Francesco Piazzi

The first monographic recording entirely dedicated to Francesco Rasi is released for the 400th anniversary of his death (30 November 1621). The first interpreter of Monteverdi’s Orfeo, an astonishing tenor and poet with a life studded with triumphs, constant travels, debts and murders, this native of Arezzo was fought over by all the courts of Italy and Europe. The pieces, on texts by Petrarch, Guarini, Chiabrera and Rasi himself – including ten world premieres – are taken from the Vaghezze di Musica (1608) and the Madrigali (1610). Tenor soloist Riccardo Pisani explores their extraordinary poetic and musical power, in a kaleidoscope of affects divided into seven ‘strings of the lyre’. He is accompanied by the Ensemble Arte Musica, directed by harpsichordist Francesco Cera. The two artists have been collaborating for years on rediscovering the Italian vocal repertory of the seventeenth century, as witnessed by the recent success of their set of Frescobaldi CDs, released on Arcana.

After the album Bach, Little Books , harpsichordist Francesco Corti continues his collaboration with Arcana with a 2-CD recording entirely dedicated to George Frideric Handel. At the center of the project are the eight “Great” suites. These masterpieces were the composer’s first published set, and are a clear testimony to his virtuosity at the keyboard. Their characteristically diversified styles reflect not only the mélange of national traditions assimilated by the young composer, but also his phenomenal improvisatory talent. Moreover, the attraction of these pieces lies in their melodic and rhythmic affinity to the world of singing and orchestral writing, Händel’s strongest interests.

Il pomo d’oro and Francesco Corti present Handel’s Apollo e Dafne and Armida abbandonata, together with two outstanding vocalists: soprano Kathryn Lewek (Armida & Dafne) and baritone John Chest (Apollo). Handel composed these two cantatas shortly after his Italian sojourn (1706-1709), and they demonstrate his acquaintance with and aptitude for Italian operatic music. Compared to opera, supporting roles are left out of these relatively compact cantatas, increasing the focus on the main characters, and heightening the expressive depth of their music. Il pomo d’oro performs these pieces with historically-informed ears, lively and colourful. The cantatas alternate with several delightful orchestral pieces by Handel, including several movements from his Almira Suite.

Move over Mendelssohn: new recordings of six summery string quartets composed by the prodigiously gifted teenage Rossini.

Francesco Cafiso has caught the attention of numerous critics since veteran writer Ira Gitler raved about the then-13-year-old alto saxophonist's stunning performance with pianist Franco D'Andrea at the Pescara Jazz Festival in 2002. This CD, recorded in the U.S. for a Japanese label with a seasoned American rhythm section, marks a series of firsts for Cafiso: his initial recording outside of his Italian homeland, plus his debut for a non-Italian label and first record date playing (though hardly his first performance) with American jazz musicians. With pianist David Hazeltine, bassist David Williams, and drummer Joe Farnsworth providing terrific support, Cafiso digs into a program filled with typical favorite standards, jazz compositions, and one bossa nova, sounding surprisingly mature and confident, as he was only 16 at the time of the sessions. The young man is still finding his voice on the instrument, but he is a natural who obviously has spent many an hour honing his craft before entering the studio. Highlights include a loping treatment of "Lullaby of Birdland," a passionate, extended treatment of "Estate" and a Phil Woods-like arrangement of "Willow Weep for Me" in which the rhythm section incorporates a bit of Miles Davis' "All Blues" behind his solo. Highly recommended!

At the centre of this production are the sonatas for keyboard instruments BWV 963-970 by J. S. Bach, which are relatively unknown and only rarely performed, recorded or published. The Italian pianist Francesco Tropea came across these musical treasures during his research in the library of the Mozarteum in Salzburg and realised that there are only a few recordings of this music, mostly on old instruments and rarely on a modern piano. He was therefore grateful for the opportunity to be able to explore these comparatively little-known compositions – two of which are still completely unpublished (no piano recordings of the sonatas BWV 969 and 970 exist to date) – composed by one of the most important geniuses in the history of music.