Gianluca DE Rubertis Nel Cuore Del Cuore

Mägo de Oz es una banda española de folk metal fundada el 7 de julio de 1988 por el baterista Txus di Fellatio en el barrio de Begoña en Madrid. Inicialmente se llamó Transilvania, en honor a la canción homónima del sexteto inglés Iron Maiden, y adoptó el nombre definitivo de Mägo de Oz en 1989.1

The Paco de Lucía Sextet is a flamenco music sextet, formed by renowned guitarist Paco de Lucía and other musicians. The band has released three albums. In 1990 Paco de Lucia released Zyryab, an album made with his sextet and also featuring jazz pianist Chick Corea.

Este fantástico disco pensado especialmente para los amantes del Barroco, muestra la realidad de la música teatral española al despuntar el siglo XVIII. Con un poderío instrumental impresionante, unos arreglos hermosos y mucho talento, el disco propuesto por el director Fahmi Alqhai al frente de su Accademia del Piacere deja claro cómo el estilo italiano arraiga en España de mano de la corte borbónica fundiéndose con los ritmos y armonías locales que tanto influyeron en Sebastián Durón, uno de los nombres fundamentales de la renovación de la música española del momento.

The composer of the Stabat Mater presented in this sound recording was musically educated in Malaga Cathedral at the end of the first third of the 19th century. The musical chapel of the city’s first tempo had already suffered the onslaught of the yellow fever of 1803 and the French invasion during the Napoleonic invasion (1808-1814), and had yet to receive the lethal blows of the successive disentailment measures of Mendizábal (1836), Espartero (1841) and Madoz (1854). However, what seemed to put an end to the stable ensemble to solemnise cathedral liturgies was paradoxically giving way to a paradigm shift. The 'everyday' music of the cathedrals would be reduced to a minimum thanks to the resources established in the Concordat of 1851 signed between Pope Pius IX and Queen Elizabeth II. Hence, the drastic mutilation of the stable staffs in the cathedrals favoured what would quickly become a common and frequent practice, i.e. the ex profeso hiring of instrumental and vocal troops for certain solemnities and festivities, among which those related to Holy Week and its natural period of spiritual preparation, namely Lent, were particularly noteworthy.

Over the years Glossa has been at the forefront of releasing recordings of late Renaissance madrigals, and the label has had the pleasure of assisting superlative artists in doing so: none more so than the voices of La Venexiana and its director Claudio Cavina. This release is a reflection of such creative richness. The recordings on this release date from the dozen years after La Venexianas foundation in 1996, a time of great activity for the ensemble, and which complements the Monteverdi Complete Madrigals Books set, released previously. These two impressive collections demonstrate effectively why La Venexiana has been so popular with audiences and why it has been praised by critics as well.

As if in a mirror, this recording juxtaposes the original piano versions of two of Ravel's masterpieces ('Le Tombeau de Couperin' and 'Alborada del gracioso') with their respective orchestrations. The 'Concerto in G Major' combines the two facets, both when the piano is integrated into the overall sound and when it plays its role as a soloist. The subtle playing of Javier Perianes and the refined sonorities of the Orchestre de Paris, conducted by Josep Pons, also remind us that Spain was the most significant source of inspiration in Ravel's output.

This disc of Iberian and Latin American Renaissance music is a reissue cleverly disguised as a new release. It compiles music from several recordings by Catalonian visionary Jordi Savall, his luminous-voiced collaborator Montserrat Figueras, and his Hesperion XXI and Capella Reial de Catalunya ensembles, dressing them up with a new set of rather philosophical booklet notes on themes of change, of intercultural tolerance, and of the evolving nature of Christianity in the Iberian realm and in New Spain. Some might call this a cynical ploy, but actually Savall has always been moving in a circle, so to speak, spiraling inward toward a deeper musical understanding of the historical themes touched on here: the lingering effects of the legacy of medieval Iberia and its "mestissage" or mixture of cultures, the reign of Holy Roman Emperor Charles (Carlos) V (did you know that he was both the first monarch to be called "His Majesty" and the first to be honored with the claim that the "sun never set" on his empire?), and the relationships between cultivated and popular styles, both in Iberia and the New World.

Venice, Rome, Naples witnessed the birth of the compositions found on this CD, places with pasts of thriving musical communities. In addition, these contained some of the greatest artistic innovation of the time.The "stile moderno", which marks the beginning of a new period in music, has its origins in Italy in the late 16th century, when composers such as Claudio Monteverdi and Giulio Caccini created a new expressive style, soon to affect the development of the whole of occidental music.