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Enjoy our classical music recording catalogue dedicated to the little-known or unpublished repertoire of great composers and find out the cultural initiatives and events promoted by our Association.

KZ MUSIK

The Encylopaedia KZ MUSIK is the only work that collects music composed in concentration camps all over the world, between 1933 and 1945.



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CASTELNUOVO TEDESCO-GUITAR CHAMBER WORKS

ARTURO TALLINI

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FANTASIA PER PIANOFORTE E CHITARRA

Rarely performed and unjustly, almost forgotten, Mario Castelnuovo Tedesco (1895-1968) was first and foremost an Italian composer, despite taking American citizenship in 1939 after anti-semitic persecution in his birth-country. His music clearly belongs with the mainstream of Italian compositions, written between the two Wolrd Wars, the school of what we moght define the moderate modernists. Despite having much in common with these composers , Castelnuovo Tedesco's music follows its own original road , an expression of the composer's delicate and refined personality and an approach to music which is consistently elegant, never descending into vulgarity or discordancy for fashion's sake. Arturo Tallini performed in Italy and in all European countries , both as a soloist and also appearing with Chamber groups and orchestra .He was a guest in many important international events . In 2006 he wrote and directed for Radio Vaticana a programme about guitar called "Guitar, an instrument of human feeling".

RUSSIAN PIANO WORKS - BORODIN,GLAZUNOV,LJADOV,SKRJABIN

VLADIMIR SOFRONIZKIJ

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FOUR PRELUDES

This CDs is a tribute to the legendary Russian pianist and his magic touch and contain invaluable first issues that stand in witness of Sofrinitzskij?s talent, only aknowledged after his death (Moscow, 1961). We are confronted to an artist who makes us still appreciate his peculiar way of playng the piano, making it almost sing, and his quick-phrased style, especially detectable in the pieces where he plays his favourite Chopin and Skriabin, who was his father-in-law. Top-quality remastering makes it possible to enjoy such unforgettable recordings dating back to 1959 in Moscow.

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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CHANGING THE FINGERS ON ONE AND THE SAME KEY-MOLTO ALLEGRO

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

GEORGE GERSHWIN-THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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DO-DO-DO

collection of George Gershwin's piano works. Helped by his sense of rhythm and his virtuoso hand, Maestro Massimiliano Damerini follows the american musicianŐs complex and ever-changing path, performing pages in a perfect balance between jazz, popular music and serious music: a witness of a versatile talent.

LUIGI BOCCHERINI-GUITAR WORKS

F.LEPRI-G.GALIA-QUARTETTO DI ROMA

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QUINTET IN D MAJOR G.448

This is a didactic cd including some compositions of Luigi Boccherini as instrumental bases that on one hand can contribute to the formation or extension of a chamber music repertoire and on the other hand create a stimulus to play real ensemble music. The pieces were recorded without the guitar. This was added later in order to show that gratifying results can be obtained by playing over a pre-recorded base. This CD is very easy to use: you need to tune your guitar to an A at 440 hz using a diapason.

GIUSEPPE TARTINI-VIOLIN CONCERTOS

INTERPRETI VENEZIANI

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CONCERTO IN LA MAGG. PER VIOLONCELLO, ARCHI E CONTINUO-ALLEGRO ASSAI

This cd collects violin concerts by Giuseppe Tartini, really important figure within the Italian instrumental schools in the second half of the eighteenth century. Tartini, altough mantaining a high virtuosism, takes distance from the authentic Baroque tradition and anticipates the expressive atmosphere typical of the Classicism. Interpreti veneziani were founded in 1987 by Paolo Cognolato. They played Tartini's work in Venezia and Pirano, performing with a violin that belonged to Tartini himself.

LUCI E OMBRE

FABIO RENATO D'ETTORRE

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TRIPARTITA

"Luci e ombre" 'pass trough spiritual paths in which past and present join inseparably showing the light and the dark side of inwardness'. So runs the preface to the piece for clarinet and guitar, perfect for this entire program. A path strongly influenced by Mediterranean climate, for the soft shades of French elegy, for suspended and incandescent sounds of Queimada and Habanera in Spain, for the magical and bloody Napolitan charm of Tarantella and oriental tones of the TriPartita. In the reference, explicit or only alluded, to neighboring cultural environments, the magic of a symbolic journey and the poetry of a metaphor can live together.

LUIGI BOCCHERINI-GUITAR WORKS

F.LEPRI-G.GALIA-QUARTETTO DI ROMA

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INTRODUCTION AND FANDANGO

This is a didactic cd including some compositions of Luigi Boccherini as instrumental bases that on one hand can contribute to the formation or extension of a chamber music repertoire and on the other hand create a stimulus to play real ensemble music. The pieces were recorded without the guitar. This was added later in order to show that gratifying results can be obtained by playing over a pre-recorded base. This CD is very easy to use: you need to tune your guitar to an A at 440 hz using a diapason.

AVE MARIA 1

VARI

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PREGHIERA

Faith and spirituality in great musicians work. Music by Schubert, Rossini, Tchajkovskij, Schumann, Puccini and many more. The three cds in the series "Ave Maria" were distributed by the newspaper "L'unitŕ".

HEIFETZ'S TRANSCRIPTIONS

VINCENZO BOLOGNESE-LUISA PRAYER

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ETUDE-TABLEAU

Performed by the young violinist Vincenzo Bolognese, this CD includes all famous transcriptions by Jascha Heifetz, one of the most renowned violinists in the history of music. A collection of well-known themes by various composers, from Mozart to Prokofiev, from Chopin to Godowsky, already recorded by Heifetz himself and by the greatest performers. An important album therefore, for the young Vincenzo Bolognese and also a recording full of interest in its own right.

GEORGE GERSHWIN-THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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THREE-QUARTER BLUES

collection of George Gershwin's piano works. Helped by his sense of rhythm and his virtuoso hand, Maestro Massimiliano Damerini follows the american musicianŐs complex and ever-changing path, performing pages in a perfect balance between jazz, popular music and serious music: a witness of a versatile talent.

LUIGI BOCCHERINI- GUITAR WORKS

FERNANDO LEPRI

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TUNING A 440 HERTZ

GEORGE GERSHWIN - THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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FASCINATIN BLUES

A new edition of the collection of George Gershwin's piano works. Helped by his sense of rhythm and his virtuoso hand, Maestro Massimiliano Damerini follows the american musicianŐs complex and ever-changing path, performing pages in a perfect balance between jazz, popular music and serious music: a witness of a versatile talent.

KZ MUSIK VOL.1

A.DE LEONARDIS/L.GRANATIERO/L.APRILE/A.S

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V NEPRATELSKE ZEMI

GEORGE GERSHWIN-THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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IMPROMPTU IN TWO KEYS

collection of George Gershwin's piano works. Helped by his sense of rhythm and his virtuoso hand, Maestro Massimiliano Damerini follows the american musicianŐs complex and ever-changing path, performing pages in a perfect balance between jazz, popular music and serious music: a witness of a versatile talent.

GIOACHINO ROSSINI-ALBUM POUR LES ENFANTS ADOLESCENTS

MICHELE CAMPANELLA

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PREMIERE COMMUNION

One of the most prestigious Musikstrasse productions is the CD recorded by Maestro Michele Campanella, that features Rossini's "Album pour les enfants adolescents", an excerpt from the wider collection of Péchés de vieillesse, seldom recorded. Owing to the Neapolitan Maestro's outstanding skills, the CD constitutes an absolute musical and documentary rarity.

LUIGI BOCCHERINI-GUITAR WORKS

F.LEPRI-G.GALIA-QUARTETTO DI ROMA

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QUINTET IN D MAJOR G.448

This is a didactic cd including some compositions of Luigi Boccherini as instrumental bases that on one hand can contribute to the formation or extension of a chamber music repertoire and on the other hand create a stimulus to play real ensemble music. The pieces were recorded without the guitar. This was added later in order to show that gratifying results can be obtained by playing over a pre-recorded base. This CD is very easy to use: you need to tune your guitar to an A at 440 hz using a diapason.

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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LIGHT MOTION IN QUIET STACCATO-ALLEGRO MOLTO

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

C.CZERNY-THE ART OF FINGER DEXTERITY-OP.740

M.MOSCA-V.BRESCIANI-S.CAFARO-F.CARAMIELL

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TO ACQUIRE A FIRM TOUCH-VIVACE

The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.

LUIGI BOCCHERINI-6 QUINTETTI OP.56

QUARTETTO ELISA-PIERO BARBARESCHI

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VI QUINTETTO(G.412)

Six Piano Quintet op. 56 belong to the period of Boccherini's intense creativity. Each piece was conceived to stand apart from the others , in terms of overall sound, rhythmic progression and harmonic arrangement, but also because the construction of their internal form is based on something unforseeable, on an elemnt of surprise or on a wilful teasing the imagination. The work are performed by Piero Barbareschi (piano) and by Elisa Quartet.