Riabilitazione Del Pavimento Pelvico Arianna Bortolami

Queen Christina of Sweden was a lavish patron of music in her own kingdom - initially she mainly extended her patronage to French musicians but from 1652 it was largely Italian musicians whom she brought to her court in Stockholm. Having secretly converted to Catholicism, Christina abdicated in June of 1654 and almost immediately left Sweden - most of her valuable library had been smuggled out earlier - and made her way to Rome, her journey there seeming at times to be effectively a series of triumphal processions; there’s a fine account of all these events in Veronica Buckley’s Christina. Once established in Rome - where her arrival was greeted by special musical performances in the Palazzo Barberini, the Palazzo Pamphili and elsewhere - she soon became one of the city’s most active patrons of literature and music.

There’s no way around it. Arianna Savall sounds exactly like a young Emma Kirkby, and if you like that straight-toned, sharply focused soprano quality, with just the bare hint of a vibrato at the very ends of phrases, then you’ll find Savall very satisfying and you’ll easily appreciate her superb interpretations of these rarely heard vocal works from 17th-century Italy. She begins with a magnificent cantata by Marco Marazzoli that sets the tone for the whole program–a “moral canzona” that focuses on the “literary theme of the rose”–and her vocal prowess is evident in her ability to lend enough dramatic force to the work to keep us interested for its entire 13 minutes. She lends a particularly warm and ingratiating quality to the beautifully wrought final minutes of the same composer’s “moral cantata” O mortal, whose text refers to the fate of the Biblical Samson, and repeatedly urges, “Do you desire even greater glories? Then learn how to conquer yourself.”

When musicians of our generation seek to provide musical depictions of the pilgrimages to St. James of Compostela, they turn most frequently to the Middle Ages. The La Fenice ensemble, however, has chosen a different approach by taking a map of the Camino Francès (1648) as its inspiration. Here they bring formal as well as popular repertoire of the time back to life with songs both sacred and secular, combining these with the joyfully festive music that accompanied the travellers from France to Galicia via Languedoc, Aragon and Castile.

These six works are Beethoven's last major completed compositions. Extremely complex and largely misunderstood by musicians and audiences of Beethoven's day, the late quartets are now widely considered to be among the greatest musical compositions of all time and have inspired many later composers.

It has been 25 years since the first Café del Mar Volume was released. To celebrate this milestone we have carefully selected a mix of classics & brand new tracks to reflect the essence of Café del Mar. The double CD release features brand new tracks & remixes by Quantic, The Cinematic Orchestra, Zero 7, Peggu Gou, BadBadNotGood and timeless classics by Chicane, A Man Called Adam, Trio Mocoto, Planet Funk, just to name but a few.

David Grubbs & Jim O'Rourke’s long-dormant Gastr Del Sol returns with a first “new” release in 25 years, an epic 3LP/2CD box set collecting previously unreleased recordings and rarities influenced by Derek Bailey’s free improv as much as hallowed jazz staples and musique concrète, like some irresistible force ploughing through the increasingly approachable, you might even say polite, output of their post rock contemporaries back in the late 90’s. Perhaps unsurprisingly, it sounds better now than ever, too.