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

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

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EXERCISE IN THIRDS-ALLEGRO 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.

GABRIEL URBAIN FAURE'-BARCAROLLES

MASSIMILIANO DAMERINI

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BARCAROLLES N. 8 IN D FLAT OP.96

In the panorama of the late nineteenth century piano music, Gabriel Fauré's work is particularly rich in distinctive detail and innovation. Just as Proust tempted his readers to the pleasure of literature with digressions and deliberately "irritating" descriptions, Fauré's compositions for pianoforte are a quest for harmonic and tonal suggestionwithin a structure that never disturbs the pleasure of listening or performance. Unfortunately his scores are not often played in the concert hall, perhaps because of the commitment and attitude they demand of both the performer and the listener. The Barcarolles, like Fauré's Nocturnes, seem to have run parallel to the life of the composer and in these genres it is easy to find two moods and two manners of expression blended together. Massimiliano Damerini. Graduated in piano studies and composition under Alfredo They and Martha Del Vecchio in his hometown of Genova. Regarded as one of the most representative musicians of his generation, he has played in many of the major international theatres and concert Halls.

GIOACHINO ROSSINI-MUSICA DA CAMERA

POLIMNIA ENSEMBLE

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PRELUDE THEME ET VARIATIONS POUR COR AVEC ACCOMPAGNAMENT DE PIANO

This is both the first CD issued by Musikstrasse and the first recording experience of the Polimnia Ensemble, a group of Italian artists including conservatory teachers and leading musicians from Italy's main orchestras. This collection contains Rossini chamber works, ranging from brief, simple compositions, both vocal and instrumental, to brilliant, virtuoso excerpts, characterized by the rich timbre of the orchestra ensemble. Among the pieces played here are few famous ones - i.e. Une Larme for cello and piano - along with rarities such as Toast pour le nouvel an, for four voices.

ITALIAN ORGAN WORKS

LUCA SALVADORI

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PRELUDIO IN RE MINORE

Luca Salvadori performs some organ works composed by Respghi, Martucci, Busoni, Alfano and others.

ZORONGO-OMAGGIO A GARCIA LORCA

ARTURO TALLINI

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CANCIONES POPULARE ESPANOLES-ANDA JALEO

In this cd, guitarist Arturo Tallini and jazz singer Ada Montellanico perform songs by spanish poet Federico Garcia Lorca. Tallini, in his trascription, stroves to add colours and images, altough, retaining their harmonic fabric which is the most significant relationship that Lorca had with the folk tradition.

GIUSEPPE TARTINI-VIOLIN CONCERTOS

INTERPRETI VENEZIANI

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CONCERTO IN SI MIN.PER VIOLINO,ARCHI E CONTINUO D.125-LARGHETTO(

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.

PARLAMI D'AMORE MARIU'-SERIE MUSIKSTRASSE

LEO NUCCI E SALOTTO OTTOCENTO ENSEMBLE

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VIOLINO TZIGANO

This CD is a tribute to the unforgettable italian songs composed by Cesare Andrea Bixio, performed by one of the most famous italian opera singer: the baritone Leo Nucci. The music is arranged for the chamber group"Salotto Ottocento Ensemble" by M° Paolo Marcarini, pianistand conductor of the Ensemble. "Il Tango delle capinere", "Violino Tzigano", "La mia canzone al vento", "Torna piccina", "La Strada nel bosco" and many other melodies including the most famous, Mamma, and the most widely hummed, "Parlami d'Amore Mariù" that entitled this cd.

NAPOLI, BELLA NAPOLI

ENSEMBLE VOCI ITALIANE

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MMIEZZO O GRANO

The songs on this record cover an entire century of Neapolitan melodies and two important historical periods in its evolution. The first, in the nineteenth century, saw the coming together of the folk tradition and the tipically melodramatic style of singing. This is the period in which composers such as Mercadante, Donizetti and Rossini all make use of Neapolitan style and forms. Another section of the Cd is dedicated to the repertoire drawn from the period between the end of the nineteenth century and the beginning of the twentieth. This was a golden age in the production of Neapolitan music. These are the years of Salvatore Di Giacomo and Francesco Paolo Tosti, two great scholars and interpreters of Neapolitan culture.

IGOR STRAWINSKY- THE COMPLETE PIANO WORKS

ANTONIO BACCHELLI

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RAGTIME

Another outstanding Italian pianist, Antonio Bacchelli prematurely died in 1986; in this double CD, he faces Igor Stravinsky's piano complete work. Musikstrasse reissues this beautiful collection, recorded by Maestro Bacchelli back in 1980 at the Auditorium of Radio Montebeni, that has been universally praised since then.

RUSSIAN PIANO WORKS - BORODIN,GLAZUNOV,LJADOV,SKRJABIN

VLADIMIR SOFRONIZKIJ

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PETITE SUITE

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.

OPERA ARIAS

LEO NUCCI

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DI PROVENZA IL MAR, IL SUOL (LA TRAVIATA)

Italian baritone Leo Nucci performs arias from operas by Giuseppe Verdi, Gioachino Rossini, Ruggero Leoncavallo, Vincenzo Bellini.

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

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

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DELICATE SKIPS AND DETACHED NOTES-ALLEGRO GIOCOSO

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.

AVE MARIA 2

VARI

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L' ANGELO

Spirituality and faith in great musicians work. Music by Donizetti, Mahler, Debussy, Respighi and many more. Second volume in the series distributed by "L'unità"

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.

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.

RARA MUSICA DEL '900

TRIO CHITARRISTICO DI ROMA

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NOTTURNO ELEGIACO

"Rara" musica del `900 is a collection of seven works by European composers to pan various expressions of musical modernity. First issues, scores received as manuscripts from the authors as the works by Gangi (1923), Cavallone (1957), D'Ettorre (1959) and Kleynjans (1951), along with compositions already published, though hardly popular as "Follow the star" by Stephen Dogson(1924) e "Rondo" by Paul Hindemith (1859-1963). Though different in style, they share communicative strenght and intelligibility. The CD ends with "Ultima Rara" (pop song) by Bussotti (1931) which includes a literary text superbly vocalized by actor Paolo Poli.

SAVERIO MERCADANTE-CHAMBER WORKS

POLIMNIA ENSEMBLE

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DECIMINO IN DO MAGG.MINUETTO ALLEGRO BRILLANTE

RUSSIAN PIANO WORKS - BORODIN,GLAZUNOV,LJADOV,SKRJABIN

VLADIMIR SOFRONIZKIJ

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FIVE ETUDES FROM OP.8

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.

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.