Quattro Note Di Autunno

The idea for this album came about during the recording of its predecessor Cinema Suites (BBC Music Magazine’s “Screen Choice”, Album of the Week on WDR3 etc.), when the Morricone family sent Marco Serino a number of rarities that they hoped could also be recorded, particularly “Dedicated to Maria” (from the film The Sleeping Wife ) that the composer had dedicated to his wife. These works, along with others that Serino rediscovered in his own archives, make up the backbone of Cinema Rarities , an ideal sequel to the previous recording. After twenty years as Ennio Morricone’s chosen violinist, Serino continues his exploration of the compositions for violin and orchestra, but this time with a particular focus on pieces that, besides being less well known to the wider public, all share a degree of “Italianness”.

Stefano di Battista (born February 14, 1969 in Rome) is an Italian jazz saxophonist who plays soprano and alto.

Even when music is notated relatively precisely, as in music, a performer must make many decisions because the notation does not specify all elements of the music. The process of deciding how to perform music that has been previously composed and notated is called "interpretation". Interpretations of the same piece of music by different performers can be very different in terms of the tempos chosen, the style of playing or singing, or the phrasing of the melodies. Composers and songwriters who perform their own music interpret their songs in the same way as those who perform the music of others. The standard choices and techniques available at a particular time and place are referred to as performance practice, while interpretation generally refers to the individual choices of a performer.

These are mature talents, presented to the world by the Italian branch of Blue Note. It isn't necessary though, because Paolo Fresu and Uri Caine already have quite a name among jazz connoisseurs. They recently released the album Think and we can expect them to tap this source extensively.

Like Sebastian Bach and François Couperin, Sylvius Leopold Weiss came from and continued a musical tradition. His father was Johann Jakob Weiss, his brother was Johann Sigismund Weiss, and his son was Johann Adolph Faustinius Weiss. Also, like Bach and Couperin, Sylvius Leopold was the most famous member of his musical clan, and during his long and distinguished career he taught a number of students who would become exceptional lutenists, Adam Falckenhagen and Johann Kropfgans among them. Following demands created by his exceptional reputation, Weiss traveled extensively before he settled at the court of Augustus the Strong in 1728; he remained there for the rest of his life. Weiss and Bach certainly met on more than one occasion as the latter visited his son Wilhelm Friedemann and also had an interest in music-making at the Saxon court. As a performer, Weiss was considered the finest of his time and many believed that his ability as a lutenist rivaled that of Bach as an organist and Scarlatti as a harpsichordist. His Berlin colleague, Ernst Gottlieb Baron, mentioned to a “Weissian Method,” probably a reference to his astounding and masterful technique, not to mention his style. Hundreds of Weiss’s works survive, chief among them six-movement sonatas or partitas that follow the accepted blueprint for the genre, i.e., Allemande, Courante, Bouree, Sarabande, Minuet, and Gigue.

Stellar piano duo Quattro Mani's latest recording features John Adams's ebullient 'Hallelujah Junction', and premiere recordings by Paul Moravec and Danish composer Bent Sorensen. Bonus tracks include rarities by Paul Creston and Paul Bowles. Fanfare’s Robert Carl writes that 'Quattro Mani is one of the most enduring and leading keyboard duos anywhere.'

The concert works of film composer Nino Rota, best known for his scores for the Godfather trilogy and for a long series of films by Federico Fellini, have increasingly often been finding space in classical recording catalogs. Here's a nicely recorded rendering of Rota's two numbered symphonies, virtually unknown until perhaps the turn of the century, issued on a major British label, Chandos. Both are attractive pieces that could be profitably programmed by any symphony orchestra. They were composed in the 1930s, when Rota was as much American as Italian; he won a scholarship to the Curtis Institute in Philadelphia and studied there for several years. Both reflect the French neo-classic trends that flourished in the U.S. between the wars, and, although Rota sounds nothing like Copland, you do experience in these works an evocation of what annotator Michele Rene Mannucci aptly calls "landscape in sound." Each work is in the conventional four movements, with a slow movement placed second in the Symphony No. 1 in G major and third in the Symphony No. 2 in F major.

The beloved, historic & previously unreleased recording by the famous Guitar Trio: Al Di Meola, John McLaughlin & Paco De Lucia – ‘Saturday Night in San Francisco’ will be released on July 1st, 2022.