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Enjoy our classical music recording catalogue dedicated to the little-known or unpublished repertoire of great composers and find out the cultural initiatives and events promoted by our Association.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

GEORGE GERSHWIN - THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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RHAPSODY IN BLUE

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.

AVE MARIA 3

VARI

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SPIRITO SANTO

Third volume of the series "Ave Maria", faith and spirituality in great musicians work.

ALEXANDER BORODIN-ANTONIN DVORAK

QUARTETTO DI FIESOLE

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QUARTETTO N 2 IN RE MAGGIORE-SCHERZO

As a genre, the string quartet, or quartet in general, belongs to a classical age and to a definite geographical Austro-Germanic area, not simply as a result of the contributions made by the composers in this region, but also because of a kind of unique conception philosophy that they succeeded in giving to the idea of four instruments. It is no coincidence that Goethe decribed the Quartet as a "conversation between four intelligent people. In terms of both structure and concept it belongs to central Europe and the musical trends that were born here and developed over the years. When "folk" elements from outside this area, especially if from Easten countries come into contact with this form there il always an attempt to preserve their own structure by constructing variegations typical of the geographical areas they originate from. Russian and Czech music are the perfect example of this. In Russia, expecially in the latter half of the nineteenth century the confrontation between western and "autochthonous" cultures gave rise to a twin style; one side of which was sustained by P.I.Tchaikovsky and the other by the so-called Group of Five. Even if Tchaikovsky is supposed to have sustained the West while Mussorgsky, Rimsky Korsakov, Cui, Borodin and Balakirev defended the Holy Mother, Russia, the language of both factions, inevitably contains elements of the other on account of birth and schooling. A. Borodin's Second Quartet composed in 1881 is a good example.

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.

PARADE

TRIO CHITARRISTICO DI ROMA

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LIEDER PARADE-MORITAT

This Cd is a musical journey that takes the listener across several cultural enviroments and contexts including the theatre , the café-chantant, floklore and the cinema. It draws on the musical heritage of Germany, France, Latin America and Italy and it aims to bring to the fore the character and spirit of each individual area. The journey starts from some famous songs written by the derisive Kurt Weil and continues with three French authors who were also connected for a certain period by a human and artistic bond: Eric Satie, George Auric, Francis Poulenc. Then we have an incursion in Latin-American with composer Manuel Maria Ponce and Heitor Villa Lobos. The programme closes with a fantasy based on film music by Nino Rota. Trio Chitarristico di Roma, made up of Fabio Renato D'Ettorre, Marco Cianchi and Fernando Lepri. It was founded in 1983 with the aim of introducing the repertoire that exists for this unusual formation to the ublic and at the same time to present guitar versions of pieces written for other insgruments. The Trio has performed all over Europe, sharing the stage with many internationally acknowledged artists. With Musikstrasse, they also published "Recital" and "Rara" musica del 900.

GEORGE GERSHWIN-THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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THAT CERTAIN FEELING

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.

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

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

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EVENNESS IN DOUBLE

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.

IGOR STRAWINSKY- THE COMPLETE PIANO WORKS

ANTONIO BACCHELLI

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A LA MEMOIRE DE C.A.DEBUSSY

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.

ITALIAN ORGAN WORKS

LUCA SALVADORI

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PRELUDIO IN LA MINORE

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

LUIGI BOCCHERINI- GUITAR WORKS

FERNANDO LEPRI

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QUINTETTO G.448

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.

ZORONGO-OMAGGIO A GARCIA LORCA

ARTURO TALLINI

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EL POLIFEMO D'ORO-ALLEGRETTO

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.

CHAMBER WORKS-GAETANO DONIZETTI

POLIMNIA ENSEMBLE

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QUARTETTO XVII PER ARCHI

In the bicentenary of Donizetti's birth, Musikstrasse pays homage to the musician from Bergamo with a CD including the instrumental compositions by the author, whose faim is mainly due to operas. Thanks to the delicate, elegant performance of the chamber group Polimnia Ensemble, the recording allows to enjoy chamber pieces ranging from the Clarinet Study to the Oboe and Piano Sonata and the first issue of the Wind Quartet XVII°, that stands in witness of the so-called "Ottocento strumentale italiano" (the Italian Instrumental Tradition of the nineteenth century ), that is to say, of the existence of a musical tradition generally overshadowed by the fame of operas and that is finally being given adequate importance.

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

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

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THE PASSING UNDER THE THUMB-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.

GEORGE GERSHWIN - THE COMPLETE PIANO WORKS

MASSIMILIANO DAMERINI

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S WONDERFUL_FUNNY FACE

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.

AVE MARIA 2

VARI

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FIX ME JESUS

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

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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TRILLS IN THIRDS-ALLEGRO COMODO

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.

HEIFETZ'S TRANSCRIPTIONS

VINCENZO BOLOGNESE-LUISA PRAYER

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VALSE BLUETTE

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.