Canto

Yo Canto is the 2006 CD by Laura Pausini. This is the Spanish version of her Italian album, Io Canto. This was released by Warner Music Latina.

Yo Canto is the 2006 CD by Laura Pausini. This is the Spanish version of her Italian album, Io Canto. This was released by Warner Music Latina.

Canto ostinato zoals u het nog niet eerder hoorde: uitgevoerd door acht saxofonisten. Het Nederlands Saxofoon Octet speelt het populairste werk van Nederlandse bodem en presenteert een nieuw album met daarop deze klassieker.

Il disco raccoglie 16 cover di popolari brani italiani, scelti da Laura Pausini tra i suoi cavalli di battaglia degli anni in cui cantava nei pianobar della riviera romagnola, oppure tra i pezzi che hanno fatto da colonna sonora della sua vita o di una sua storia d'amore. Laura Pausini ha dichiarato di aver voluto pubblicaro Io canto allo scopo di far conoscere le canzoni dei suoi colleghi al pubblico straniero e ai più giovani che ancora non le hanno scoperte.

Laura Pausini, a multilingual Italian pop singer who won a Latin Grammy in 2005 for Best Female Pop Vocal Album, decided to record an album of cover songs when she returned to the studio to record her followup effort. This is a fairly standard practice for pop/rock artists, of course, especially in the wake of a mammoth success like the one Pausini experienced with Resta in Ascolto (released concurrently in Spanish as Escucha in the U.S.).

Canto Of Aries is a 1971 album by New Herd and drummer/percussionist Masahiko Togashi, listed as M. Togashi here. This was remastered on CD in 2005 by Jroom Jazz via Columbia in Japan.

A new recording of the Dutch minimalist classic made by two of its most experienced champions.

Canto Ostinato contains the World Première recording of three unique orchestral works from Simeon Ten Holt, one of the Netherlands most iconic 20th century composers. The three works included on the album are performed by the North Netherlands Orchestra (Noord Nederlands Orkest) conducted by David Porcelijn. It was recorded live in concert at the Oosterport in Groningen, the orchestra’s home concert hall.

The trio sonata was one of the baroque period’s most popular instrumental forms. While in its ‘classic’ form it features two higher-pitched instruments, a melodic bass instrument and basso continuo, there were several others, including a popular variant for one high-pitched instrument, one bass instrument and continuo chosen by a substantial number of composers in the 17th century and beyond and resulting in a significant number of compositions. In this setup, the writing for the melody instrument is more virtuosic than in a ‘conventional’ trio sonata, and it performs more of a solo role, unlike in the trio sonata, where it is more of a first among equals. At the same time, the bass instrument is used idiomatically instead of being relegated to a mere basso continuo. This contributed greatly to bolstering its role as a solo instrument, and it was given ever greater prominence as the second half of the 17th century progressed.