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VINYL PROMO PRIMAVERA 25

€ 108,00 € 69,00

OFFERTA SPECIALE DI PRIMAVERA SCEGLI I 2 LP GATEFOLD* DAL NOSTRO CATALOGO a soli 69€   Questa imperdibile offerta ti permetterà di poter scegliere a tuo piacimento 2 LP* dal catalogo Velut Luna. L'offerta è valida fino alle ore 24:00 del 31 MARZO   Inserite nel campo <Scrivi un messaggio al venditore> i codici (CVLD... o il titolo) dei 2 LP che desideri da questo elenco   I 4 TITOLI TRA CUI PUOI SCEGLIERE SONO:  CVLD362 PROJECT ONE (LP 180 GR + CD) CVLD363 Two For The Road (LP 180 GR + CD) CVLD365B Papier-Maché (LP 180gr. su Top Clear Vinyl) CVLD374 SE POTESSI AVERE... (LP 180gr. su Top Clear Vinyl)

VELUT LUNA'S PIANO

€ 116,00 € 99,00

VELUT LUNA'S PIANO Straordinaria offerta a solo 99€ 10 CD dedicati alle produzioni Velut Luna per PIANO SPEDIZIONE GRATUITA I CD proposti in quest'offerta sono: (clicca sopra al titolo per aprire la pagina del prodotto)   ORIGINAL COMPOSITIONS FOR PIANO CVLD301 Prokofiev - Piano Sonatas - 3 CD CPRD001 Franz Schubert Piano Sonatas - 5CD CVLD340 PIANO CVLD148

Trátame bien

€ 39,00 € 35,00

VINILE AUDIOPHILE - EDIZIONE LIMITATA CON FILE MASTER HD   PREZZO SCONTATO A 35€ PER LA PREVENDITA (Consegne previste dal 14 APRILE)   "Trátame bien"  is a record that captures the mix of emotions with which I wanted to explore the complexity of human relationships, with others and with ourselves. Each topic reflects a sense of vulnerability, the need to be understood and respected. With a fresh and authentic sound, the album plays with various genres, merging modern soundtracks with lyrics that address themes of love, disaffection and self-acceptance. "Trátame bien" is a cry about the importance of respect. It invites you to reflect on how we relate to others, but especially how we relate to ourselves. With sincere and direct words, this act of personal fulfillment is born in which self-understanding and self-respect become the priority. It is also an invitation to break with the standards of beauty imposed by society, a reminder to embrace our authenticity. Yolanda Gó mezzo Carreño

30 ANNI FUORI TEMPO - LP + GOLD CD + FILE HD

€ 60,90 € 49,90

30 ANNI FUORI TEMPO AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD + GOLD CD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus   Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis  

30 ANNI FUORI TEMPO - GOLD CD

€ 21,90

30 ANNI FUORI TEMPO GOLD CD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis

30 ANNI FUORI TEMPO - AUDIOPHILE VINYL

€ 39,00

30 ANNI FUORI TEMPO AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus PREZZO SCONTATO A 35€ PER LA PREVENDITA (Consegne previste dal 17 MARZO)   Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis

JAZZ

€ 49,00

JAZZ AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD Pietro Ballestrero, Gianni Basso, Stefano Bertoli, Paolo Birro, Fabrizio Bosso, Gianni Coscia, Paolo Fresu, Giorgio Gaslini, Tiziana Ghiglioni, Sandro Gibellini, Lucia Minetti, Gabriele Mirabassi, Mauro Negri, Stefano Profeta, Royal Big Band, Sax Four Fun, Markus Stockhausen, Tiger Dixie Band, Gianluigi Trovesi. It is always difficult to make a collection of musical pieces, even though they belong to the same genre; and it is even more so if he who has to do it is the one who wanted them, produced them, recorded them: that is someone who finally considers himself divided between the role of "dad" and "co-author", in this case myself who is writing these short notes. The difficulty is in choosing songs that make sense one after another, but also in having to exclude, for physical lack of space, many others no less beautiful, no less interesting. Also in the awareness of where to leave out with the heartache so many wonderful musicians to whom, I always feel tied by an indissoluble tie for the common passion that has united us in loving the music we propose. It is therefore for this reason that every collection I make has implicitly, alongside the title, that fundamental definition which can only be "Volume 1". In the belief that sooner or later other volumes will follow, because it is really impossible for me to draw up a ranking of merit among the many songs, all of them, I have produced in 30 years of career. And here comes the fundamental note that I realized especially in the last few years, which is that ALL my productions, for me, are absolutely equivalent: they are all on the same level. Because I always made an incredible selection BEFORE going into production, and once the journey started with the chosen musicians, It was always clear that the work could not have become a pearl of a very long necklace that today counts altogether eighty-eight. Jazz, according to me, or according to Velut Luna, has always meant research and tradition, warmth and humanity, immediacy and symbol of the unspeakable "Hic et Nunc" of the moment of recordings, which have all been made in direct take, without editing cuts, Often mixed directly on stereo master. Listening to these songs again, one by one, I relived the atmosphere, in the broadest possible sense, of those unrepeatable moments: after all, recording is a way to travel back in time every time I listen to it. The musicians and I are lucky people, to have received the privilege of living these emotions difficult to tell in words, but I hope they can be at least a little 'conveyed by the sound tracks left in the grooves of the records. Forever and ever. Thank you all, Marco Lincetto I dedicate this project to my friend Giorgio Gaslini, who left us too soon, 11 years ago

VELUT LUNA' S BACH

€ 90,00 € 45,00

VELUT LUNA'S BACH Straordinaria offerta a solo 45€ 5 CD dedicati alla musica di J.S. BACH SPEDIZIONE GRATUITA I CD proposti in quest'offerta sono: (clicca sopra al titolo per aprire la pagina del prodotto)   Johann Sebastian Bach - Cello Suites For Harpsichord CVLD333 JOHANN SEBASTIAN BACH CVLD328 BACH - ALTERNATIVE HARPSICHORD CONCERTOS CVLD322 J.S. BACH CVLD309 J. S. BACH SONATAS BWV 1027-1028-1029 CVLD222

VELUT LUNA'S CLASSICAL

€ 90,00 € 45,00

VELUT LUNA'S CLASSICAL Straordinaria offerta a solo 45€ 5 CD dedicati alle produzioni Velut Luna CLASSICA SPEDIZIONE GRATUITA I CD proposti in quest'offerta sono: (clicca sopra al titolo per aprire la pagina del prodotto)   L’UCCELLAJA CVLD361 Sergej Rachmaninov - Études Tableaux CVLD364 Chopin & Schumann CVLD245 SORTILEGES CVLD282 WEKE MUSIC FOR PIANO & STRINGS CVLD199

VELUT LUNA'S JAZZ

€ 90,00 € 45,00

VELUT LUNA'S JAZZ Straordinaria offerta a solo 45€ 5 CD dedicati alle produzioni Velut Luna JAZZ SPEDIZIONE GRATUITA I CD proposti in quest'offerta sono: (clicca sopra al titolo per aprire la pagina del prodotto)   Stick To Duke CVLD345 LATIN JAZZ BAND CVLD349 KURT! CVLD336 KD CVLD331 AT TIME IT IS CVLD307  

VELUT LUNA'S GOLD CD

€ 109,50 € 90,00

VELUT LUNA'S GOLD CD Straordinaria offerta a solo 90€ 5 CD dedicati alle nuove produzioni Velut Luna in GOLD CD SPEDIZIONE GRATUITA I CD proposti in quest'offerta sono: (clicca sopra al titolo per aprire la pagina del prodotto)   Dieci Studi sul Trillo - GOLD CD CVLD380 Nino Rota - GOLD CD CVLD379 Double Time - GOLD CD CVLD373 Gira l'anima - GOLD CD CVLD367 Frequency Of Humanity - GOLD CD CVLD369  

Ladies 3 - Masterclone 24K GOLD CD

€ 69,00

Ladies 3 individually made one by one Disponibili solo 50 pezzi su Gold 24K CD! Masterclone 24K GOLD CD Chiara Pastò 01 One Day I’ll Fly Away (J. Sample, W. Jennings) 4:37 Francesco Pollon, piano / Magister Recording Area, 2023 Nina 02 Sapore di sale (G. Paoli) 2:22 Villa El Salvador Ensemble / Magister Recording Area, 2010 Giuliana Beberi 03 Ti parlerò d’amor (Martinelli, Bracchi) 3:36 NPCOrchestra, Patrick Trentini / Magister Recording Area, 2004 Lara Cavalli Monteiro 04 Cajuina (C. Veloso) 4:39 David Beltran Soto Chero Ensemble / Villa Masiero e Centanin, 2019 Antonella Vitale 05 Tra la sabbia e il mare aperto (A. Vitale) 4:58 Antonella Vitale Ensemble / Magister Recording Area, 2007 Lucia Minetti 06 Retrato em branco e preto (A. C. Jobim) 3:29 Andrea Zani, Martino Maina / San Giacomo Spazio d’Arte, 2023 Cheryl Porter 07 Smile (C. Chaplin) 4:41 Orchestra di Padova e del Veneto, Massimo Parente / Auditorium Pollini, 2005 Angela Centanin 08 Da A Me Riva (F. De Andrè, M. Pagani) 4:31 Ensemble Terra Mater / Magister Recording Area, 2020 Anna Cinzia Villani 09 Nia, nia, nia (trad. popolare) 2:21 Ensemble Terra d’Otranto / Masseria Torcito, Cannole, 2003 Rosella Caporale 10 Lu Guarracino (trad. popolare) 5:49 Stefania e Valentina Todesco / Villa Todesco, 2015 Lucia Minetti 11 Tango del vento (N. Campogrande, D. Voltolini) 3:18 Ensemble Musicamorfosi / Villa Reale, Monza, 2004 Cristina Sartori 12 I Don’t Know How To Love Him (A. L. Webber, T. Rice) 3:57 Michele Giacomazzi / Magister Recording Area, 2006 Larissa Demidova 13 Ave Maria (F. Schubert) 4:37 Alessandro Kirschner / Duomo di Monteortone, 2003 Laura Manzoni 14 Adeste fideles (Trad. Popolare) 2:31 Maria Cleofe Miotti, Gianni Landroni / Pieve di Borgo Capanne, 2002 Durata totale: 55:33 High Resolution PCM 88.2 kHz/ 24 bit digital recordings made in Italy by Marco Lincetto at: Magister Recording Area, Treviso / San Giacomo Spazio d’Arte, Albignasego / Villa Reale, Monza / Villa Masiero e Centanin, Arquà Petrarca / Villa Todesco, Padova / Masseria Torcito, Cannole, Lecce / Duomo, Monteortone / Pieve di Borgo Capanne, Bologna Remastering in digital - analog - digital domain by Marco Lincetto at VLS Studio, Naquera, Spain in November 2024 Cover photo by Marco Lincetto made in 1990: a special thanks to my dear friend Lucia, for her image. Design and Layout by L'Image Studio

LIFE - Roberto Jonata

€ 21,90

LIFE - Roberto Jonata (CVLD383) All music composed by Roberto Jonata, except for track 12 “Carry On… Jon” by Ritchie Blackmore Roberto Jonata plays on Steinway & Sons D274 Concert Grandpiano tuned by Silvano Zanta The collaboration between VELUT LUNA and Roberto Jonata, which has been in existence for over ten years, continues today offering his vision of "Life", through his extraordinary compositions, immersed in the world of international minimalism, but characterized as always by the presence of a strong melodic vein, distinctive sign of the musical poetics of the composer and pianist veneto.. Extraordinary music combined with the latest refinement of piano recording technique that Marco Lincetto continues to implement, achieving an end sound quality more remarkable. 88.2kHz / 24bit Digital Recording, made at Magister Area Studios, Preganziol, Italy on September 10, 2024 Analog mix and mastering made at VLS, Naquera, Espana on October, 25, 2024 Production: Velut Luna Executive producer: Marco Lincetto Musical producer: Roberto Jonata Balance, mix and mastering engineer: Marco Lincetto Pro Tools recording engineer: Andrea Valfrè Photos: Marco Dal Maso Design: Nadia Fattori Layout: L'Image  

IL CANTANTE AL MICROFONO - Eugenio Finardi | 45rpm - Double Vinyl

€ 69,00

PRE-ORDER IL CANTANTE AL MICROFONO - 2025 - VYNIL EUGENIO FINARDI Double Vinyl 45 rpm Deluxe Limited Edition + File Master HD (numbered limited edition 300pz)   Returns in a new and definitive, spectacular, double vinyl edition at 45 rpm one of the great masterpieces of Italian music of recent years, limited to 300 copies, each with progressive numbering. The recording project Il Cantante Al Microfono bridges the gap between songwriting and contemporary classical music, starting with the great Russian actor, poet and singer-songwriter Vysotsky, who tragically died in 1980, who understood and sang the true soul of his people and was therefore severely opposed by the Soviet regime. His music accompanies with intriguing melodies, now with a Balkan flavor, now with oriental tones, now tracing ancient times of waltzes, the texts sharp and scratchy. From the corpus of his more than 500 songs, Eugenio Finardi and Filippo Del Corno have chosen a dozen titles strongly representative of the ethical, spiritual, political tension and corrosive irony that animates Vysotsky’s work. The songs, already translated into Italian by Sergio Secondiano Sacchi, were orchestrated for the instrumental ensemble Sentieri Selvaggi by Del Corno himself, in a version that highlights the highest poetic and musical quality of Vysotsky’s verses and allows the full deployment of the extraordinary interpretative power of Eugenio Finardi. It is in fact a long time that Finardi joins his activity as the protagonist of the Italian author rock an in-depth and rigorous vocal research work, which will leave those who do not know the path that led him from fado, to his beloved blues, right up to the contemporary classical. The graphics are very refined and curated by Convertino. A project that perfectly fits with the production line that Velut Luna has always proposed: originality in proposals artistically and technically of the highest quality. Eugenio Finardi voce Sentieri selvaggi : Paola Fre flauto Mirco Ghirardini clarinetto Paolo Pasqualin vibrafono Andrea Rebaudengo pianoforte Piercarlo Sacco violino Paola Perardi violoncello Carlo Boccadoro direzione Sergio Secondiano Sacchi traduzione italiana Filippo Del Corno orchestrazione L'opera ha vinto la Targa Tenco 2008, nella Sezione interpreti di canzoni non proprie   Live-In-Studio Analog Recording, mix and original mastering made at Magister Recording Area studio, Preganziol, Italy on December, 18 - 22, 2007 Analog re-mastering made at VLS Studio, Naquera, Spain, on November, 4, 2024 ANALOG RECORDING: RTR Soundcraft Saturn 24 tracks / 2" tape at 76cm/sec recording speed ANALOG MIX & MASTERING: RTR Studer A820, 2 tracks, using 1/4" tape at 38 cm/sec recording speed ANALOG RE-MASTERING: Maselec Analog Mastering Suite (MLA-2 / MEA-2 / MPL-2) to RTR Studer A810

Libero Arbitrio - GOLD CD

€ 21,90

Libero Arbitrio - GOLD CD Gold CD Libero Arbitrio - Amos Ghirardelli (CVLD382) CD 24k Gold+ HD FILES FOR THE WHOLE PERIOD OF THE PRE-SALE* *the files will arrive on your email with a sending after order confirmations Available from: 02-11-2024 This is a pre-order product. Once it will be available in stock, your order will be shipped. The first album of Amos Ghirardelli, 63 years old with forty years of musical career behind him. And it’s a record that opens the heart to lovers of the great PROG, descending by direct line from the great furrow drawn by the big English and Italian groups in the first half of the 70s. It is an excellent music, performed in a sensational way by amazing musicians and that revolves, as tradition requires to these projects, around a precise "concept" which is perfectly summed up in the title of the album, FREE WILL, as well as in the lyrics sung at the end of the long initial suite that bears the title of the album

SE POTESSI AVERE... (LP 180gr. su Top Clear Vinyl + File HD)

€ 49,00

Patrick Trentini conductor / Giuliana Beberi vocal / alto, tenor saxes / Luca Merlini vocal 24 Bit / 96 kHz / 24 tracks Original Recording: Studio Magister Sala A on April 8, 9 - 2004 Preganziol, Treviso (Italy) "Se potessi avere" an orchestra of the 40s still playing today. Songs from our italian memories: Mille lire al mese, Parlami d'Amore Mariù, Ba Ba Baciami Piccina, Ma l'Amore No, La Strada nel Bosco and many others presented exactly like they were by Giuliana Beberi and Luca Merlini with the New Project Orchestra directed by Patrick Trentini.

ITALIAN MUSIC FOR GUITAR AND PIANO - GOLD CD (with free 2015 CD version)

€ 21,90

New remastering of the CD ITALIAN MUSIC FOR GUITAR AND PIANO (you will receive the free CD of 2015 and so you can discover the sound differences between the two editions) ITALIAN MUSIC FOR PIANOFORTE AND GUITAR It is generally believed that the union between pianoforte and guitar presents a complicated rebus for composers and musicians alike: the acoustics and approach of these two instruments make them too unbalanced to be blended, too different in levels of volume and too divergent in their "thought processes" or construction of harmonies. In short, when played together, the pianoforte and guitar tend to prove almost incompatible. Furthermore, if the guitar lacks amplification support, even at a minimal level, the pianoforte needs to be played almost always with extreme delicacy. Despite these factors and the usual perceptions, many composers, above all in the twentieth century, have achieved splendid results with the masterful use of the ‘full’ and ‘thin’ sounds of the respective instruments, by paying particular attention to a non-conventional dialogue between them, subtle composition and, of course, a good dose of instinct, which is never a bad thing. The disk in your hands proves these triumphs and contains a collection of original works for guitar and pianoforte composed between 1950 and today, both from renowned and less renowned Italian composers. The journey begins back in 1950 with one of the composers whose name, intentionally or not, is synonymous with the guitar, namely the Florentine Mario Castelnuovo-Tedesco (1895-1968) who wrote Fantasia op. 145 in two brief witty movements dedicating it to Andrés Segovia and his pianist wife Francesca ‘Paquita’ Madriguera Rodon. A miracle of balance that recalls the inescapable French influences while displaying its exuberant and personal inspiration from opera, it oscillates between an atmosphere that pays homage to Spain and an entirely Italian, or rather Tuscan lyricism. Another two-part composition entitled Fantasia consists of a single movement written in October 1979 by Brescian composer Franco Margola (1908-1992), that was dedicated to the duo formed by guitarist Guido Margaria and his wife, Emilia. Although this quiet, neo-Baroque piece does not integrate the two instruments to the same level as that of Mario Castelnuovo Tedesco, it still succeeds in creating a dialogue between the two instruments, cleverly alternating rather than overlapping the two sounds. From a stylistic viewpoint, Margola drifts between hints of Bach and pleasant flashes of eighteenth century Italy. Another track dedicated to the Margaria duo is the short piece entitled Improvviso, composed between November 1979 and the spring of 1980, not too different from the atmospheres of the former track, making it seem like an appendix in triple time that mixes the initial mazurka with a persistent neo-Baroque ensemble. Fantasia is yet another piece dedicated to the Margaria duo, and was written in 1980 by Carlo Mosso (1931-1995), who spent his early years in France before settling in Piedmont. This piece is meditative and restless, rigid, rich in archaisms yet at the same time modern and intentionally rough, built on a handful of melodic cells that are linked together and in certain points are reminiscent of the works of Frank Martin from Switzerland and the popular Italian composer Gian Francesco Malipiero. The piece entitled Divertimento a due was composed by Padua-born Adrano Lincetto (1936-1996) and is divided into three movements (Molto lento. Poco mosso – Allegro molto – Finale. Molto moderato and cantabile. Allegro vivo). Beyond any doubt, it is less enigmatic and a far cry from modern and postmodern complications, in its intricate modal style with numerous seventh chords. This rich compilation ends with two tracks that were written specifically for and dedicated to Lapo Vannucci and Luca Torrigiani. Il silenzio del tempo by Turin composer, Luigi Giachino (1962), was written in 2015 and is a suite in four movements, with notes of jazz and whispers of other, almost impressionist styles. In a six-minute track, the totally different Winter Time, written by Sicilian composer Giuseppe Crapisi (1967) proposes a blend of bold, repetitive and headstrong gestures typical of a minimalist yet more melanchonic style. In this case, the two instruments rarely alternate but often blend their sounds, now delicate, now rhythmic, in a largely contemporary key. Ennio Speranza    

ITALIAN MUSIC FOR GUITAR AND PIANO - GOLD CD (with free 2015 CD version)

€ 21,90

New remastering of the CD ITALIAN MUSIC FOR GUITAR AND PIANO (you will receive the free CD of 2015 and so you can discover the sound differences between the two editions) ITALIAN MUSIC FOR PIANOFORTE AND GUITAR It is generally believed that the union between pianoforte and guitar presents a complicated rebus for composers and musicians alike: the acoustics and approach of these two instruments make them too unbalanced to be blended, too different in levels of volume and too divergent in their "thought processes" or construction of harmonies. In short, when played together, the pianoforte and guitar tend to prove almost incompatible. Furthermore, if the guitar lacks amplification support, even at a minimal level, the pianoforte needs to be played almost always with extreme delicacy. Despite these factors and the usual perceptions, many composers, above all in the twentieth century, have achieved splendid results with the masterful use of the ‘full’ and ‘thin’ sounds of the respective instruments, by paying particular attention to a non-conventional dialogue between them, subtle composition and, of course, a good dose of instinct, which is never a bad thing. The disk in your hands proves these triumphs and contains a collection of original works for guitar and pianoforte composed between 1950 and today, both from renowned and less renowned Italian composers. The journey begins back in 1950 with one of the composers whose name, intentionally or not, is synonymous with the guitar, namely the Florentine Mario Castelnuovo-Tedesco (1895-1968) who wrote Fantasia op. 145 in two brief witty movements dedicating it to Andrés Segovia and his pianist wife Francesca ‘Paquita’ Madriguera Rodon. A miracle of balance that recalls the inescapable French influences while displaying its exuberant and personal inspiration from opera, it oscillates between an atmosphere that pays homage to Spain and an entirely Italian, or rather Tuscan lyricism. Another two-part composition entitled Fantasia consists of a single movement written in October 1979 by Brescian composer Franco Margola (1908-1992), that was dedicated to the duo formed by guitarist Guido Margaria and his wife, Emilia. Although this quiet, neo-Baroque piece does not integrate the two instruments to the same level as that of Mario Castelnuovo Tedesco, it still succeeds in creating a dialogue between the two instruments, cleverly alternating rather than overlapping the two sounds. From a stylistic viewpoint, Margola drifts between hints of Bach and pleasant flashes of eighteenth century Italy. Another track dedicated to the Margaria duo is the short piece entitled Improvviso, composed between November 1979 and the spring of 1980, not too different from the atmospheres of the former track, making it seem like an appendix in triple time that mixes the initial mazurka with a persistent neo-Baroque ensemble. Fantasia is yet another piece dedicated to the Margaria duo, and was written in 1980 by Carlo Mosso (1931-1995), who spent his early years in France before settling in Piedmont. This piece is meditative and restless, rigid, rich in archaisms yet at the same time modern and intentionally rough, built on a handful of melodic cells that are linked together and in certain points are reminiscent of the works of Frank Martin from Switzerland and the popular Italian composer Gian Francesco Malipiero. The piece entitled Divertimento a due was composed by Padua-born Adrano Lincetto (1936-1996) and is divided into three movements (Molto lento. Poco mosso – Allegro molto – Finale. Molto moderato and cantabile. Allegro vivo). Beyond any doubt, it is less enigmatic and a far cry from modern and postmodern complications, in its intricate modal style with numerous seventh chords. This rich compilation ends with two tracks that were written specifically for and dedicated to Lapo Vannucci and Luca Torrigiani. Il silenzio del tempo by Turin composer, Luigi Giachino (1962), was written in 2015 and is a suite in four movements, with notes of jazz and whispers of other, almost impressionist styles. In a six-minute track, the totally different Winter Time, written by Sicilian composer Giuseppe Crapisi (1967) proposes a blend of bold, repetitive and headstrong gestures typical of a minimalist yet more melanchonic style. In this case, the two instruments rarely alternate but often blend their sounds, now delicate, now rhythmic, in a largely contemporary key. Ennio Speranza    

Stop At The Devil’s Crossroad - AUDIOPHILE PRESSING

€ 39,00

Stop At The Devil’s Crossroad Nik Lee & The Jingle Fellas La schiavitù, la negazione dei diritti fondamentali e la nulla considerazione del singolo individuo afroamericano, hanno contribuito alla nascita del Blues, una musica popolare, sintesi e prodotto di un percorso difficile, affrontato dalla popolazione africana sul suolo americano, un mezzo di espressione potente capace di arrivare all'orecchio dell'ascoltatore in maniera semplice e diretta. I classici suonati dai grandi padri storici, Blind Blake, Blind Boy Fuller, Robert Johnson e Charley Patton vengono completamente ri-arrangiati in una veste più moderna attraverso la diversità stilistica e timbrica di ogni singolo individuo del gruppo, permettendo così di dare carattere e trasmettere gli elementi tipici che rendono unico, nella sua semplicità, il Blues. Stop At The Devil's Crossroad più che una semplice playlist, è un insieme di atmosfere che mettono in luce con diverse sfumature sonore, dal più classico Delta-Blues con chitarra acustica resofonica, armonica e voce, al suono elettrico del tradizionale trio Blues, fino ad una line-up più allargata, composta da sezione ritmica, voce e sezione fiati. Stop At The Devil's Crossroad è un lavoro di riscoperta, un coinvolgente tributo di Nik Lee and The Jingle Fellas a questa semplice ma grande musica. --- The Blues trace their roots to North American slavery, with its complete negation of basic human rights and the resulting loss of consideration for the individual among generations of AfroAmericans. A direct result of this terrible dehumanizing experience, the blues have evolved as an extremely expressive music form which goes right to the heart and the ear of the listener in a simple and direct manner. This album features cIassic titles from such historical blues giants as Blind Blake, Blind Boy Fuller, Robert Johnson and Charley Patton. The styles and sound of the individual members of the group are reflected in these fresh new arrangements, giving new character while also retaining the original simplicity of the blues. Stop At The Devil’s Crossroad is more than a simple playlist of standards, it is an atmospheric collection which brings to light various sonic shadings, from classics like Delta-Blues with acoustic resonator guitar, harmonica and voice, to the electric sound of traditional blues trio, to a fuller line up with expanded rhythm section, voice and winds. Stop At The Devil’s Crossroad is a journey of rediscovery, as Nik Lee and The Jingle Fellas pay tribute to this simple yet vastly expressive music. NIK LEE & THE JINGLE FELLAS Stefano Nicli, electric / acoustic / dobro, guitar & voice Christian Stanchina, trumpet Marco Pisoni, tenor sax Giorgio Beberi, baritone sax Marco Stagni, double bass Andrea Polato, drums special guest: Marco Pandolfi, harmonica 24bit/88.2kHz original digital recording made at Magister Recording Area Studio, Preganziol (Italy) on April 17 - 19, 2015 |  Analog mix and mastering made at MLStudio, Naquera (Spain) on May 16, 2024  

METAL REEL NAB

€ 329,00

Per la prima volta VELUT LUNA offre questo servizio rendendo disponibile i preziosi master copy 1:1 dalla bobina master analogica originale di una larga parte del catalogo VELUT LUNA, le migliori registrazioni realizzate da Marco Lincetto per Velut Luna. La duplicazione è effettuata su nastro LPR90 1/4"- 265mm Metal Reel Nab (BOBINA IN METALLO), a 15 IPS con EQ IEC, utilizzando un RTR STUDER A810 come player e un RTR STUDER A816 come recorder.   La bobina è confezionata in una elegante scatola di cartone rigida, con grafica realizzata singolarmente a mano. La bobina arriva avvolta con il principio di TAIL END. Questa è un'oppurtunità unica, infatti potrai scegliere il titolo che desideri dal catologo che vedi qui sotto: dovrai inserire il titolo e il codice (CVLD...) nel box 'Scrivi un messaggio al venditore' che troverai alla fine della procedura di acquisto, prima del pagamento. La proposta commerciale relativa a questo progetto è intesa come una PRESTAZIONE DI SERVIZIO ad personam e su richiesta: ovvero NON si tratta della vendita di un oggetto immediatamente disponibile e di pronta vendita, ma di BOBINE originali prodotte su richiesta da parte dei nostri clienti (richiesta formulato con il semplice ordine online del servizio esclusivamente tramite questo sito); il prezzo richiesto NON è relativo all'oggetto, ma alla stessa e precisa prestazione di servizio necessaria alla preparazione. Anche per questo motivo, dal momento dell'acquisto/ordine, la bobina verrà spedita non prima di 7/10 giorni, proprio per darci il tempo di realizzarle e in caso di overbooking i tempi di consegna potrebbero anche allungarsi. La spedizione viene effettuata tramite corriere espresso, all'interno di una confezione particolarmente curata ed è assicurata contro ogni inconveniente per l'intero valore del prodotto.  In funzione della lunghezza/durata del nastro, la durata potrebbe variare rispetto al supporto in CD, pertanto potrebbero essere escluse alcune tracce rispetto al master originale. Caratteristiche tecniche del nastro: Formats: 1/4" Tape Width: inch 0,25 mm 6,3 Tape Length: ft 3608 m 1100 Reel Diameter: inch 10,5 mm 250   CATALOGO DISPONIBILE: CVLD00100 LIDJIENKO SMILE CVLD01200 IMPROVVISAMENTE UN GIORNO TRA I MESI CVLD02600 DIALOGHI CVLD03000 VIVO SONHANDO CVLD03100 GUARDA AVANTI CVLD03400 PLANETARIUM CVLD03500 SERENGETI CVLD03600 RADIO DAYS CVLD04700 SING WITHOUT WORDS CVLD07600 INSTANTS, LIVE AT TEATRO OLIMPICO CVLD 243 THE IRVING BERLIN SONGBOOK CVLD 244 LOOKING FOR LOVE CVLD07700 PANGEA CVLD08200 BIX CVLD08300 GEORGE GERSHWIN CVLD106 LUZ - SACD CVLD08600 GOLD FINGERS CVLD07300 ALTRE SPEZIE CVLD08800 ELLE CVLD01100 FRAGMENTA CVLD027 HD THE EIGHT SEASONS CVLD02900 OPERE SCELTE CVLD03700 CLARINAMENTE CVLD04200 IMAGENES DE TANGO CVLD04300 PIETRE CVLD05000 SCHUBERT, BEETHOVEN CVLD05200 IN CROCE CVLD05700 UNUS INTER PARES CVLD06200 ENCORE! CVLD06400 NOTTE DI NATALE CVLD 275 ITALIAN MUSIC FOR GUITAR AND PIANO CVLD08000 F. BUSONI - 24 PRELUDI OP. 37 CVLD09000 W.A. MOZART, B. BRITTEN - I SOLISTI DELL'OLIMPICO CVLD104 PIZZICHI E SOSPIRI CVLD02800 STELLE CVLD03200 METABOLE' CVLD04400 ONDE MEDITERRANEE CVLD04600 JUST HERE, RIGHT THERE CVLD07000 NO MAN'S LAND CVLD01400 THAT'S SOUND: MUSIC FROM SCREEN AND STAGE CVLD06100 'E TERETUPPETE CVLD107 SE POTESSI AVERE... CVLD06000 CARO NANNI CVLD093 GIUSEPPE MARTUCCI - THE COMPLETE WORKS FOR CELLO AND PIANO CVLD092 FRANZ LISZT GRANDES ETUDES POUR LE PIANO CVLD117 EPISOD CVLD118 BLUE CVLD119 CIAO FRED ! CVLD122 AMERICANIZADA CVLD128 FALLING IN LOVE CVLD123 WINGS - SONGS OF THE JEWISH HEART CVLD129 CROSSING CVLD135 NITE IN THE CITY CVLD136 JOURNEY OF HOPE CVLD139 NUVOLE DI CARTA  CVLD132 MAKING WHOPEE CVLD153 X CVLD149 VOCI DI LUNA WHITE GOLD EDITION CVLD156 CHOPIN CVLD165 CATFISH FOR BREAKFAST CVLD158 ELLAURA - SACD CVLD160 MYSTERE PIANO CVLD159 TUTTE LE DIREZIONI CVLD164 BLUE SIMPHONY CVLD163 Raindrops CVLD162 Il Cantante al Microfono CVLD167 FLOWERS V L H D HIGH QUALITY EDITION CVLD169 PIETRO ANTONIO LOCATELLI CONCERTI GROSSI OP.1 VOL. 1 CVLD207 LOVE CAN CHANGE EVERYTHING CVLD183 SE IL MARE ...UN OCEANO DI CARTE CVLD187 LENTOGODENDO CVLD178 PETITES SUITES CVLD188 P. A. LOCATELLI CONCERTI GROSSI OP.1 VOL. 2 CVLD185 LINFA CVLD180 ILLEGAL LOVE CVLD181 ANNO DOMINI 2012 CVLD210 SKETCHES OF MEMORIES THE BEST SONGS OF OUR LIFE CVLD202 BIG BAND BOND CVLD194 YASMINA CVLD205 I SOGNI DI GIANO' CONCERTO CVLD201 CARTA BIANCA CVLD192 GRANDO XE AMOR CVLD206 CHORAL FIREWORKS CVLD 239 Sospiri nel tardo Romanticismo CVLD 241 Tchaikovsky: Violin Concerto, Op. 35, Méditation, Op. 42 CVLD209 NUBILARIA CVLD208 JOSEPH BODIN DE BOISMORTIER SONATE PER FAGOTTO E CONTINUO OP. 50 & PIECES DE CLAVECIN CVLD213 FIVE PORTRAITS CVLD212 VIBRAZIONI CONSONANTI CVLD214 ADAMO... LET'S SWING! CVLD215 AMOR Y PASION CVLD218 CHRISTMAS CVLD219 STABAT MATER CVLD220 DO IT! - LIVE CVLD222 J. S. BACH SONATAS BWV 1027-1028-1029 CVLD223 COLORS CVLD228 KYRA CVLD224 DE - FORMA SONATA LISZT BERG CHOPIN CVLD227 AYRES & FANTASIAS CVLD232 MOZART PIANO SONATAS CVLD231 MORS & VITA CVLD230 PHOTOGRAPHS & MEMORIES TRIBUTE TO JIM CROCE CVLD234 ARIETTE CVLD233 IMPROMPTUS CVLD229 TANGO EN VIVO CVLD235 THE CINEMA SHOW! CVLD 240 SOMEONE LIKES IT ZOMBIE ! CVLD 238 MIGAJAS CVLD 242 FLUTE, CELLO & PIANO TRIOS CVLD 237 WATER CVLD 225 KING FOR A NIGHT CVLD 246 GASLINI SINFONICO 4 CVLD 249 PAY INTENTION CVLD 250 CELLO SOLO CVLD 248 FLUTE FOR DINNER - Chamber Music for Flute CVLD 252 C'ERA UNA VOLTA IN ROMAGNA CVLD 253 INFINITY CVLD 245 Chopin & Schumann CVLD 260 SETTE PASSI VERSO IL CIELO CVLD 263 FLYING ATTITUDE CVLD 264 REC LIVE ! CVLD 268 LUSH MUSIC CVLD 270 STOP AT THE DEVIL'S CROSSROAD CVLD 269 L'UOMO CHE CAMMINA CVLD266 COPLAS DE LA LUNA CVLD267 E TERETUPPETE ... N'ATA VOTA ! CVLD 273 LOS IMPOSSIBLES CVLD 274 ALBERTO BOISCHIO PLAYS BEETHOVEN CVLD 265 TWO COUNTRIES ONE HEART CVLD 271 MASSIMO GON PLAYS CHOPIN CVLD 278 IN VOLO CVLD 277 RAIDERS OF THE LOST MUSIC CVLD 284 WHEN YOUR DRUMMER HAS GONE CVLD 285 FIL ROUGE CVLD 280 SHAPE CVLD 281 Almerigo Girotto - Liriche da camera per voce e pianoforte CVLD 282 SORTILEGES CVLD 279 ROOTS CVLD 286 NINNI ARINI CANTA LUIGI TENCO CVLD 289 WOOD 3 CVLD 287 ITALIANA ! CVLD 288 RIFLESSI IN CONTRASTO CVLD291 GLI INVISIBILI CVLD 315 BEETHOVEN IN TRIO CVLD292 W.A. MOZART - WIND CONCERTS CVLD294 JAZZ NATURE CVLD 296 MUSICAL PORTRAITS CVLD 299 TERRA MATER CVLD 293 FLUTE CONCERTOS CVLD 298 LANDSCAPES - Classic Piano Solo CVLD 297 PETITE MESSE SOLENNELLE - Original Version for 12 Soloists CVLD 300 HOT WIRE Live Recording CVLD 295 MINUTES OF GOLD CVLD 301 ORIGINAL COMPOSITIONS FOR PIANO CVLD 304 GUSTAV MAHLER - Symphony N. 1 in D Major, Titan CVLD 307 AT TIME IT IS CVLD 303 CLOSE-LAMB-WHITE-WALLS CVLD 306 AUDIOPHILE MUSICAL JOURNEY CVLD 309 J.S. BACH CVLD 310 PIAZZOLLA - SOLO PIANO CVLD 312 VOCI DI LUNA 2 CVLD 316 ILLEGAL LOVE 2 CVLD 318 HEART/STRINGS CVLD 317 ITALO BAIANA CVLD 319 ORGAN WARS CVLD 320 MINGUS WORLD CVLD 321 SE FOSSI UNA RONDINELLA CVLD 323 QUATTRO CVLD 322 BACH - ALTERNATIVE HARPSICHORD CONCERTOS CVLD 325 THE OTHER GIRL CVLD 324 CATCH ME CVLD 330 WITHIN & WITHOUT - Homage to Rakhmaninov CVLD 329 ODYSSEIA CVLD 327 CELLO SONATAS CVLD 328 JOHANN SEBASTIAN BACH CVLD 332 TO RUSSIA WITH LOVE CVLD 331 KD CVLD 276 KHOREIA CVLD336 KURT! CVLD333 Johann Sebastian Bach - Cello Suites For Harpsichord CVLD335 JUST FOR YOU! CVLD 337 The Planets CVLD338 Mano Sucias, Alejandro S. Martinez and The Latin Jazz Big Band  CVLD344 Miroirs de la musique CVLD343 Furious Dance (crossover orchestra) CVLD342 PARMA - Hidden and Imaginary Landscapes CVLD349 LATIN JAZZ BAND - 2022 Edition CVLD350 Carlo Graziani-Walter, "AL MONDO MUSICALE" CVLD347 DREAMLAND CVLD339 Liszt Piano Transcriptions, Eliana Grasso CVLD345 Stick To Duke CVLD351 Retrato Brasileiro CVLD346 ViPerArp Trio CVLD353 Sonriendo te vas CVLD354 W2TF CVLD360 LIVING BLUES - THE ITALIAN RECORDINGS CVLD359 AMBRA CVLD362 PROJECT ONE CVLD363 Two For The Road CVLD 364 Sergej Rachmaninov - Études Tableaux CVLD361 L’UCCELLAJA CVLD369 Frequency Of Humanity CVLD366 Le radici di una intolleranza CVLD367 Gira l'anima CVLD373 Double Time CVLD365A Papier-Maché

PLASTIC REEL TRIDENT

€ 279,00

Per la prima volta VELUT LUNA offre questo servizio rendendo disponibile i preziosi master copy 1:1 dalla bobina master analogica originale di una larga parte del catalogo VELUT LUNA, le migliori registrazioni realizzate da Marco Lincetto per Velut Luna. La duplicazione è effettuata su nastro LPR90 1/4"- 265mm Plastic Reel Trident (BOBINA IN PLASTICA), a 15 IPS con EQ IEC, utilizzando un RTR STUDER A810 come player e un RTR STUDER A816 come recorder.   La bobina è confezionata in una elegante scatola di cartone rigida, con grafica realizzata singolarmente a mano. La bobina arriva avvolta con il principio di TAIL END. Questa è un'oppurtunità unica, infatti potrai scegliere il titolo che desideri dal catologo che vedi qui sotto: dovrai inserire il titolo e il codice (CVLD...) nel box 'Scrivi un messaggio al venditore' che troverai alla fine della procedura di acquisto, prima del pagamento. La proposta commerciale relativa a questo progetto è intesa come una PRESTAZIONE DI SERVIZIO ad personam e su richiesta: ovvero NON si tratta della vendita di un oggetto immediatamente disponibile e di pronta vendita, ma di BOBINE originali prodotte su richiesta da parte dei nostri clienti (richiesta formulato con il semplice ordine online del servizio esclusivamente tramite questo sito); il prezzo richiesto NON è relativo all'oggetto, ma alla stessa e precisa prestazione di servizio necessaria alla preparazione. Anche per questo motivo, dal momento dell'acquisto/ordine, la bobina verrà spedita non prima di 7/10 giorni, proprio per darci il tempo di realizzarle e in caso di overbooking i tempi di consegna potrebbero anche allungarsi. La spedizione viene effettuata tramite corriere espresso, all'interno di una confezione particolarmente curata ed è assicurata contro ogni inconveniente per l'intero valore del prodotto.  In funzione della lunghezza/durata del nastro, la durata potrebbe variare rispetto al supporto in CD, pertanto potrebbero essere escluse alcune tracce rispetto al master originale. Caratteristiche tecniche del nastro: Formats: 1/4" Tape Width: inch 0,25 mm 6,3 Tape Length: ft 3608 m 1100 Reel Diameter: inch 10,5 mm 250   CATALOGO DISPONIBILE: CVLD00100 LIDJIENKO SMILE CVLD01200 IMPROVVISAMENTE UN GIORNO TRA I MESI CVLD02600 DIALOGHI CVLD03000 VIVO SONHANDO CVLD03100 GUARDA AVANTI CVLD03400 PLANETARIUM CVLD03500 SERENGETI CVLD03600 RADIO DAYS CVLD04700 SING WITHOUT WORDS CVLD07600 INSTANTS, LIVE AT TEATRO OLIMPICO CVLD 243 THE IRVING BERLIN SONGBOOK CVLD 244 LOOKING FOR LOVE CVLD07700 PANGEA CVLD08200 BIX CVLD08300 GEORGE GERSHWIN CVLD106 LUZ - SACD CVLD08600 GOLD FINGERS CVLD07300 ALTRE SPEZIE CVLD08800 ELLE CVLD01100 FRAGMENTA CVLD027 HD THE EIGHT SEASONS CVLD02900 OPERE SCELTE CVLD03700 CLARINAMENTE CVLD04200 IMAGENES DE TANGO CVLD04300 PIETRE CVLD05000 SCHUBERT, BEETHOVEN CVLD05200 IN CROCE CVLD05700 UNUS INTER PARES CVLD06200 ENCORE! CVLD06400 NOTTE DI NATALE CVLD 275 ITALIAN MUSIC FOR GUITAR AND PIANO CVLD08000 F. BUSONI - 24 PRELUDI OP. 37 CVLD09000 W.A. MOZART, B. BRITTEN - I SOLISTI DELL'OLIMPICO CVLD104 PIZZICHI E SOSPIRI CVLD02800 STELLE CVLD03200 METABOLE' CVLD04400 ONDE MEDITERRANEE CVLD04600 JUST HERE, RIGHT THERE CVLD07000 NO MAN'S LAND CVLD01400 THAT'S SOUND: MUSIC FROM SCREEN AND STAGE CVLD06100 'E TERETUPPETE CVLD107 SE POTESSI AVERE... CVLD06000 CARO NANNI CVLD093 GIUSEPPE MARTUCCI - THE COMPLETE WORKS FOR CELLO AND PIANO CVLD092 FRANZ LISZT GRANDES ETUDES POUR LE PIANO CVLD117 EPISOD CVLD118 BLUE CVLD119 CIAO FRED ! CVLD122 AMERICANIZADA CVLD128 FALLING IN LOVE CVLD123 WINGS - SONGS OF THE JEWISH HEART CVLD129 CROSSING CVLD135 NITE IN THE CITY CVLD136 JOURNEY OF HOPE CVLD139 NUVOLE DI CARTA  CVLD132 MAKING WHOPEE CVLD153 X CVLD149 VOCI DI LUNA WHITE GOLD EDITION CVLD156 CHOPIN CVLD165 CATFISH FOR BREAKFAST CVLD158 ELLAURA - SACD CVLD160 MYSTERE PIANO CVLD159 TUTTE LE DIREZIONI CVLD164 BLUE SIMPHONY CVLD163 Raindrops CVLD162 Il Cantante al Microfono CVLD167 FLOWERS V L H D HIGH QUALITY EDITION CVLD169 PIETRO ANTONIO LOCATELLI CONCERTI GROSSI OP.1 VOL. 1 CVLD207 LOVE CAN CHANGE EVERYTHING CVLD183 SE IL MARE ...UN OCEANO DI CARTE CVLD187 LENTOGODENDO CVLD178 PETITES SUITES CVLD188 P. A. LOCATELLI CONCERTI GROSSI OP.1 VOL. 2 CVLD185 LINFA CVLD180 ILLEGAL LOVE CVLD181 ANNO DOMINI 2012 CVLD210 SKETCHES OF MEMORIES THE BEST SONGS OF OUR LIFE CVLD202 BIG BAND BOND CVLD194 YASMINA CVLD205 I SOGNI DI GIANO' CONCERTO CVLD201 CARTA BIANCA CVLD192 GRANDO XE AMOR CVLD206 CHORAL FIREWORKS CVLD 239 Sospiri nel tardo Romanticismo CVLD 241 Tchaikovsky: Violin Concerto, Op. 35, Méditation, Op. 42 CVLD209 NUBILARIA CVLD208 JOSEPH BODIN DE BOISMORTIER SONATE PER FAGOTTO E CONTINUO OP. 50 & PIECES DE CLAVECIN CVLD213 FIVE PORTRAITS CVLD212 VIBRAZIONI CONSONANTI CVLD214 ADAMO... LET'S SWING! CVLD215 AMOR Y PASION CVLD218 CHRISTMAS CVLD219 STABAT MATER CVLD220 DO IT! - LIVE CVLD222 J. S. BACH SONATAS BWV 1027-1028-1029 CVLD223 COLORS CVLD228 KYRA CVLD224 DE - FORMA SONATA LISZT BERG CHOPIN CVLD227 AYRES & FANTASIAS CVLD232 MOZART PIANO SONATAS CVLD231 MORS & VITA CVLD230 PHOTOGRAPHS & MEMORIES TRIBUTE TO JIM CROCE CVLD234 ARIETTE CVLD233 IMPROMPTUS CVLD229 TANGO EN VIVO CVLD235 THE CINEMA SHOW! CVLD 240 SOMEONE LIKES IT ZOMBIE ! CVLD 238 MIGAJAS CVLD 242 FLUTE, CELLO & PIANO TRIOS CVLD 237 WATER CVLD 225 KING FOR A NIGHT CVLD 246 GASLINI SINFONICO 4 CVLD 249 PAY INTENTION CVLD 250 CELLO SOLO CVLD 248 FLUTE FOR DINNER - Chamber Music for Flute CVLD 252 C'ERA UNA VOLTA IN ROMAGNA CVLD 253 INFINITY CVLD 245 Chopin & Schumann CVLD 260 SETTE PASSI VERSO IL CIELO CVLD 263 FLYING ATTITUDE CVLD 264 REC LIVE ! CVLD 268 LUSH MUSIC CVLD 270 STOP AT THE DEVIL'S CROSSROAD CVLD 269 L'UOMO CHE CAMMINA CVLD266 COPLAS DE LA LUNA CVLD267 E TERETUPPETE ... N'ATA VOTA ! CVLD 273 LOS IMPOSSIBLES CVLD 274 ALBERTO BOISCHIO PLAYS BEETHOVEN CVLD 265 TWO COUNTRIES ONE HEART CVLD 271 MASSIMO GON PLAYS CHOPIN CVLD 278 IN VOLO CVLD 277 RAIDERS OF THE LOST MUSIC CVLD 284 WHEN YOUR DRUMMER HAS GONE CVLD 285 FIL ROUGE CVLD 280 SHAPE CVLD 281 Almerigo Girotto - Liriche da camera per voce e pianoforte CVLD 282 SORTILEGES CVLD 279 ROOTS CVLD 286 NINNI ARINI CANTA LUIGI TENCO CVLD 289 WOOD 3 CVLD 287 ITALIANA ! CVLD 288 RIFLESSI IN CONTRASTO CVLD291 GLI INVISIBILI CVLD 315 BEETHOVEN IN TRIO CVLD292 W.A. MOZART - WIND CONCERTS CVLD294 JAZZ NATURE CVLD 296 MUSICAL PORTRAITS CVLD 299 TERRA MATER CVLD 293 FLUTE CONCERTOS CVLD 298 LANDSCAPES - Classic Piano Solo CVLD 297 PETITE MESSE SOLENNELLE - Original Version for 12 Soloists CVLD 300 HOT WIRE Live Recording CVLD 295 MINUTES OF GOLD CVLD 301 ORIGINAL COMPOSITIONS FOR PIANO CVLD 304 GUSTAV MAHLER - Symphony N. 1 in D Major, Titan CVLD 307 AT TIME IT IS CVLD 303 CLOSE-LAMB-WHITE-WALLS CVLD 306 AUDIOPHILE MUSICAL JOURNEY CVLD 309 J.S. BACH CVLD 310 PIAZZOLLA - SOLO PIANO CVLD 312 VOCI DI LUNA 2 CVLD 316 ILLEGAL LOVE 2 CVLD 318 HEART/STRINGS CVLD 317 ITALO BAIANA CVLD 319 ORGAN WARS CVLD 320 MINGUS WORLD CVLD 321 SE FOSSI UNA RONDINELLA CVLD 323 QUATTRO CVLD 322 BACH - ALTERNATIVE HARPSICHORD CONCERTOS CVLD 325 THE OTHER GIRL CVLD 324 CATCH ME CVLD 330 WITHIN & WITHOUT - Homage to Rakhmaninov CVLD 329 ODYSSEIA CVLD 327 CELLO SONATAS CVLD 328 JOHANN SEBASTIAN BACH CVLD 332 TO RUSSIA WITH LOVE CVLD 331 KD CVLD 276 KHOREIA CVLD336 KURT! CVLD333 Johann Sebastian Bach - Cello Suites For Harpsichord CVLD335 JUST FOR YOU! CVLD 337 The Planets CVLD338 Mano Sucias, Alejandro S. Martinez and The Latin Jazz Big Band  CVLD344 Miroirs de la musique CVLD343 Furious Dance (crossover orchestra) CVLD342 PARMA - Hidden and Imaginary Landscapes CVLD349 LATIN JAZZ BAND - 2022 Edition CVLD350 Carlo Graziani-Walter, "AL MONDO MUSICALE" CVLD347 DREAMLAND CVLD339 Liszt Piano Transcriptions, Eliana Grasso CVLD345 Stick To Duke CVLD351 Retrato Brasileiro CVLD346 ViPerArp Trio CVLD353 Sonriendo te vas CVLD354 W2TF CVLD360 LIVING BLUES - THE ITALIAN RECORDINGS CVLD359 AMBRA CVLD362 PROJECT ONE CVLD363 Two For The Road CVLD 364 Sergej Rachmaninov - Études Tableaux CVLD361 L’UCCELLAJA CVLD369 Frequency Of Humanity CVLD366 Le radici di una intolleranza CVLD367 Gira l'anima CVLD373 Double Time CVLD365A Papier-Maché  

ITALIAN MUSIC FOR GUITAR AND PIANO - GOLD CD (with free 2015 CD version)

€ 21,90

New remastering of the CD ITALIAN MUSIC FOR GUITAR AND PIANO (you will receive the free CD of 2015 and so you can discover the sound differences between the two editions) ITALIAN MUSIC FOR PIANOFORTE AND GUITAR It is generally believed that the union between pianoforte and guitar presents a complicated rebus for composers and musicians alike: the acoustics and approach of these two instruments make them too unbalanced to be blended, too different in levels of volume and too divergent in their "thought processes" or construction of harmonies. In short, when played together, the pianoforte and guitar tend to prove almost incompatible. Furthermore, if the guitar lacks amplification support, even at a minimal level, the pianoforte needs to be played almost always with extreme delicacy. Despite these factors and the usual perceptions, many composers, above all in the twentieth century, have achieved splendid results with the masterful use of the ‘full’ and ‘thin’ sounds of the respective instruments, by paying particular attention to a non-conventional dialogue between them, subtle composition and, of course, a good dose of instinct, which is never a bad thing. The disk in your hands proves these triumphs and contains a collection of original works for guitar and pianoforte composed between 1950 and today, both from renowned and less renowned Italian composers. The journey begins back in 1950 with one of the composers whose name, intentionally or not, is synonymous with the guitar, namely the Florentine Mario Castelnuovo-Tedesco (1895-1968) who wrote Fantasia op. 145 in two brief witty movements dedicating it to Andrés Segovia and his pianist wife Francesca ‘Paquita’ Madriguera Rodon. A miracle of balance that recalls the inescapable French influences while displaying its exuberant and personal inspiration from opera, it oscillates between an atmosphere that pays homage to Spain and an entirely Italian, or rather Tuscan lyricism. Another two-part composition entitled Fantasia consists of a single movement written in October 1979 by Brescian composer Franco Margola (1908-1992), that was dedicated to the duo formed by guitarist Guido Margaria and his wife, Emilia. Although this quiet, neo-Baroque piece does not integrate the two instruments to the same level as that of Mario Castelnuovo Tedesco, it still succeeds in creating a dialogue between the two instruments, cleverly alternating rather than overlapping the two sounds. From a stylistic viewpoint, Margola drifts between hints of Bach and pleasant flashes of eighteenth century Italy. Another track dedicated to the Margaria duo is the short piece entitled Improvviso, composed between November 1979 and the spring of 1980, not too different from the atmospheres of the former track, making it seem like an appendix in triple time that mixes the initial mazurka with a persistent neo-Baroque ensemble. Fantasia is yet another piece dedicated to the Margaria duo, and was written in 1980 by Carlo Mosso (1931-1995), who spent his early years in France before settling in Piedmont. This piece is meditative and restless, rigid, rich in archaisms yet at the same time modern and intentionally rough, built on a handful of melodic cells that are linked together and in certain points are reminiscent of the works of Frank Martin from Switzerland and the popular Italian composer Gian Francesco Malipiero. The piece entitled Divertimento a due was composed by Padua-born Adrano Lincetto (1936-1996) and is divided into three movements (Molto lento. Poco mosso – Allegro molto – Finale. Molto moderato and cantabile. Allegro vivo). Beyond any doubt, it is less enigmatic and a far cry from modern and postmodern complications, in its intricate modal style with numerous seventh chords. This rich compilation ends with two tracks that were written specifically for and dedicated to Lapo Vannucci and Luca Torrigiani. Il silenzio del tempo by Turin composer, Luigi Giachino (1962), was written in 2015 and is a suite in four movements, with notes of jazz and whispers of other, almost impressionist styles. In a six-minute track, the totally different Winter Time, written by Sicilian composer Giuseppe Crapisi (1967) proposes a blend of bold, repetitive and headstrong gestures typical of a minimalist yet more melanchonic style. In this case, the two instruments rarely alternate but often blend their sounds, now delicate, now rhythmic, in a largely contemporary key. Ennio Speranza    

These Foolish Things | Cheryl Porter - Masterclone 24K GOLD CD

€ 69,00

These Foolish Things - CHERYL PORTER individually made one by one Only 40 pieces available on Gold 24K CD! Masterclone 24K GOLD CD Cheryl Porter, voice Kyle Gregory, trumpet and flugelhorn Paolo Birro, Grandpiano Salvatore Maiore, doublebass Roberto Dani, drums 4 tracks 24bit / 96kHz “live in studio” original recording at Auditorium Pollini, Padova, on August, 27 – 28, 2001 using the fabolous NAGRA DII Production: Marco Lincetto for VELUT LUNA Recording, mix and mastering: Marco Lincetto Nagra technical consultant on stage: Maurizio Argentieri Design and Layout: L’Image Cover photo: Diego Landi Analog remix and remastering made by Marco Lincetto at MLStudio in Naquera (Spain) on May, 2024

ELLE: American Songbook - Masterclone 24K GOLD CD

€ 69,00

ELLE: American Songbook individually made one by one Only 40 pieces available on Gold 24K CD! Masterclone 24K GOLD CD The magical encounter between an inspired Giorgio Gaslini and a young but already established and appreciated singer. Standards that have made the history of jazz sung as Over the Rainbow, Smoke gets in your Eyes, It’s only a Paper Moon, My Funny Valentine, I loves you Porgy, You go to my head. Exceptional guests were Roberto Dani, Domenico Nordio and the Tiger Dixie Band.  

Papier-Maché (LP 180gr. su Top Clear Vinyl + GOLD CD + FILE HD)

€ 70,90 € 59,00

PREVENDITA (consegna prevista 15 giugno) UNA STORIA MISTERIOSA “Don Antonio, non dovete portare nella tomba il segreto delle vostre chitarre…” “…mi è impossibile tramandarlo ai posteri” Quello della Papier-Mâché di Torres è stato un caso unico nella storia della liuteria non solo chitarristica: Antonio de Torres (1817-1892), considerato oggi lo Stradivari delle sei corde, fu il primo e, che si sappia, l’unico a costruire nel 1862 un esemplare di strumento Papier-Mâché. Questa chitarra, paradossalmente, a dispetto della sua apparente umiltà, restituisce un mondo sonoro affascinante, misterioso e unico. Dal momento che l’originale, conservato al Museo della Musica di Barcellona, non e’ più in grado di esprimere la propria voce, l’album ha lo scopo di far riscoprire e rivivere le peculiari caratteristiche timbriche e sonore di questo interessante strumento attraverso l’utilizzo di due copie ad esso ispirate. Il liutaio Fabio Zontini ha raccolto la sfida lanciata da Torres e da quasi vent’anni si occupa della costruzione di copie Papier-Mâché. I due esemplari utilizzati da Federica Artuso per la registrazione sono stati realizzati tra aprile e settembre 2023 e pesano entrambi (incredibilmente) appena 995 grammi. Montano inoltre corde in budello naturale. Zontini ha quindi tracciato una sorta di collegamento con il grande Torres, cogliendo una specie di esperimento-prototipo del liutaio andaluso, e provando con successo a diffonderlo ai giorni nostri. La Papier-Mâché è una sorta di contraddizione vivente proprio per la contrapposizione tra il materiale povero di cui è fatta e il risultato sonoro artisticamente sorprendente. E ispirandosi a questa contrapposizione, è stato registrato un programma emblematico di quel paradosso che incarna l’identità della chitarra, sempre in bilico tra l’anima povera, autentica e popolare da un lato e l’Olimpo della musica colta dall’altro. Le musiche qui registrate sono tutte di chitarristi-compositori che sono vissuti all’epoca della chitarra di cartone o che hanno avuto a che fare con gli strumenti di Torres. Questi chitarristi sono parte di quella tradizione esecutiva e di quella poetica sonora di cui la Papier-Mâché è emblema. Alcuni dei brani, pur essendo stati scritti da compositori non chitarristi, fanno parte di quel repertorio in cui più si identificano le sei corde. Arcas e Parga* tentarono di elevare la chitarra a strumento colto, senza riuscire ad emanciparsi totalmente dalle reminiscenze flamenche. Il loro stile si adatta perfettamente all’essenzialità arcaica del suono della Papier-Mâché e le loro musiche, pur fortemente radicate nel linguaggio popolare, ci conducono poco per volta allo stile borghese e salottiero di Garcia Tolsa* e di Tarrega, allievi di Arcas. La loro musica non è più soltanto per coloro a cui scorre nelle vene sangue flamenco o per quelli che ritengono l’opera lirica l’unica musica colta. È musica che piace agli intellettuali e, se ammette qualche danza, lo fa a patto che sia da salotto. Dal punto di vista dei musicisti, a differenza dei suoi predecessori, Tarrega riesce a confezionare gli slanci espressivi in forme totalmente compiute. Miguel Llobet, allievo di Tarrega, è noto come compositore soprattutto per la sua versione chitarristica delle Canciones populares catalanas. Nella parte di programma che lo riguarda si propone anche un repertorio di cui non è autore, ma che lo rappresenta fedelmente e dove si colgono tutte le novità portate dal suo estro creativo, che fanno emergere ciò che della chitarra è più caratteristico. Maria Luisa Anido fu allieva di Llobet, nonché sua partner in duo di chitarre. La musicista argentina fu una tra gli ultimi chitarristi negli anni ’50 ad utilizzare le corde in budello -ormai difficilmente reperibili- e, tra l’altro, fu proprietaria proprio della Torres di Tarrega (1864, FE17). Anido è l’emblema dell’immagine della chitarra come spartiacque tra il mondo della musica folklorica e quella della musica colta, contrapposizione che probabilmente non si risolverà mai completamente. Ce lo dimostrano le sue irresistibili trascrizioni dai grandi classici come Bach, Mozart, Tchaikowsky e i suoi brani sudamericani, pulsanti di energia indigena. I brani di Parga e Garcia Tolsa non sono contenuti nella versione in vinile. Leggi tutto sul nostro blog DISPONIBILE ANCHE IN:  LP 180gr. su Top Clear Vinyl - GOLD CD

Papier-Maché - GOLD CD

€ 21,90

UNA STORIA MISTERIOSA “Don Antonio, non dovete portare nella tomba il segreto delle vostre chitarre…” “…mi è impossibile tramandarlo ai posteri” Quello della Papier-Mâché di Torres è stato un caso unico nella storia della liuteria non solo chitarristica: Antonio de Torres (1817-1892), considerato oggi lo Stradivari delle sei corde, fu il primo e, che si sappia, l’unico a costruire nel 1862 un esemplare di strumento Papier-Mâché. Questa chitarra, paradossalmente, a dispetto della sua apparente umiltà, restituisce un mondo sonoro affascinante, misterioso e unico. Dal momento che l’originale, conservato al Museo della Musica di Barcellona, non e’ più in grado di esprimere la propria voce, l’album ha lo scopo di far riscoprire e rivivere le peculiari caratteristiche timbriche e sonore di questo interessante strumento attraverso l’utilizzo di due copie ad esso ispirate. Il liutaio Fabio Zontini ha raccolto la sfida lanciata da Torres e da quasi vent’anni si occupa della costruzione di copie Papier-Mâché. I due esemplari utilizzati da Federica Artuso per la registrazione sono stati realizzati tra aprile e settembre 2023 e pesano entrambi (incredibilmente) appena 995 grammi. Montano inoltre corde in budello naturale. Zontini ha quindi tracciato una sorta di collegamento con il grande Torres, cogliendo una specie di esperimento-prototipo del liutaio andaluso, e provando con successo a diffonderlo ai giorni nostri. La Papier-Mâché è una sorta di contraddizione vivente proprio per la contrapposizione tra il materiale povero di cui è fatta e il risultato sonoro artisticamente sorprendente. E ispirandosi a questa contrapposizione, è stato registrato un programma emblematico di quel paradosso che incarna l’identità della chitarra, sempre in bilico tra l’anima povera, autentica e popolare da un lato e l’Olimpo della musica colta dall’altro. Le musiche qui registrate sono tutte di chitarristi-compositori che sono vissuti all’epoca della chitarra di cartone o che hanno avuto a che fare con gli strumenti di Torres. Questi chitarristi sono parte di quella tradizione esecutiva e di quella poetica sonora di cui la Papier-Mâché è emblema. Alcuni dei brani, pur essendo stati scritti da compositori non chitarristi, fanno parte di quel repertorio in cui più si identificano le sei corde. Arcas e Parga* tentarono di elevare la chitarra a strumento colto, senza riuscire ad emanciparsi totalmente dalle reminiscenze flamenche. Il loro stile si adatta perfettamente all’essenzialità arcaica del suono della Papier-Mâché e le loro musiche, pur fortemente radicate nel linguaggio popolare, ci conducono poco per volta allo stile borghese e salottiero di Garcia Tolsa* e di Tarrega, allievi di Arcas. La loro musica non è più soltanto per coloro a cui scorre nelle vene sangue flamenco o per quelli che ritengono l’opera lirica l’unica musica colta. È musica che piace agli intellettuali e, se ammette qualche danza, lo fa a patto che sia da salotto. Dal punto di vista dei musicisti, a differenza dei suoi predecessori, Tarrega riesce a confezionare gli slanci espressivi in forme totalmente compiute. Miguel Llobet, allievo di Tarrega, è noto come compositore soprattutto per la sua versione chitarristica delle Canciones populares catalanas. Nella parte di programma che lo riguarda si propone anche un repertorio di cui non è autore, ma che lo rappresenta fedelmente e dove si colgono tutte le novità portate dal suo estro creativo, che fanno emergere ciò che della chitarra è più caratteristico. Maria Luisa Anido fu allieva di Llobet, nonché sua partner in duo di chitarre. La musicista argentina fu una tra gli ultimi chitarristi negli anni ’50 ad utilizzare le corde in budello -ormai difficilmente reperibili- e, tra l’altro, fu proprietaria proprio della Torres di Tarrega (1864, FE17). Anido è l’emblema dell’immagine della chitarra come spartiacque tra il mondo della musica folklorica e quella della musica colta, contrapposizione che probabilmente non si risolverà mai completamente. Ce lo dimostrano le sue irresistibili trascrizioni dai grandi classici come Bach, Mozart, Tchaikowsky e i suoi brani sudamericani, pulsanti di energia indigena. I brani di Parga e Garcia Tolsa non sono contenuti nella versione in vinile. Leggi tutto sul nostro blog DISPONIBILE ANCHE IN:  LP 180gr. su Top Clear Vinyl -  BUNDLE

Papier-Maché (LP 180gr. su Top Clear Vinyl)

€ 49,00

UNA STORIA MISTERIOSA “Don Antonio, non dovete portare nella tomba il segreto delle vostre chitarre…” “…mi è impossibile tramandarlo ai posteri” Quello della Papier-Mâché di Torres è stato un caso unico nella storia della liuteria non solo chitarristica: Antonio de Torres (1817-1892), considerato oggi lo Stradivari delle sei corde, fu il primo e, che si sappia, l’unico a costruire nel 1862 un esemplare di strumento Papier-Mâché. Questa chitarra, paradossalmente, a dispetto della sua apparente umiltà, restituisce un mondo sonoro affascinante, misterioso e unico. Dal momento che l’originale, conservato al Museo della Musica di Barcellona, non e’ più in grado di esprimere la propria voce, l’album ha lo scopo di far riscoprire e rivivere le peculiari caratteristiche timbriche e sonore di questo interessante strumento attraverso l’utilizzo di due copie ad esso ispirate. Il liutaio Fabio Zontini ha raccolto la sfida lanciata da Torres e da quasi vent’anni si occupa della costruzione di copie Papier-Mâché. I due esemplari utilizzati da Federica Artuso per la registrazione sono stati realizzati tra aprile e settembre 2023 e pesano entrambi (incredibilmente) appena 995 grammi. Montano inoltre corde in budello naturale. Zontini ha quindi tracciato una sorta di collegamento con il grande Torres, cogliendo una specie di esperimento-prototipo del liutaio andaluso, e provando con successo a diffonderlo ai giorni nostri. La Papier-Mâché è una sorta di contraddizione vivente proprio per la contrapposizione tra il materiale povero di cui è fatta e il risultato sonoro artisticamente sorprendente. E ispirandosi a questa contrapposizione, è stato registrato un programma emblematico di quel paradosso che incarna l’identità della chitarra, sempre in bilico tra l’anima povera, autentica e popolare da un lato e l’Olimpo della musica colta dall’altro. Le musiche qui registrate sono tutte di chitarristi-compositori che sono vissuti all’epoca della chitarra di cartone o che hanno avuto a che fare con gli strumenti di Torres. Questi chitarristi sono parte di quella tradizione esecutiva e di quella poetica sonora di cui la Papier-Mâché è emblema. Alcuni dei brani, pur essendo stati scritti da compositori non chitarristi, fanno parte di quel repertorio in cui più si identificano le sei corde. Arcas e Parga* tentarono di elevare la chitarra a strumento colto, senza riuscire ad emanciparsi totalmente dalle reminiscenze flamenche. Il loro stile si adatta perfettamente all’essenzialità arcaica del suono della Papier-Mâché e le loro musiche, pur fortemente radicate nel linguaggio popolare, ci conducono poco per volta allo stile borghese e salottiero di Garcia Tolsa* e di Tarrega, allievi di Arcas. La loro musica non è più soltanto per coloro a cui scorre nelle vene sangue flamenco o per quelli che ritengono l’opera lirica l’unica musica colta. È musica che piace agli intellettuali e, se ammette qualche danza, lo fa a patto che sia da salotto. Dal punto di vista dei musicisti, a differenza dei suoi predecessori, Tarrega riesce a confezionare gli slanci espressivi in forme totalmente compiute. Miguel Llobet, allievo di Tarrega, è noto come compositore soprattutto per la sua versione chitarristica delle Canciones populares catalanas. Nella parte di programma che lo riguarda si propone anche un repertorio di cui non è autore, ma che lo rappresenta fedelmente e dove si colgono tutte le novità portate dal suo estro creativo, che fanno emergere ciò che della chitarra è più caratteristico. Maria Luisa Anido fu allieva di Llobet, nonché sua partner in duo di chitarre. La musicista argentina fu una tra gli ultimi chitarristi negli anni ’50 ad utilizzare le corde in budello -ormai difficilmente reperibili- e, tra l’altro, fu proprietaria proprio della Torres di Tarrega (1864, FE17). Anido è l’emblema dell’immagine della chitarra come spartiacque tra il mondo della musica folklorica e quella della musica colta, contrapposizione che probabilmente non si risolverà mai completamente. Ce lo dimostrano le sue irresistibili trascrizioni dai grandi classici come Bach, Mozart, Tchaikowsky e i suoi brani sudamericani, pulsanti di energia indigena. I brani di Parga e Garcia Tolsa non sono contenuti nella versione in vinile. Leggi tutto sul nostro blog DISPONIBILE ANCHE IN:  GOLD CD - BUNDLE

ROBERTO JONATA SPECIAL BOX

€ 61,90 € 33,00

ROBERTO JONATA SPECIAL BOX SOLO 10 BOX  “Shape”, un concept album ispirato ad Andrea Palladio, il grande architetto. Il pianista ci porta in un viaggio emozionale nel mondo di Andrea Palladio e delle sue opere, attraverso il suono evocativo del pianoforte. “Infinity” Dodici brani inediti per pianoforte solo, sbocciati da un cammino introspettivo dell’artista che dedica l’intero album alla musica, come concept universale e messaggio perenne. “Colors” contiene brani composti dallo stesso artista che attinge dalle sonorità proprie della “new classic”, influenzata dal minimalismo romantico che lo contraddistingue. ROBERTO JONATA DIGITAL SPECIAL DIGITAL (versione digitale) SHAPE INFINITY COLORS

Double Time - GOLD CD

€ 21,90

Double Time (GOLD CD) Oscar Del Barba, Piano Solo Inside this CD there are some recordings that concern two different moments of my musical life. Tracks 1 to 5 were recorded in 2018 and the next four in 2012. The first ones are about very famous songs, “classical” standards of jazz while the other pieces are my compositions and two improvisations, not based on a pre-existing theme. So two important aspects of the musical vision of a jazz player: the improvisational aspect and the one related to the composition that often intertwine and coexist not always in a “peaceful” way. I mean, the two things inside me have always been a little conflicted, but in the end, one cannot exist without the other. A special thanks to my family that bears me and supports me for years; a big thanks to Luca Remelli without which this cd could not have been released; thanks to Marco Lincetto for his work and his role as a cultural popularizer, always attentive to the quality of its productions. Thanks to Giancarlo Roberti, to all those who have made me grow musically until today. Oscar Del Barba HD MASTER FILE: HERE

Gira l'anima (GOLD CD)

€ 21,90

Gira l'anima (GOLD CD) Tiziana Cappellino, voice and piano Pietro Ballestrero, guitars Two artists with a very personal style and a strong sensibility. The passion for the musicality and rhythms of Brazil on the one hand and the vitality of jazz on the other gives rise to a meeting in which voice, guitar and piano are intertwined creating fresh arrangements, contamination of styles and worlds. Refined harmonies and improvisation are inextricably linked to the search for the beauty and simplicity of the melodies, be they instrumental, where the sung parts are vocalized without a text, or through real poems, verses put into music. The voice of Cappelino, a Steinway Concert Grand, that has almost a century and the acoustic guitars of Ballestrero, enhanced by the exceptional fidelity of the recording of Marco Lincetto, as usual captured strictly live in the studio, lead the listener on a journey through the different souls that fascinate the authors. From their original songs to themes of great composers such as Pat Metheny or Egberto Gismonti, interspersed with real Brazilian songs with the text translated into Italian, a piece of Noa, and in closing the beautiful "Cara" by Lucio Dalla.