modus is dedicated to the Trio Caroli.? Domenico Giannetta (2017) Giuseppe Ratti (1965) The Dark Day (2006) The Dark Day was written in 2006 and was commissioned by the Caroli brothers, to whom it is dedicated. The piece is a revisitation of the ?dark day? of September 2001 when the Twin Towers in New York were attacked, and considers those tragic events from the perspective of five years later. By means of a distancing effect similar to that of a black-and-white postcard, the dramatic intensity of those moments is replaced by the atmosphere of melancholy and desolation hanging over the disaster site today. The flute and oboe, symbolizing the two towers, intertwine and weave their notes together into a single voice that slowly ascends towards the sky. As the two instruments pursue each other, the melancholy theme is transformed into a harsh and violent canonic passage through which can be heard desperate cries, emblematic of that terrible day. In a subtly nostalgic finale, the main theme returns in the form of a ?stately? fortissimo that leads us to an acknowledgement of the indestructibility of two fundamental concepts for mankind: ?freedom and future?. Giuseppe Ratti (2017) Paolo Pessina (1969) 12 Miniatures Op.12 (1996) The '12 Miniature Op.12 ', composed in 1996, follows a very coherent tonal and structural scheme. Each of the 12 pieces is gravitated to one of the 12 tones of the chromatic scale according to this specific tonal design: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. g min c# min C f# min F b min / B Bb e min Eb a min Ab d min From the point of view of the technical (and poetic) language, the use of a well-defined tonal path and the balanced distribution of dance rhythms (with contrasting character, direction and dynamics) create a kaleidoscopic unicum. This is not just a simple set of twelve pieces but rather a split composition (subdivided) into 12 moments describing different shades, sides and aspects. Each of the 12 Miniatures is a tile that completes the final frame. The miniature No. 1 in g minor has the melancholic character of a mechanical waltz in which the piano introduces the atmosphere with simplicity leaving the flute and the oboe the task of enunciating the theme (a true initial motto of a few notes ) which will then recur in the subsequent miniatures. Miniature No.2 in c sharp minor, in 5/4 time, is based on an obstinatum (repeated Bass) on which overlapping canonical imitation games. The miniature No. 3 in C major is a brilliant Scherzino based on the timbrical and thematic contrast between the piano and the two winds. The miniature No.4 in f sharp minor is written in the form of an invention with a balanced distribution of the thematic material to the three instruments. The explosion of energy that characterizes miniature No. 5 in F major is given by an accented pulsation in the low notes of the piano, with repetitive chords, almost suggesting the impetus of a roaring lion. The 9/8 measure emphasizes this enthusiastic race. The mystery characterizes the miniature Nr.6. The tone of b here oscillates between the minor and the major with a swinging and syncopated rhythm of the melody on a constant pulsation of the rhythm. In miniature No.7 in B flat major is expressed the desire for an oasis of peace. Here the performers are asked for special sweetness. With the miniature No.8 in e minor [Andalusia] we return to the rhythms of dance with Mediterranean flavor. In miniature No.9 in E flat major dominates the quiet character and moderation, almost compensating for the excesses of emotion of the previous piece. With the miniature No. 10 in a minor, it is back to the popular dance flavor, this time of almost gipsy character, with a very brilliant writing for the flute and the oboe. The miniature No. 11 in A flat major is a small dream, an extremely slow and transfigured vision of Valse's idea, with a bit of sentimental irony. The last piece, miniature Nr.12, although in the key of d minor, has a melodic-chord structure that uses all 12 sounds in a series (strictly dodecaphonic) given by the succession of the hinge notes of each of the 12 miniatures (g, c#, C, f#, F, b, Bb, e, Eb, a, Ab, d). Of course, without giving up the dancing spirit, seriously amused, expressed by the initial waltz and summing up the themes of the previous miniatures in a sort of final final round. Paolo Pessina (2017) Daniele Zanettovich (1950) Six Andalusian Songs (2007) (2007)The Six Andalusian Songs was originally written as a short suite for guitar and was extremely simple both in technical and structural terms. Out of this was developed a (technically very demanding) concert version for marimba, followed by a version for flute, viola and harp, and finally, the present version for flute, oboe and piano. The subsequent ?versions? of Six Songs are in fact reworkings of the original piece, in which the basic characteristics of structural simplicity and immediacy are preserved intact. Each song keeps the character of the dance on which it is based, even in the short interpolations ? the initial Malague?a and the final Tanguillo ???that function as small cadenze ad libitum. Daniele Zanettovich (2017)
W.A. MOZART - WIND CONCERTS
Three of the most famous and beloved W.A.Mozart's Wind Concerts, played by three appreciated Italian Soloists with two of the most important Italian chamber orchestras. A true audiophile recording made using just two stereo microphones, direct to stereo digital HD master live-on-stage.
BEETHOVEN IN TRIO
Ludwig Van Beethoven Concerto Triplo in Do maggiore, Op.56 per pianoforte, violino, violoncello e orchestra 1. Allegro, 17:49 2. Largo, 4:47 3. Rondò alla polacca — Allegro — Tempo I, 13:28 Live recording made at Sala Piccola Fenice, Trieste (Italy), on January 27, 2019 Trio in Re maggiore, Op.70, N.1 "Gli Spiriti" 4. Allegro Vivace e con brio, 7:08 5. Largo assai ed espressivo, 11:22 6. Presto, 8:41 Studio recording made at Magister Area Studios, Preganziol (Italy), on August, 5, 2019 Tot.Time: 63:20 24bit/88.2kHz digital recording, analog mix and mastering, made by Marco Lincetto himself, using the ultimate in digital and analog technology Trio Rachmaninov Stefano Furini, violin Cecilia Barucca Sebastiani, cello Alberto Boischio, piano Amadeus Adriatic Orchestra, Stefano Sacher, conductor Production: VELUT LUNA Executive producer: Marco Lincetto Musical producer: Matteo Boischio Recording, mix & mastering: Marco Lincetto Recording assistant in Trieste: Fulvio Strain Photo: Marco Lincetto Design: L'Image Il Trio Rachmaninov si costituisce a Trieste nel 1995, compie la sua formazione a Duino presso la Scuola Internazionale di Musica da Camera del Trio di Trieste e nell’anno successivo ottiene il primo premio assoluto al concorso Internazionale di Musica da Camera di Pinerolo a cui fa seguito una nutrita attività concertistica in Italia e all’estero. Attualmente il Trio Rachmaninov è formato da; Stefano Furini, spalla stabile del Teatro Verdi di Trieste dal 1990 e primo violino di spalla ospite in numerosi importanti teatri tra cui il Teatro Alla Scala, anch’egli iniziò col padre e, dopo il diploma con lode sotto la guida del M° Piero Toso, si afferma in diversi concorsi nazionali ed internazionali continuando la formazione presso l’Accademia di Duino del Trio di Trieste assieme ad Alberto Boischio, pianista del Trio. Cecilia Barucca Sebastiani, giovane violoncellista Triestina inizia gli studi col padre (allievo di Libero Lana…), dopo il brillante diploma col M° Serafin al conservatorio di Trieste, ottiene prestigiosi piazzamenti in numerose competizioni nazionali ed internazionali. Completa la sua formazione presso l’Accademia Stauffer di Cremona con Rocco Filippini, alla Chamber Music Accademy di Duino col Trio di Parma e presso la Fondazione Romanini con Giovanni Sollima. Alberto Boischio, pianista padovano, dopo il diploma con lode a Padova inizia un lungo percorso cameristico dapprima in duo con Furini che portò per l’appunto alla formazione del Trio Rachmaninov all’Accademia del Trio di Trieste, inieme anche al violoncellista Jacopo Francini. Attualmente è docente di Accompagnamento Pianistico e Pratica Vocale presso il conservatorio Buzzolla di Adria e Maestro di sala e palcoscenico presso il Teatro la Fenice di Venezia. The Trio Rachmaninov was founded in Trieste on 1995 and they began the musical preparation under the guide of The Trio di Trieste at the Chamber Musica International Academy in Duino. They won the first prize at The Chamber Music International Competion of Pinerolo on 1996 and then they started a rich and log season of concerts all over the world for many years. Actually The Rachmaninov Trio is composed by two of the original founders, Stefano Furini, violin and Alberto Boischio, piano and the new member Cecilia Barucca Sebastiani, cello. Stefano Furini is the permanent first violin of Teatro Verdi in Trieste and the guest first violin of many important Theather all over the world, first of all of Teatro Alla Scala in Milan. He started his career also as soloist after the excellence degree cum laude at the Conservatorio di Musica in Padova under the guide of Maestro Piero Toso and then he won several national and international musical competitions. He completed his musical studies at the Chamber Music International Academy in Duino, with the pianist Alberto Boischio. Cecilia Barucca Sebastiani young cellist from Trieste, started her musical studies under the guide of her father. After the brilliant degree cum laude under the guide of Maestro Tullio Serafin at the State Conservatorio in Trieste, she reached brilliant places in several national and international competitions. She ultimated her musical studies at the Accademia Stauffer in Cremona under the guide of Maestro Rocco Filippini and at the Chamber Music Academy in Duino, under the guide of The Trio di Parma and, last but not least, at Fondazione Romanini under Giovanni Sollima. Alberto Boischio, pianist from Padova, after the degree cum laude at the State Conservatorio in Padova began an intense concert chamber music activity in several concerts, first founding a musical duo with Stefano Furini, that leaded him to founder the Trio Rachmaninov with Stefano Furini himself and with the cellist Jacopo Francini. Actually he is permanent Professor of Accompagnamento Pianistico and Pratica Vocale at the State Conservatorio Buzzolla in Adria and Maestro and stage director at the Teatro La Fenice in Venezia. AMADEUS ADRIATIC ORCHESTRA (AAO) è un’orchestra giovanile sorta nel dicembre 2015 nell’ambito dell’ Associazione Mozart Italia-sede di Trieste. Ha al suo attivo decine di concerti , principalmente in Italia, Austria e Slovenia. Il suo repertorio comprende sinfonie e concerti di Haydn, Mozart, Schubert, Beethoven, Mendelssohn, Chopin, musiche di Saint Saens, Respighi e musica contemporanea. Dal 2017 i progetti musicali di AAO sono sostenuti dalla Regione Friuli Venezia Giulia. Amadeus Adriatic Orchestra è fondata e diretta da Stefano Sacher AMADEUS ADRIATIC ORCHESTRA (AAO) is the youth orchestra of the Mozart Society Italy-Trieste, which started its activity in December 2015. AAO has performed so far music by Haydn, Mozart Schubert, Beethoven, Mendelssohn, Chopin, Saint Saens, Respighi and contemporary music with concerts in Italy, Austria and Slovenia. Since 2017 AAO musical projects are supported by Friuli Venezia Giulia Region. The founder and conductor of the Orchestra is Stefano Sacher.
Tracklist 01 - 09: 9 Vilote Pavane, per coro femminile (10'14") Music: Adriano Lincetto / Words: Giorgio Erminio Fantelli SolEnsemble, voices 10 - 14: 5 Momenti musicali, per pianoforte solo (9'40") Adriano Lincetto Alberto Boischio, grandpiano 15 - 38: 24 Melodie, per voce vocalizzante e pianoforte (29'31") Adriano Lincetto Tatiana Meira de Agujar, soprano, Alberto Boischio, piano 39: El Testamiento, per voce recitante (4'13") Poemetto in rime di Giorgio Erminio Fantelli Alvaro Gradella, voice All recordings, mix and mastering are made by Marco Lincetto, using the latest standard in digital and analog technology, based upon custom modified microphones pre-amp, ADC and DAC and the exclusive Ribera Tube Microphones R12 and R47. Production: Velut Luna Executive producer: Marco Lincetto Editing of "9 Vilote Pavane": Michele Sartor Photos: Marco Lincetto, except for SolEnsemble, granted by the group itself Layout and Grophics: L'Image Cover Painting: Danilo Lincetto VILOTE PAVANE "Vilote" are actually poems written in the ancient language from Veneto region, which had been somehow ?codified? by Angelo Beolco, named Ruzante, author, playwright and actor, born in Padua in 1496 and died in 1542. These poems are about rural themes, mainly connected to the theme of love, under the women?s point of view. Actually it is not a chance that Lincetto chose a female chorus. It is a selection of nine lyrics, derived from a larger collection of approximately a hundred. The musical writing is refined and not technically easy, considering, for example, the incredibly low range contraltos are requested. The stylistic reference to another 19th century important composer from Veneto, Gian Francesco Malipiero, is not trite and refined in its originality. 24 MELODIES Articulated on the 24 tonalities, the Melodies are born as a "plain" exercise for lyrical singers, to whom Adriano Lincetto devoted so much attention in his life and career. Actually, ever since the beginning, the autonomous value of this work was clear, so that a great bassoonist, Leopoldo Armellini, a well-known international interpreter, asked Lincetto to transcribe these Melodies for his instrument. Again, I personally realised a beautiful song from Melody No. 14, in 2015. The song - "Il Chiodo" ? was adapted for a large symphonic orchestra by Simone Tonin, on an original text by Rosella Caporale, who also performed it. 5 MOMENTI MUSICALI These "Musical Moments" are one of the only two compositions that Lincetto devoted to his instrument, the piano solo, in his whole life. In these nine minutes, the original style of the Paduan composer strongly emerges: he merges some indubitable inspiration sources, starting from Debussy to Bartok, but indeed giving them a genuine brand new "imprint", Adriano Lincetto?s. EL TESTAMIENTO This record could not but end with this short "operina" by Giorgio Erminio Fantelli. It is a giocoso short poem in perfect rhymes, simple quatrains written in an invented language, often almost onomatopoeic, based on macaronic Latin and obviously Italian. It is not strictly a literary work, but as professor Fantelli?s complimentary offer to his last students of the intermediate school. In fact, he devoted most of his life to the education of boys and girls in their most critical age, between 11 and 13, teaching Italian literature in the Intermediate School. His role, in primis that of "educator" in the broadest sense, was essential and significant for various generations of students, including the writer of these notes. Marco Lincetto
#1 - The Nearness Of You (M.Washington - H.Carmichael) 3:24 #2 - Alone Together (A.Schwartz - H.Dietz) 4:20 #3 - Wild Is The Wind (D.Tiomkin - N.Washington ) 3:55 #4 - So In Love (Cole Porter) 4:02 #5 - The Two Lonely People (B.Evans - C.Hall)) 4:25 #6 - Skylark (J.Mercer - H.Carmichael) 4:20 #7 - The Old Country (C.Lewis - N.Adderley) 2:52 #8 - Turn Out The Stars (B.Evans - G.Lees) 4:54 #9 - I Wish I Knew (M.Gordon - H.Warren) 3:23 10 - No moon at all ( D. Mann/L.?Red? Evans) 4:39 11 - Try Your Wings (M.Barr - D.McGregor) 3:13 Total Time: 43:31 Lucia Minetti, voice Pietro Ballestrero, guitar Stefano Profeta, double bass Production: VELUT LUNA Executive producer: Marco Lincetto Recording, mix and mastering engineer: Marco Lincetto Cover photo: Massimo Forchino Inside photos: Marco Lincetto Design and layout: L'Image The recording was made direct to stereo master, strictly live-in-studio, during only one session at MagisterArea Studios, Main Hall, Preganziol, Italy, on September 23rd, 2017 THIS IS A PURE AUDIOPHILE RECORDING: during the recording of the digital HD PCM 88.2kHz/24bit master and the contemporary analog master and the subsequent transfer to disc, the entire audio chain was trasformerless. The signal was not passed through any processing device (no compression, no equalization and no corrective editing) at any step during production. Presentazione di Lucia Minetti Negli anni ho cantato ed amato molti repertori, esplorando mondi sonori differenti, dal fado alla musica brasiliana, dalla canzone francese al jazz. Dai tempi del mio disco ?Elle?, fatto nel 2003 insieme al mio maestro Giorgio Gaslini, questo ? il mio primo lavoro completamente dedicato agli standards del grande songbook americano, quasi un ritorno, atteso e raggiunto con la maturit? acquisita dopo un lungo viaggio, al cuore di quello che ? sempre stato il principale punto di riferimento del mio percorso. Come se fosse parte della propria natura, il jazz pu? costituire per un musicista una maniera di rapportarsi in generale all?arte, un desiderio di libert?, una voglia di provare emozioni sempre nuove, di rischiare e di mettersi in gioco ogni volta in cui ci si esprime. Insieme a Pietro e Stefano ho trovato una profonda condivisione di questo spirito, questa indole, che abbiamo voluto chiamare ?JAZZ NATURE?, e che ha da subito costituito la chiave per leggere un vasto repertorio di canzoni, dagli anni ?30 ai ?70, trovando il nostro suono di gruppo e selezionando con grande piacere i brani per il disco. Cogliendo appieno la filosofia di questa ricerca e proiettandoci completamente nell?epoca di quel jazz, Marco Lincetto ci ha proposto una modalit? di registrazione rigorosamente live in studio, che esaltasse al massimo le caratteristiche del nostro approccio ?NATURE?, nonch? le straordinarie qualit? tecniche della ripresa audio. Abbiamo accettato con entusiasmo la difficile sfida, e vissuto insieme un?esperienza incredibile, due giornate durante le quali la musica ? stata suonata, cantata, ascoltata ed incisa con la stessa tensione e la stessa intensit? emotiva che si prova nei migliori concerti. Lucia Minetti Musical Notes by Lucia Minetti Over the years, I have sung and loved many repertoires, exploring different worlds, from Fado to Brazilian music, from French "chanson" to Jazz. From the time of my album "Elle" published in 2003 and produced with my music mentor Giorgio Gaslini, this is the first work entirely devoted to the standards of the great American songbook. This is for me a sort of return to the heart of what has always been the main reference point of my artistical path. Jazz can represent for a musician a particular way to relate to art, a desire for freedom, a wish to experience new emotions, to dare while singing and playing. I share this particular feeling with Stefano and Pietro and this is the reason why we decided to call this project "jazz Nature". A natural way to make jazz that becomes immediately the key to play and sing a vast repertoire of songs from the 1930s to the 1970s. Marco Lincetto immediately grasped the mood of this research and proposed us a live studio recording mode that enhances the features of our "natural" approach as well as the extraordinary technical qualities of audio recording. We have accepted with great enthusiasm this challenge, and lived together an incredible experience, two days during which the music was played, sung, listened and recorded with the same tension and emotional intensity one can feel only during best concerts. Lucia Minetti
Sortilèges Camille Saint-Saëns * Maurice Ravel transcriptions par Lucien Garban pour piano à quatre mains Eliana Grasso & Irene Veneziano, piano à quatre mains VELUT LUNA CVLD282 - UPC: 8019349159449 // ISRC: IRW311628201 ..02 ..03 We came across the figure of Lucien Garban for the first time studying his transcription for piano four hands of La Valse. Immediately, we found it of utmost interest, rich of brilliant pianistical solutions, many references to the orchestral version and a few original elements, always greately respecting the autograph. Our imagination has been fascinated by the story of this character, composer and transcriber, pupil of Faurè, and friend of his coetaneous but more well-known and genial colleague Ravel. Garban followed him with affection and admiration during his entire musical life: from their encounter during the première of Debussy's Pelléas et Mélisande, to Ravel's commissions of transcriptions or special arrangements of his works. In his mature age, Garban became musical director for Durand editions and gave Ravel many suggestions both about musical choices and about his personal life, expecially during the composer's last years, harshly affected by illness. We decided then to play some of his other transcriptions, mostly of Ravel's works, such as Valses Nobles et Sentimentales and Three excerpts from l’Enfant et le Sortilege, choosing among Garban's favourites, often remembered in his letters. In order to embrace also another important part of this french musician's works, we have chosen to play his transcription of Le Carneval des Animaux by Saint Saens, undoubtly one of the nicest version of the celebrated "zoological fantasy". This recording is meant to enhance the musical works of Garban, who has lived in Ravel's shadow and whose memory has not been celebrated enough.... Eliana Grasso & Irene Veneziano
Almerigo Girotto - Liriche da camera per voce e pianoforte
Almerigo Girotto Liriche da camera per voce e pianoforte Tiziana Zoccarato, soprano Edoardo Lanza, Pianoforte VELUT LUNA CVLD281 - UPC: 8019349159333 // ISRC: ITW311628101 ..02 ..03 ALMERIGO GIROTTO was born blind in São Paulo, Brazil, in 1897, from Italian parents that had emigrated there, but since the age of two he was brought up by his maternal grandmother in Vicenza. At the age of nine he was sent to the Institute for the blind "L. Configliachi" in Padua, where he remained until 1914; this is where, under the guidance of Luigi Bottazzo, he received his first musical education (Harmony and Organ). After leaving the boarding school, he obtained his Piano diploma as a pupil of the great artists Renzo Lorenzoni (Florence 1924). Since then Girotto would devote himself exclusively, and on his own, with limited resources worsened by his condition, to the tireless study of composition and to broadening his culture. In 1941, prompted by his friends’ insistence, he suddenly took on, in one session, both the exams of Fugue and Composition at the “Pollini” Conservatory in Padua, passing them splendidly with great ease. He achieved these important goals, but with no practical consequences, as they were thwarted by his retiring character and by his fatal integral pessimism (that was certainly not mitigated by the heavy wartime atmosphere), that conditioned not only the success of his works, but also the simple fact of making these known to the general public. He lived mostly in Vicenza, a town he was tied to by nostalgia and emotional bonds and where he spent the rest of his life after the war: a long wait, a dignified and aware walk down the path towards the great silence. And his voice did fall silent in April 1967, while his song had already fallen silent for many years. If Almerigo Girotto’s lifespan was of average length his creative season was extremely brief, lasting about fifteen years between 1915 and 1940: a gradual maturation, (typical of many artists, but in his case explained by his living conditions) followed by complete withdrawal (which is explained by his psychology). We cannot omit including some passages of the most significant reviews that appeared in the Milan press after the concert held by illustrious performers at the Angelicum in 1947 (the same year Girotto was also presented at the Festival of Contemporary Music in Venice). Franco Abbiati, in the “Corriere della Sera” wrote: “his works for voice, for violin, for piano, show a spiritual and constructive maturity worthy of the best modern composers. Their content is often dramatic, their language is often harsh and violent, their fabric then thinning out reaching out towards chaste, slender and sweetly lyrical expressions..." Notes relating to the Songs for voice and piano by A. Girotto What is really remarkable in Almerigo Girotto’s compositions, and above all in his songs, is the admirable combination between tradition and modernity, the respect for classicism and his very personal originality, his firm composition technique and his refreshing melodic spontaneity, that manages to give an effective rendering to the folk character of the texts in Verona dialect. Despite maintaining a solid tonal layout, Girotto manages with elegance and nonchalance dense and dissonant harmonic combinations, sometimes distinctly polytonal, always making use of varied, interesting and appropriate rhythmic formulas and timbral effects.
MASSIMO GON PLAYS CHOPIN
INTRODUCTIONNowadays the big technological evolution allows to produce virtually perfect albums, devoid of any technical error. This important turning implies that musicians too are inclined to privilege the coldness of interpretations technically perfect, but inevitably impoverished of a more unitary and ample vision of the composition, which represents the essence itself of the author’s musical message.A great aesthete and critic, Walter Benjamin, in his “L’opera d’arte nell’epoca della sua riproducibilità tecnica”, just underlines the loss of the “hic et nunc” ( trans.: here and now) that is the unpredictability of the performance, which occurs only one time, with all the unknown aspects, which however get us directly to the essence of Art’s core itself. Regarding Chopin, I have always been fascinated and influenced by the recordings of early twentieth century (Friedman, Hofmann, Moiseiwitsch and Cortot), still bonded to an almost “handmade” technology. In those performances one distinctly perceives the sense of immediacy, of urgency and of “precariousness”, all expressions of a reality connected to an instant and not arranged in order to represent reference standards .On the interpretative level , all that is expressed with a continuous surprise, with sudden movements, lightings and downfalls, and with a particular attention applied to the sound, always “speaking” and able itself to reveal the elusive secret of these masterpieces.I tried to privilege the more lyrical, intimate and endearing aspect, even at the expence of the more daring and exquisitely virtuous aspect, that is also present but it isn’t the more important element.I therefore wish that this CD could communicate to the listener the richness of musical intuitions and of composition hints, as well as the variety of moods and emotions with which these pieces are inwrought.MASSIMO GONMassimo Gon started playing the piano when he was 5 years old.He studied at the Music Academy "Giuseppe Tartini" in Trieste with Luciano Gante. After the diploma, for which he was awarded a special mention, he studied with Vincenzo Vitale in Naples for a short period and subsequently attended Nikita Magaloff's summer courses in Geneva. Following a series of highly praised preformances in national and international competition (Premio Venezia, Cata Monti di Trieste, La Spezia, Osimo and Stresa and "Viotti"), he was invited to perform in some of the most important concert venues in Italy (teatro alla Scala, Teatro Regio di Torino, La Fenice di venezia, Filarmonica Romana, Teatro Verdi di Trieste, Teatro Massimo di Palermo), in several European capitals (Moscow, St.Petersburg, Budapest, Lyubyana, Brussels), in the USA and in South America. He partecipated to several international festivals. He has recorded for the Brussels-based label Empire Master Sound and has published a CD for Velut Luna with the integral cycle of Liszt’s 12 Grand Etudes and for Rainbow Classic Records. He is a teacher at the Music Academy “Giuseppe Tartini” of Trieste and is regularly invited to give Master Classes (Cajkovskij Music Academy of Moscow and the Liszt Academy of Budapest).
TWO COUNTRIES ONE HEART
Velut Luna, an independent record label company, was created on September 6, 1995. From the outset, its main pillar and driving force has been the promotion of young talent, with the support of professionals and great maestros to help them produce a high-level of music without boundaries. Velut Luna has consistently produced a wide variety of first-rate music, ranging from the more traditional classical music, jazz, singer-songwriter and crossover. The record label has produced over 260 titles and the unique and elusive crossover genre has perhaps the most significant role in the exciting search for the new, but never separate from the beautiful, and without compromising the aesthetics that characterize its content. Marco Lincetto is the founder of Velut Luna. Since the beginning, he has worn many hats: music producer, art director and photographer. Even though passionately devoted to his Italian cultural identity, he has developed and cultivated a deep love for the United States. He identifies completely with the great values of the world’s largest and oldest democracy. He has come to love the spacious horizons of the United States and he has come to love its people. Since 1987, he has taken extended and carefully planned trips to the USA and has visited over 40 states. He does this for the love of the great country and its way of life and also to foster the passion that is inherent in his work. Marco Lincetto considers many Americans his closest friends, with whom he has had the good fortune to collaborate first on a professional level and then to cultivate long-lasting friendships. So then, it seemed natural to regard this project as the perfect way to celebrate twenty years of deep involvement in the music industry. We’re talking about a wide-ranging CD that combines the promotion of young talent with the support of successful artists in solo roles, bringing about an ideal pairing of the USA and Italy. It is an authentic project with a uniquely designed concept. This is apparent in the selection of 5 well-known American songs and 5 well-known Italian songs, interpreted respectively by a talented American singer and a celebrated Italian singer. They are accompanied by a symphony orchestra composed of extraordinary young musicians. Two instrumental pieces complete the program: one that is distinctly American – an Overture, and one that is unquestionably Italian – an Intermezzo. We are also treated to a final bonus, in which the two singers perform a duet of one of the most famous Italian songs of all time: Italian for certain, but the song is infused with the influence of American culture, which is palpable by a portion of the song’s lyrics in English.
ALBERTO BOISCHIO PLAYS BEETHOVEN
I was little more than 12 years old when my piano teacher, Elisa Cannavacciuolo, literally said to me: “ Go to Ricordi music store and buy Beethoven’s Sonata n. 13”. The shopkeeper, not knowing if number 13 was referred to the number of the sonata or the number of the opera, sold me both the scores; the opera 13 is “La patetica” and the number 13 is the “Op. 27 n.1”. First contact established ! With just three years of studying behind me these two scores caused in me at first absolute despair, but at the same time nourished even more the flame which the composer from Bonn himself alighted in me first. Indeed Beethoven represented for me the very first spark. Returning as an adult to these sonatas was like returning for a period to my origin home, savoring again the dainty dish of Sunday’s lunch, together with the delightful feeling of enclosing heat, enthusiasm, passion, rush, and the fatherly embrace of years passing by. I would like to thank Marco Lincetto who believes in me; my origin family and my present family, all present in this work, and the Teatro d’Opera, for making me aware that vocal quality is the intimate essence of music and musician.
It was February 2011 when Marco Bardoscia, bassist and composer from Salento, artistic director of festival SoundMakers festival, asked Luca and Vito to perform together in a improvised and unexpected gig. The festival main theme included the organization of last minute meetings between the musicians so far apart in style, studies, language. Luca comes from classical academic studies and early music, Vito from world music, with a degree in Indian classical music. To realize that tabla and lutes can get along is a snap. Delicate and perfect instruments, built with fine balance between mixtures of materials chosen by tradition, by teachers that have handed down ,orally for a large part, the secrets of ebony, leather, mother of pearl, ivory, pitch, gut, rosewood, fir, parchment in order to accompany the singing, the dancing, the motions of the soul and praises to the supreme. Kept separated by other musical projects, the members of the duo waited until 2013 to be able to play together again, thanks to the birth of Desuonatori, a coordination of self-productions for the socialization of unreleased music in new contexts of use, the brainchild of Daniel Valerio, guitarist and producer, creator of the linguistic revolution that has affected the traditional music of Salento since 2000. The duo moved back to be heard, performing in festivals and house concerts. In 2015, the duo changed its name to Los Impossibles (the title of a song by Santiago de Murcia, based on the ground of the Vacas, the Spanish version of the Italian Romanesca) the duo's repertoire focuses mainly on the interpretation of the Italian and Spanish six-eighteenth century repertoire for baroque guitar. On this instrument in fact, starting from the very beginning of 1600, are documented the first attempts to approach to the popular music of unwritten tradition by professional musicians (three centuries before the birth of modern ethnomusicology). Our reading of the sources, from Girolamo Melcarne Montesardo, author in 1606 of the first known collection of a tablature for five-course guitar, ahead to Santiago de Murcia, Spanish composer who transcribed for this instrument, as well as minuets, arie gravi and allemande, also the music of the Indians, like the Fandango, the Cumbee and Zarambeque, along with Folias and Tarantellas.
L'UOMO CHE CAMMINA
The Walking Man by Saverio Tasca and AlterArco During a conversation one afternoon, Saverio Tasca told me about one of his mountain walks through the paths of the Great War. He felt it needed to be translated into a music project that crosses the past and the present. The main elements of the story would be the journey, the idea of “The Walking Man” and the water flowing within the story. The walk represents a man’s effort going on a journey. Today, those who walk along the Great War paths remember the anguish of the refugees’ exodus; the soldiers’ marches; those that advanced to the front; the ones dearly departed and those who made it home. The journey represents the passing of time. Through the experience “The Walking Man” discovers his own story, humbly retracing the steps of others, starting from the evocation of timeless emotions. Time and Man are in fact linked by the same signs, paths, traces and choices permeated through contrasting emotions. Love. Hatred. Compassion. Brutality. Welcoming. Indifference. Generosity. Egoism. Death and Life. Also associated with the walk is the landscape itself that reflects and answers both emotions evocated and man’s choices. During the Great War, not only men were transformed. Landscapes too were affected and cities were decimated. Some parts of the landscape assumed a sacred identity through sacrifice. From the impressive sacrariums that hold the memory, to the small and silent cemeteries scattered with crosses. From improvised burials with heaps of war memories, to the Piave’s paint of soldiers’ blood through metamorphosis that became the heroic Piave. The landscape is a legacy that lives through time – ever changing like the story - like life itself. The walk ideally became the Piave’s one – the river as an existence that symbolises the passing of time and story. Like the water that becomes the river, from the springs to the mouth. In the music, the only principal character identifications are the steps traced on his journey. It is generic but relevant. “The Walking Man”, in research, puts himself in “other steps” in which every listener can relate to. The music catches the idea of rhythmic scans reproduced from a step, or of a river flowing through everything - like time and life that become eternity. It is a travel that can be repeated for infinity. The proposed sound travels on an alternate time flow, reflecting today’s suggestions, breathing in life to memorable places of the landscape, and those of yesterday that inspire emotions first. It is all these emotional perceptions that overcome the opposition’s trenches, returning the same dignity to the winners and the vanquished - joined by the same deep human roots of the common experience of a dramatic destiny. From the dawn of war to the destructive drama, the tale in music flows on an unending rhythm until the mouth and the time that slows down flows with instilling emotions. It is a sign of new distances between memories, in the middle of what we were and what we are today - also following that event which was the true gulf of the new century.