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

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.

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.

Boccherini's correspondance qith his publisher, Pleyel in Paris, bears witness to the fact that the Six Piano Quintet op. 56, like the similar series op.57, belong to his period of intense creativity in Madrid. The fact that the score was sent to Paris, also shows that the composer was intent on establishing his reputation there, given that the piano was very much in vogue in the city at the time. We also know, however, that the same Quintest had already been performed in Madrid, in the palace of the Mrquis Benavente, in the version for strings and guitar. This version was something of a private affair and was undoubtedly due to the Marquis' predilection perhaps even his gift for the guitarl. The piano version has the merit of giving us an insights into works which would otherwise have been lost forever. The performance does not trumpet the differences, but rather, as Boccherini hoped, exalts the evrchanging nature of light and shade and of stasis and motion.

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 musicianÕs complex and ever-changing path, performing pages in a perfect balance between jazz, popular music and serious music: a witness of a versatile talent.

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.

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.

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.

A collection unmatched up to now, featuring the unusual proposal of three guitars. A most diverse repertoire ranging from classical to popular, including even contemporary compositions by one of the three performers and a clever transcription of Mozart's Fantasia by Luciano Chailly, who has dedicated it to the Trio Chitarristico di Roma (the Rome Guitar Trio), Fabio D'Ettorre, Fernando Lepri and Arturo Tallini. .

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.

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

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.

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.

Boccherini's correspondance qith his publisher, Pleyel in Paris, bears witness to the fact that the Six Piano Quintet op. 56, like the similar series op.57, belong to his period of intense creativity in Madrid. The fact that the score was sent to Paris, also shows that the composer was intent on establishing his reputation there, given that the piano was very much in vogue in the city at the time. We also know, however, that the same Quintest had already been performed in Madrid, in the palace of the Mrquis Benavente, in the version for strings and guitar. This version was something of a private affair and was undoubtedly due to the Marquis' predilection perhaps even his gift for the guitarl. The piano version has the merit of giving us an insights into works which would otherwise have been lost forever. The performance does not trumpet the differences, but rather, as Boccherini hoped, exalts the evrchanging nature of light and shade and of stasis and motion.

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.