Intermezzi Goldoniani-Antiche Danze ed Arie-Concerto per archi-Crisantemi
Marco Enrico Bossi
Intermezzi Goldoniani op. 127
1. Preludio e minuetto (Allegro con fuoco-Con grazia) 5.59
2. Gagliarda (Vivace) 4.01
3. Coprifuoco (Blandamente) 5.08
4. Minuetto e musetta (Con moto) 3.37
5. Serenatina (Allegretto tranquillo) 3.10
6. Burlesca (Con molto brio) 2.58
Ottorino Respighi
Antiche Danze ed Arie per liuto Terza Suite per archi
7. Ignoto: Italiana (fine del sec. XVI) 2.58
8. Giov. Batt. Besardo: Aria di Corte (sec. XVI) 7.50
9. Ignoto: Siciliana (fine del sec. XVI) 2.57
10. Lodovico Roncalli: Passacaglia (1692) 4.00
Nino Rota
Concerto per archi
11. Preludio (Allegro ben moderato e cantabile) 3.33
12. Scherzo (Allegretto comodo) 3.56
13. Aria (Andante quasi adagio) 4.31
14. Finale (Allegrissimo) 2.57
Giacomo Puccini
Crisantemi
15. Andante Mesto 6.33
Conceived, recorded and produced by Giulio Cesare Ricci
Recorded at Teatro Comunale Francesco Paolo Tosti in Ortona (CH)
Recording date October 22th - 25th, 2008
Recording assistant Paola Liberato
Valve microphones Neumann U47, U 48, M49
mike pre-amplifiers: line, digital, microphone, supply cables Signoricci
recorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A converters
Many thanks for their support: Amministrazione comunale di Ortona and Istituto Nazionale tostiano
Can a twentieth-century serenade exist? Can two apparently antinomic terms be compared? (this is how they were read for a long time). How can the expression of a poetic and musical form chosen as the privileged vehicle of a love relationship (which we often imagine to be saccharine and cloying) be reconciled with the anxiety of renewal, of adhesion to the new, to technology, to the magnificent and progressive fortunes of the early twentieth century? This is the question to which I Musici have attempted to give an artistic answer with Serenata italiana, which leads us through a listening journey that covers a time span from the end of the nineteenth century to the 1960s. The mentor of the musical journey is a figure who in various ways overshadows the lives of the protagonists: Arturo Toscanini.
HI RES AUDIO (Itunes, Amazon, Native DSD..)
Native Dsd
Qobuz
Hd Tracks
High Res Audio
iTunes
Amazon
7 Digital
Tidal
Deezer
Spotify
Intermezzi Goldoniani-Antiche Danze ed Arie-Concerto per archi-Crisantemi
S. Costa, A. Antonov, E. Morozova, F. Zahradnícek, D. Kelly
Wexford Festival Opera Chorus - National Philarmonic Orchestra of Belarus - D. Callegari: conductor
Wexford Festival Opera, 2001
Friedrich Flotow (1812 - 1883)
Alessandro Stradella
Salvatore Accardo – Violin and Conductor Prague Chamber Orchestra
Heyward, Gershwin, Rose, Harburg, Arlen, Ellington, Hart, Rodgers, Marvell, etc.
Gaby Cole: voce, Marco Pezzenati: percussioni
Enzo Pietropaoli: Contrabbasso
Filippo Arlia, pianoforte
Cesare Chiacchiaretta, bandoneon
Fernando Suarez Paz, violino
Cecilia Suarez Paz, voce
Super Audio CD / DSD / Stereo
Riccardo Zegna: pianoforte
Giampaolo Casati: tromba, cornetta, flicorno
Orchestra del Festival “Michelangeli” di Brescia e Bergamo
Agostino Orizio: direttore
Solisti concertanti:
Glauco Bertagnin, Marco Rizzi violino / Giampaolo Guatteri viola / Alfredo Riccardi violoncello
DSD / Stereo
Natural Sound recordings / HiFi Reference / Super Audio CD / DSD / Stereo
MARIELLA DEVIA soprano
FRANCESCA PROVVISIONATO mezzosoprano
ORCHESTRA FILARMONICA MARCHIGIANA
DANIELE CALLEGARI direttore
Super Audio CD / DSD / Stereo
ORCHESTRA DA CAMERA ITALIANA
Salvatore Accardo: Direttore e Solista
ORCHESTRA GIOVANILE ITALIANA
Krzysztof Penderecki: Direttore
Salvatore Accardo: Violino Solista
Natural Sound Recording / Super Audio CD / DSD / Stereo
Eleonora Bianchini: Vocal
Enzo Pietropaoli: Contrabass
Salvatore Accardo: violinista e direttore
Orchestra da Camera Italiana
Brian Smith, sax tenore e soprano - Phil Broadhurst, piano - Andy Brown, Billy Kristian, basso - Frank Gibson, batteria
