Alfredo

In 2018, the Styriarte Festival in Graz launched, in collaboration with Zefiro, a project to rediscover the operatic output of the Styrian composer Johann Joseph Fux (1660-1741), Kapellmeister at the imperial court in Vienna for forty years, with the aim of restaging six of his nineteen operas, one per year. With a cast of Baroque vocal specialists, led by Monica Piccinini and Arianna Venditelli, this set of Dafne in lauro marks the beginning of a new series in which Arcana will release the recordings made in the course of the six-year cycle. First performed on 1 October 1714 to celebrate the birthday of the Emperor Charles VI, Dafne in lauro is distinguished by the numerous references to hunting in the overture and in Diana’s arias, and by the numerous dance movements typical of the French style, such as minuets, gigues and bourrées. The highlight is Daphne’s poignant aria accompanied by the viola da gamba, which, along with the chalumeau and the transverse flute, enriches the range of tone colours in the score.

Like many education-hungry sons of the European nobility, the 18-year-old Prince Frederick August II embarked on his Grand Tour, which took him from Saxony to Venice in 1716, where he spent almost a year. The large entourage that accompanied the young prince on this trip included such great musicians as the violinist Johann Georg Pisendel, the oboist Johann Christian Richter and the composer Jan Dismas Zelenka. In Venice, an intense exchange with local stars such as Vivaldi developed, in an atmosphere of friendship and competition. On his return to Dresden, August took with him, in addition to Lotti and Veracini, Heinichen, whom he had met in Venice and who became his Kapellmeister. After acclaimed recordings of orchestral works by Handel and Bach, Zefiro now discovers this fascinating repertoire of music by Italians who composed in the French style and Germans who wrote Venetian concertos to impress the prince.

In 2018, the Styriarte Festival in Graz launched, in collaboration with Zefiro, a project to rediscover the operatic output of the Styrian composer Johann Joseph Fux (1660-1741), Kapellmeister at the imperial court in Vienna for forty years, with the aim of restaging six of his nineteen operas, one per year. With a cast of Baroque vocal specialists, led by Monica Piccinini and Carlotta Colombo, this set of La corona d’Arianna represents the second instalment of the Arcana series which documents the recordings made in the course of this six-year cycle, following the success of Dafne in lauro (A488, 2021 – awarded Gramophone Editor’s Choice and rated Eccezionale by Musica).

Alfredo Carrion made his first mark in the history of progressive rock in 1975 by writing the orchestral arrangements for Ciclos, Canarios' brilliant and blasphemous butchering of Vivaldi's Four Seasons. A year later he struck out on his own by writing the music for "Los Andares del Alquimista", a less extravagant but no less eclectic exploration of popular, classical and folk musics.
Actually, the first three songs very deftly and tastefully put folk-tinged pop music together with some symbolist poetry sung by an elegant female voice with classical-style tone and use of vibrato. The mood shifts of "Espejo Sumergido" and the lush progressions and soaring melody lines of "Tensa Memoria" are very much symphonic progressive characteristics…

Domenico Maria Dreyer was the son of the German tenor Johann Conrad Dreyer, born and raised in Florence. His life was closely linked to that of his younger brother Giovanni Filippo Dreyer, a castrato, impresario and opera composer. The brothers worked for a long time at the courts of Moscow and St. Petersburg and later in Italy. Six oboe sonatas and two recorder sonatas have survived from his oeuvre. The oboe sonatas are of great musical beauty and stylistically belong to the Venetian High Baroque period of his contemporary Antonio Vivaldi. It is assumed that they were composed around 1725.

Antonio Lucio Vivaldi was a Venetian composer, virtuoso violinist and impresario of Baroque music. Along with Johann Sebastian Bach and George Frideric Handel, Vivaldi is regarded as one of the greatest Baroque composers and his influence during his lifetime was widespread across Europe, giving origin to many imitators and admirers. He pioneered many developments in orchestration, violin technique and programmatic music. He consolidated the emerging concerto form into a widely accepted and followed idiom.

Alfredo Carrion made his first mark in the history of progressive rock in 1975 by writing the orchestral arrangements for Ciclos, Canarios' brilliant and blasphemous butchering of Vivaldi's Four Seasons. A year later he struck out on his own by writing the music for "Los Andares del Alquimista", a less extravagant but no less eclectic exploration of popular, classical and folk musics.
Actually, the first three songs very deftly and tastefully put folk-tinged pop music together with some symbolist poetry sung by an elegant female voice with classical-style tone and use of vibrato. The mood shifts of "Espejo Sumergido" and the lush progressions and soaring melody lines of "Tensa Memoria" are very much symphonic progressive characteristics…