Giuseppe Sarti

In 1779 he was elected maestro di cappella at the cathedral of Milan, where he remained until 1784. Here he exercised his true vocation of composer, in addition to at least twenty of his most successful operas, a vast amount of sacred music for the cathedral, and educating a number of clever pupils, the most distinguished of whom was Cherubini.

Aris Christofellis was born on February 5, 1960 in Athens. Very early, he began to play the piano and to sing opera arias. In 1979 he moved to France. After having studied piano with Francis Clidat he concentrated on singing and developed his unique voice, incredible technique and range with Fofi Sarandopoulo. His debut was in 1984 in Bordeaux.

Cappella Musicale del Duomo di Milano & Claudio Burgio - Cantate Cum Jubilo (2016) {Amadeus AM 314-2}
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© 2016 Amadeus | AM 314-2
Classical / Vocal / Chorus

The musical chapel of the Milan Cathedral is the choir, made up of adult singers and children (pueri cantores), with a musical patrimony that musically accompanies the celebrations in the cathedral of Milan. La cappella musicale del Duomo di Milano è il coro, formato da cantori adulti e bambini (pueri cantores), dotato di un patrimonio musicale proprio che accompagna musicalmente le celebrazioni nella cattedrale di Milano.

In the second half of 18th century, keyboard music in Tuscany was flourishing. Many composers wrote music for both the fortepiano and the harpsichord: the former, which was invented just before the turn of the 18th century in Florence by harpsichord maker Bartolomeo Cristofori (1655–1731), rose to an incredible degree of popularity in the last decades of the century at the expense of the latter, which experienced the last moments of its glorious history. At any rate, it was by no means uncommon that composers published music intended to be played on either instrument, as almost all keyboard pieces written in Tuscany during the 1780s were explicitly addressed per il clavicembalo o fortepiano (for the harpsichord or piano).

In the second half of 18th century, keyboard music in Tuscany was flourishing. Many composers wrote music for both the fortepiano and the harpsichord: the former, which was invented just before the turn of the 18th century in Florence by harpsichord maker Bartolomeo Cristofori (1655–1731), rose to an incredible degree of popularity in the last decades of the century at the expense of the latter, which experienced the last moments of its glorious history. At any rate, it was by no means uncommon that composers published music intended to be played on either instrument, as almost all keyboard pieces written in Tuscany during the 1780s were explicitly addressed per il clavicembalo o fortepiano (for the harpsichord or piano).