Мир Леонардо. 1452 1519.

Eduardo Paniagua, Música Antigua - La viola organista de Leonardo da Vinci (2011) {Pneuma PN-1340}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 309 Mb | MP3 @320 -> 129 Mb
Full Artwork @ 300 dpi (jpg) -> 24 Mb | 5% repair rar
© 2011 Pneuma | Colección Histórica-Renacimiento Series | PN-1340
Classical / Renaissance / 15th Century / 16th Century / Early Music / Viola organista

A Concert of Renaissance Music played on instruments designed by Leonardo da Vinci (1452-1519). This recording is an adventure through music which brings us closer to one of the most brilliant and unsettling characters in history. Leonardo da Vinci worked in nearly all the branches of knowledge that existed at his time, including music, although he is best known as the artist who painted the Gioconda or the Last Supper in Milan. He was a painter, draughtsman, sculptor, engineer, architect, musician, philosopher and inventor. He personified the great Renaissance era more than almost anybody else.

Bill Evans - Sunday At The Village Vanguard (1961) {Riverside Japan, VDJ-1519, Early Press}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 268 Mb | MP3 @320 -> 101 Mb
Full Artwork @ 600 dpi (png) -> 144 Mb | 5% repair rar
© 1961, 1985 Riverside / Victor Japan | VDJ-1519
Jazz / Modal Music / Post Bop / Piano

This release presents music from the legendary 1961 Village Vanguard sets by the Bill Evans Trio. It would mark the last recording by the formation of the group with Scott LaFaro on bass, and Paul Motian on drums, as LaFaro died ten days later on July 6, 1961, at the age of 25. Evans, who loved LaFaro’s playing, would take a long hiatus before forming a new trio.

Leonardo da Vinci (1452–1519) is generally characterized nowadays as a “universal genius”, although any attempt to apply this term to a figure from the 15th or 16th centuries is not without its problems. After all, the view that an individual whose creative endeavours came from within himself was a “genius” is a radical innovation of the 17th and 18th centuries. Prior to that date it had not been the originality of the creative endeavour that was decisive for its status as a work of art but the category of imitatio – the artist’s ability to take his cue from models created by older authorities. Only in aemulatio – the artist’s desire to compete with and surpass his rivals – was there any scope for innovation. The present recording is largely centred around the frottola, a musical genre that emerged in Leonardo’s day from Upper Italian courts such as those of the House of Este (no. 10) and that is illustrated by pieces like Il marchese di Salutio (no. 1). The frottola quickly spread to the rest of Europe thanks not least to the printed editions produced by Ottaviano Petrucci. Among the composers who are mentioned by name, Bartolomeo Tromboncino (no. 18) and Marchetto Cara (nos. 5, 8 and 14) are among the frottola’s leading representatives.