Dr. Mario Alonso Puig

«La zona di comfort che ci costa più fatica superare è proprio l'immagine che abbiamo di noi e che corrisponde alla nostra identità, a chi crediamo di essere davvero.» Il segreto per trasformare le sfide in straordinarie opportunità di crescita personale è affrontarle con entusiasmo e sicurezza. Questo manuale ci mostra aspetti sorprendenti e spesso trascurati dell'affascinante relazione tra la mente e ciò che ci succede ogni giorno. Resettare la mente è il primo passo per incrementare l'autostima e allenare capacità come intelligenza, intuito, creatività, leadership e intraprendenza e buttarci alle spalle tutto ciò che ci limita, migliorando la nostra vita e quella di chi ci accompagna in questo sorprendente cammino di rinascita.

The Resonare Fibris project arises from the need to confront times, that is, to put them in dialogue and submit them to a game of mirrors. Superposition and mixture, contraposition, dissolution, decontextualisation, deconstruction… ways of proposing an approach to music that goes beyond proposing a merely contemplative listening to become a challenge: that of achieving an active listening.

Marin Marais (1656–1728) besides being Louis XIV’s court musician, was a prolific composer. He composed both operas, certain of which were very successful, instrumental music and some (lost) religious vocal music. As a viol player he published five books which include some of the most interesting and beautiful music for the viol. These five books also are chock full of performance instructions both for the left hand as well as the bow hand. They are a gold mine for viol players and are as relevant to teaching a musician good technique on the viol nowadays as they were when originally printed in the late seventeenth and beginning of the eighteenth century.

With "Distant Fragments", Camilo Mendez presents an album of solos and duos that showcase his most intimate and reflective works, creating a rich sound tapestry. While Mechanical Resonance I: Iridescent Resonance explores cloud luminescence through prepared violin and viola, Five Fragments deals with the themes of variation and polyphony. Cancion de la Distancia, on the other hand, reflects the fleeting nature of memory and time, inspired by Arturo’s poetry. Recorded by Roberto Alonso, Linus Fung, William Lane, Angus Lee and Charles Ng, this album offers a subtle and complex musical contemplation.

With "Distant Fragments", Camilo Mendez presents an album of solos and duos that showcase his most intimate and reflective works, creating a rich sound tapestry. While Mechanical Resonance I: Iridescent Resonance explores cloud luminescence through prepared violin and viola, Five Fragments deals with the themes of variation and polyphony. Cancion de la Distancia, on the other hand, reflects the fleeting nature of memory and time, inspired by Arturo’s poetry. Recorded by Roberto Alonso, Linus Fung, William Lane, Angus Lee and Charles Ng, this album offers a subtle and complex musical contemplation.

With "Distant Fragments", Camilo Mendez presents an album of solos and duos that showcase his most intimate and reflective works, creating a rich sound tapestry. While Mechanical Resonance I: Iridescent Resonance explores cloud luminescence through prepared violin and viola, Five Fragments deals with the themes of variation and polyphony. Cancion de la Distancia, on the other hand, reflects the fleeting nature of memory and time, inspired by Arturo’s poetry. Recorded by Roberto Alonso, Linus Fung, William Lane, Angus Lee and Charles Ng, this album offers a subtle and complex musical contemplation.

Mokomizik Records is proud to present the first-ever reissue of this ultra-rare Latin-Jazz masterpiece. The Fantastic Variety in the Music of Panama - The Winsor Style and Calypso Impressions was privately released in 1961 by Panamanian pianist and songwriter Alonso Wilson De Briano. Little remains known about Alonso, whose work had all but fallen into obscurity. His unique vision and beautiful compositions however are still shining bright in this true gem of a record.

The music of Camilo Méndez is a melting pot where a seeming gallimaufry of disparate influences coalesces into harmonious, cohesive works of monumental proportions. It draws inspiration from literature and the visual arts, from geography and philosophy, and from experiences lived on multiple continents. While Méndez’s soundworld has an unquestionable affinity with that of European composers like Helmut Lachenmann and his mentors Pierluigi Billone and Rebecca Saunders, the conceptual underpinning of his works is filled with allusions to composers, writers, and visual artists from his native Latin America, and with subtle references to his own professional pursuits and artistic collaborations in North America and Southeast Asia.

To complement the programme, the Cuban composer Calixto Álvarez proposed a richly augmented version of his Folias Americanas. Originally composed in 2012 for viola da gamba and harpsichord, it takes its inspiration from Marin Marais’ emblematic work, Folies d’Espagne and is dedicated to his daughter Calia Álvarez. In his Folias Americanas each of the variations takes the form of a different musical genre from around the Americas. Chacarera, tango, conga and blues line up to offer a rich panorama of the American musical tradition. Is this new, never before performed version, Calixto Álvarez orchestrates his Folias for three viols, baroque guitar and harpsichord obbligato in keeping with Marais’ suites for three viols.