Lossless Rondo Veneziano

An Italian chamber orchestra, Rondó Veneziano set itself apart from many groups of similar style by not only employing mostly women musicians and making it a rule to perform in period Baroque dress, but mainly because they were able to meld traditional chamber music pieces to modern backing tracks, rhythms, and percussion lines, almost giving their classical sound a club music foundation that sometimes bordered on prog rock…

An Italian chamber orchestra, Rondó Veneziano set itself apart from many groups of similar style by not only employing mostly women musicians and making it a rule to perform in period Baroque dress, but mainly because they were able to meld traditional chamber music pieces to modern backing tracks, rhythms, and percussion lines, almost giving their classical sound a club music foundation that sometimes bordered on prog rock. Their first big break came in the United Kingdom in 1983, with the single "La Serenissima," which was followed two years later by a successful appearance providing the score to the film Not Quite Jerusalem. Their first album, a self-titled affair, was released in 1980, and was followed by more than 70 albums over the next (nearly) 30 years.

Rondo Veneziano is an Italian chamber orchestra, specializing in Baroque music, playing original instruments, but incorporating a rock-style rhythm section of synthesizer, bass guitar and drums, led by Maestro Gian Piero Reverberi, who is also the principal composer of all of the original Rondo Veneziano pieces. The unusual addition of modern instruments, more suitable for Jazz, combined with Reverberi's arrangements and original compositions, have resulted in lavish novel versions of classical works over the years. As a rule in their concert tours, the musicians, mostly women, add to the overall Baroque effect wearing Baroque-era attires and coiffures.

An Italian chamber orchestra, Rondó Veneziano set itself apart from many groups of similar style by not only employing mostly women musicians and making it a rule to perform in period Baroque dress, but mainly because they were able to meld traditional chamber music pieces to modern backing tracks, rhythms, and percussion lines, almost giving their classical sound a club music foundation that sometimes bordered on prog rock. Their first big break came in the United Kingdom in 1983, with the single "La Serenissima," which was followed two years later by a successful appearance providing the score to the film Not Quite Jerusalem. Their first album, a self-titled affair, was released in 1980, and was followed by more than 70 albums over the next (nearly) 30 years. In 2005, the group released a live collection entitled 25 Live.

An Italian chamber orchestra, Rondó Veneziano set itself apart from many groups of similar style by not only employing mostly women musicians and making it a rule to perform in period Baroque dress, but mainly because they were able to meld traditional chamber music pieces to modern backing tracks, rhythms, and percussion lines, almost giving their classical sound a club music foundation that sometimes bordered on prog rock. Their first big break came in the United Kingdom in 1983, with the single "La Serenissima," which was followed two years later by a successful appearance providing the score to the film Not Quite Jerusalem. Their first album, a self-titled affair, was released in 1980, and was followed by more than 70 albums over the next (nearly) 30 years. In 2005, the group released a live collection entitled 25 Live.

With the exception of a few works by Ottorino Respighi, and for reasons which are relatively obscure, the orchestral concert music of the generation of Italian composers to which Ildebrando Pizzetti belongs has—so far as international acceptance is concerned—remained little-known outside Italy. It can be claimed that this relative disregard surely has more to do with fashion and performing circumstance than with the quality of the music, and, of these undoubted masters, it is the art of Ildebrando Pizzetti which is perhaps most in need of reassessment and revival …….

The art of Shakespeare was a recurring fascination for Mario Castelnuovo-Tedesco. In addition to two operas and numerous settings of songs and sonnets, he wrote 11 Shakespeare Overtures which here receive their first ever complete recording. Deploying all the resources of the symphony orchestra, these are some of the twentieth century’s most dramatic and tuneful orchestral works, spectacular evocations of Shakespeare’s greatest plays.