Max Gazze' LA Matematica Dei Rami

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.

Giuseppe Martucci (1856-1909) stands as a prominent figure in Italian musical history, celebrated for his contributions as a composer, conductor, and pianist. Born in Capua, Italy, Martucci demonstrated remarkable musical talent from a young age. His early studies in Naples under Beniamino Cesi and Paolo Serrao paved the way for a career marked by innovation and artistic depth. Martucci's compositions reflect a synthesis of Romantic and classical influences, showcasing a deep understanding of form and harmony. His orchestral works, including symphonies, piano concertos, as well as his chamber music, reveal a mastery of orchestration and a commitment to exploring new expressive possibilities.

La Maschera di Cera are back with a new album , available both with original Italian or English vocals and lyrics, a trick of the tail done in the past with PFM, Banco and Le Orme (The artwork here is somewhat reminiscent of 'Felona e Sorona', no?) . Their previous release "Petali di Fuoco" was a slight deviation from their usual somber mellotron and bass driven sympho-prog. Wasn't a bad album at all, just different most probably due to PFM guru Franz di Cioccio's clean production and Matteo Nahum's occasional guitar…

Giuseppe Martucci (1856-1909) stands as a prominent figure in Italian musical history, celebrated for his contributions as a composer, conductor, and pianist. Born in Capua, Italy, Martucci demonstrated remarkable musical talent from a young age. His early studies in Naples under Beniamino Cesi and Paolo Serrao paved the way for a career marked by innovation and artistic depth. Martucci's compositions reflect a synthesis of Romantic and classical influences, showcasing a deep understanding of form and harmony. His orchestral works, including symphonies, piano concertos, as well as his chamber music, reveal a mastery of orchestration and a commitment to exploring new expressive possibilities.

Leopold Anton Kozeluch, often inaccurately and unjustly portrayed as a scheming opponent of Mozart and Haydn, was actually an extraordinarily popular and successful composer during his own lifetime. Already in 1781 Kozeluch had such an outstanding reputation that the Salzburg archbishop offered him the court organist's post left vacant by Mozart. The Bohemian composer's some 250 works include symphonies, piano music, operas, cantatas, string quartets, and a number of oratorios. Moses in Egypt, an oratorio based on the Book of Exodus from the Old Testament, was premiered in the old Burgtheater in 1787.

This album of Baroque cantatas and chamber duets grew out of a 2007 performance of Stefano Landi's 1631 opera Il Sant'Alessio starring Philippe Jaroussky and Max Emanuel Cencic (among the eight countertenors in the cast) with William Christie conducting Les Arts Florissants. Christie was so impressed with the blend of Jaroussky and Cencic's voices that he brought them together to explore the vast and rarely performed repertoire of late 17th and early 18th century Italian duets for equal voices.

This is the third album by Sicilian art rockers Homunculus Res. It is a 2018 work that exquisitely mixed Canterbury style stylish technical and Italian singing. Although skillful meter is intertwined, with its own style with translucency as a warm heart, the wind instruments of flute, clarinet, oboe, horn etc are exchanged for guitar and vintage synth, and Melotron and charming female vocal are added. Including lyrics, the poetic deepening aiming for Canterbury spiritual increased. Hat off with precise content recorded by members close to 20 including Yao Paolo Botta.