SONATA pour Violon et Piano
Allegretto 9’00”
Blues - Moderato 6’40”
Perpetuum mobile - Allegro 4’15”

Total Time 19'55"


Transcription pour Violon et Piano par Lucien Garban

sur le nom de Gabriel Fauré

PIÈCE 3’07”

TZIGANE 11’45”
Rapsodie de Concert Violon et Piano

Total Time 23'37"

This recording made in Milan in the Ermellino Room recently built next to the 'Vineyard of Leonardo', a stone's throw from the Last Supper.

The perfect acoustics, curated by Andrea Farnetani, and the project by Arch. Elena Borghi have made this house of music unique precisely where Leonardo Da Vinci kept his workshop, near the Duomo, where the great Flemish Maestro Josquin Desprez taught young choristers.

Conceived, recorded and produced by Giulio Cesare Ricci
Recorded in “Sala dell’Ermellino” Casa della Musica, Milano
Recording date 1-2 November 2019
Recording assistant: Paola Liberato
Valve microphones: Neumann U47, U48
Mike pre-amplifiers, cables (line,microphone, supply): Signoricci
Photos by Andrea Micheli

The Master has been implemented with Ampex ATR 102 (Electronic Tube Ampex Model 351 - 1965) 2 tracks, 1/2 inch  30ips modified by David Manley. The Mastering for Vinyl was made by Giulio Cesare Ricci using Signoricci's analog and valve system.

Thanks to Micheli Associati for having granted the "Sala dell'Ermellino" Casa della Musica, Milan for the recording of this album.

With this album the recording collaboration with the great violinist Salvatore Accardo and the pianist Laura Manzini continues, a collaboration and friendship that has seen us linked for 30 years.

In this album Salvatore Accardo and Laura Manzini masterfully interpret 5 pieces for Violin and Piano by the composer Maurice Ravel.

To highlight the SONATA Allegretto / Blues-Moderato / Perpetuum mobile - Allegro   and    KADDISCH

This album was recorded in the Sala dell'Ermellino - Casa della Musica, Milano on 1-2 November 2019

For this prestigious recording I used the legendary original tube microphones Neumann U47, U48

We use pairs of Neumann tube microphones from the years 1947 and 1949 (U47, U48) with a very natural tone using field effect bi-microphone techniques.

These microphones have an important history: they are in fact the original microphones used to record, among others, the Beatles performances in the Abbey Road Studio and by RCA for the “Living Stereo” recordings.

The sound I can capture with these legendary microphones is perfectly in line with my sonic taste.

No other microphone has such a true timbre and the ability to record all the nuances of sound and all the richness of the harmonics.

The uniqueness of these microphones is linked to their ability to make a perfect "sound photograph" and to put the music perfectly placed in the sound space chosen for the recording.

A state-of-the-art system without any sound manipulation, neither equalization, nor reverberation, nor compression and expansion ... but natural sound with true timbre to best enhance the acoustics of the Sala dell'Ermellino.

I realized the Master with Ampex ATR 102 (Electronic Tube Ampex Model 351-1965), 2 tracks, 1/2 inch, 30ips. modified by David Manley.

I realized the mastering for Vinyl using Signoricci's analog and valve sistem.

The result of this recording is fantastic.

With this recording I wanted to make the listener live a unique experience.

It is as if the listener was sitting on an armchair positioned in the ideal point of the Sala dell'Ermellino.

In this position the sound has a field effect and its depth, width and height are very appreciable.

Great dynamics but also great precision.

It's an album not to be missed

giulio cesare ricci


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