D. C. Giancoli, Fisica 2 (ii o Iii Edizione), Casa Editrice Ambrosiana Contiene Ampia Raccolta di Esercizi C. Mencuccini, V. Silvestrini, Fisica II (iv Edizione), Casa Editrice Ambrosiana Contie

New collaboration between Jakub Józef Orliński and Il Pomo d'Oro​ Jakub’s sixth project features music by early baroque composers, including Monteverdi, Caccini, Frescobaldi, Kapsberger, Saracini, Netti, and Jarzębski​ Musicologist Yannis François researched the program and uncovered some extraordinary repertoire, now recorded for the first time (10 world premiere recordings)​ “With that album and this very specifically selected program I want to focus on the general meaning of word "beyond". Mostly to show people that this music is beyond its times. It is still relevant, it is still alive, vibrant, touching, engaging and entertaining.” – Jakub Józef Orliński

This performance from the 1950s sounds surprising after decades of authentic performance. The instruments are modern, the forces large and the style of singing rich, full and almost romantic. Yet the effect is electrifying. All the performers sing with such conviction that this Poppea moved me and it makes some authentic performances sound thin and academic by comparison.

The album marks 45 years since Chailly’s debut at La Scala, and also the signing of his exclusive contract with Decca.

The story of Campo di Marte (named after an area of Florence) is a familiar one in the annals of Italian progressive rock. Like many of their fellow countrymen they released one album and due to a lack of interest and record company promotion split up. In fact the band had already called it a day before the album was released. Nevertheless it remains an important release and well worth seeking out for anyone with more than a passing interest in the genre.
Musically the band played classical influenced symphonic prog alternating with a heavy rock style. Fans of PFM should find much to their liking and parallels can be drawn with De De Lind on the heavier sections. A high standard of musicianship is present and the albums subject matter deals with the futility of war…

Born in Granada in 1934, Antonio Ruiz-Pipó learnt the guitar in his youth but trained as a pianist in Barcelona, where he was taught by Frank Marshall, doyen of the Spanish piano school made famous by Alicia de Larrocha. Further study in Paris refined Ruiz-Pipó’s compositional technique, and he taught at the École Normale from 1977 until his death in 1997.

In musical notation in Germany, the letter ‘h’ is used to represent the note b natural. So, the name ‘Bach’ forms an elegant phrase of two pairs of falling semitones. This proved an inspiration to Johann Sebastian, whose musical ‘signature’ appears again and again throughout his extensive output. Two shining examples are included on this album – the ‘unfinished fugue’ Contrapunctus XIV à 4 from Die Kunst der Fuge (as completed by Lionel Rogg) and the exquisite Ricercar à 6 from Musikalisches Opfer. Bach’s signature – as well as musical invention – has directly influenced scores of other composers down the years, as evidenced by the works included here, from Mendelssohn to Karg-Elert. The organist and, from 2008 until 2021, Assistant Director of Music at St Paul’s Cathedral, Simon Johnson has used his knowledge and insight to construct this programme to demonstrate the extraordinary range and scope of the cathedral’s organ. Expertly recorded by the Chandos technical team, this album provides an outstanding testament to this fine instrument and to the unique acoustic of the world-renowned cathedral in which it sits.