Francesco M. Bongiovanni

Europe and the End of the Age of Innocence  eBooks & eLearning

Posted by AvaxGenius at April 2, 2018
Europe and the End of the Age of Innocence

Europe and the End of the Age of Innocence By Francesco M. Bongiovanni
English | PDF,EPUB | 2018 | 318 Pages | ISBN : 3319743694 | 3.71 MB

“Bongiovanni’s message should be heeded, especially in Brussels, Berlin and Paris” – John Peet, Political Editor, The Economist

Europe and the End of the Age of Innocence  eBooks & eLearning

Posted by AvaxGenius at April 18, 2018
Europe and the End of the Age of Innocence

Europe and the End of the Age of Innocence By Francesco M. Bongiovanni
English | PDF | 2018 | 318 Pages | ISBN : 3319743694 | 2.63 MB

“Bongiovanni’s message should be heeded, especially in Brussels, Berlin and Paris” – John Peet, Political Editor, The Economist

Europe and the End of the Age of Innocence  eBooks & eLearning

Posted by IrGens at April 14, 2018
Europe and the End of the Age of Innocence

Europe and the End of the Age of Innocence by Francesco M. Bongiovanni
English | March 27, 2018 | ISBN: 3319743694 | EPUB | 318 pages | 1 MB

Europe and the End of the Age of Innocence  eBooks & eLearning

Posted by AvaxGenius at May 19, 2018
Europe and the End of the Age of Innocence

Europe and the End of the Age of Innocence By Francesco M. Bongiovanni
English | PDF,EPUB | 2018 | 318 Pages | ISBN : 3319743694 | 3.71 MB

“Bongiovanni’s message should be heeded, especially in Brussels, Berlin and Paris” – John Peet, Political Editor, The Economist
Vito Paternoster, Leonardo Leo Orchestra - Leonardo Leo: Diana Amante (2001)

Vito Paternoster, Leonardo Leo Orchestra - Leonardo Leo: Diana Amante (2001)
EAC | FLAC | Image (Cue & Log) ~ 570 Mb | Total time: 56:11+57:21 | Scans included
Classical | Label: Bongiovanni | # GB 10019/20-2 | Recorded: 1988

Leo was born in San Vito degli Schiavoni (current San Vito dei Normanni, province of Brindisi), then part of the Kingdom of Naples.
He became a student at the Conservatorio della Pietà dei Turchini at Naples in 1703, and was a pupil first of Francesco Provenzale and later of Nicola Fago. It has been supposed that he was a pupil of Pitoni and Alessandro Scarlatti, but he could not possibly have studied with either of these composers, although he was undoubtedly influenced by their compositions. His earliest known work was a sacred drama, L'infedelta abbattuta, performed by his fellow-students in 1712.
Estevan Velardi, Alessandro Stradella Consort - Alessandro Scarlatti: La Giuditta (1995)

Estevan Velardi, Alessandro Stradella Consort - Alessandro Scarlatti: La Giuditta (1995)
EAC | FLAC | Image (Cue & Log) ~ 331 Mb | Total time: 78:38 | Scans included
Classical | Label: Bongiovanni | GB 2197-2 | Recorded: 1995

Giuditta is based on the Biblical story of Judith, a beautiful Israelite widow who insinuates herself within the camp of the conquering Assyrian tribe and deceives their general, Holofernes, before decapitating him and carrying off his head in triumph. This is the second version of the oratorio, known as the Cambridge version after the location of the manuscript when it was turned up in modern times. Scarlatti had considered the original version, composed for Rome in 1693, to be his finest oratorio. This is no mean assessment from the composer of masterworks which have been more celebrated in our own time such as La Maddalena, for their expressive pathos and superbly grateful vocal lines.
Esteban Velardi, Alessandro Stradella Consort - Alessandro Scarlatti: Oratorio per la Santissima Trinita (2003)

Esteban Velardi, Alessandro Stradella Consort - Alessandro Scarlatti: Oratorio per la Santissima Trinita (2003)
EAC | FLAC | Image (Cue & Log) ~ 458 Mb | Total time: 44:12+39:33 | Scans included
Classical | Label: Bongiovanni ‎| GB 2344/45-2 | Recorded: 2003

Alessandro Scarlatti is a great man but his compositions are very difficult, in a theatre audience of a thousand people only 20 will understand them, thus said Count Francesco Zambeccari, an influential contemporary, and it is a testimony of the skill, complexity and depth of his rich music, a far cry from the facile and fashionable composers of his day. The Oratorio per la Santissima Trinita was composed in 1715, written at the mature age of 50, specifically intended for performance in Naples. The music is at the service of the drama, in a musical action that flows almost without caesura, presenting the richness of Scarlattis invention, always backed up by extremely in-depth knowledge of all the best composition techniques of the long tradition of the Italian School.