Canzoni 2022

The absolute protagonist of this recording is the solo viola da gamba which guides us on a musical journey from 1553 (Tratado de glosas by Diego Ortiz) to 1698/99 (Ricercare per diversi toni by Angelo Michele Bertalotti and The Complete Violist by Benjamin Hely). In so doing, it puts us in touch with a repertoire that may not be universally known, but still deserves to be discovered. Above all, it must be disclosed because it gives tangible testimonies that partially rectify some deep-rooted convictions about the viola da gamba. In fact, contrary to what is often believed, after blossoming in the Renaissance, this instrument did not leave the stage ex abrupto in the mid-17th century, crushed beneath the increasing weight of the cello. Instead, it continued to enjoy its own literature, certainly less striking but not less relevant. We are referring not only to the better-documented compositions for consort, but also to the solo repertoire which frequently had didactic and artistic value - often characterized by chamber allure due to its reserved nature.

A young ensemble of instrumentalists and singers revives the precious historical practice of singers accompanying themselves (already brought back into currency by the soloist VivaBiancaLuna Biffi), thus producing a wholly new sound in music usually assigned to unaccompanied voices.

Un jeune ensemble comportant musiciens et chanteurs met en lumière la précieuse pratique historique du chant avec accompagnement (déjà remise à l’honneur par la soliste Vivabiancaluna Biffi), faisant résonner de manière totalement nouvelle un répertoire dédié habituellement aux voix solistes. Avec le Concerto di Margherita, le chant avec accompagnement devient « collectif » pour la première fois et est amplifié par un geste commun dans lequel tous les membres du groupe, jouant et chantant dans une symbiose extraordinaire, offrent une sonorité totalement inédite pour ce répertoire.

Girolamo Frescobaldi, jeune organiste de Ferrare, publie son premier recueil de canzoni en 1608, juste après l'obtention d'un poste prestigieux d'organiste à la basilique Saint-Pierre de Rome. Ce genre musical, né peu avant lui et qui s'éteindra à sa mort, est le fil rouge de son oeuvre. Le recueil sur lequel est basé cet opus, intitulé le Primo libro da Canzoni, a été publié en 1634, et il constitue l'aboutissement de ce travail. Ces oeuvres « à une, deux, trois ou quatre voix, accommodées pour être jouées par toutes sortes d'instruments », ont fait l'objet d'un minutieux travail de recherche par la Guilde des Mercenaires, qui nous en livre dans cet opus une interprétation magistrale.

For a long time, Ennio Morricone (1928-2020) kept the two main fields of his compositional activity neatly separated. First, there was film music: this was undoubtedly the best known and also the most abundant of the two. His artistic partnerships with directors such as Sergio Leone, Giuseppe Tornatore, Pier Paolo Pasolini, Giuliano Montaldo, Elio Petri, and Gillo Pontecorvo marked the history of film music. However, the directors with whom he cooperated, also on the international stage, are very numerous, including Brian De Palma and Quentin Tarantino.

“CORRENTI GRAVITAZIONALI” contiene 30 indimenticabili canzoni scelte in un lasso temporale che va da L’Era del cinghiale bianco (1979) a Torneremo Ancora (2019), ultimo brano pubblicato dall’artista. In mezzo c'è tutto quello che si potrebbe chiedere a un'antologia che riporti il meglio di Battiato, con la particolarità di offrire le tracce in versioni remixate negli ultimi anni dall’artista stesso e per capire una volta in più quanto queste composizioni siano state geniali in ogni loro parte: nei testi, nelle musiche, negli arrangiamenti e nei suoni. Ogni brano di Franco è un universo da riscoprire: Battiato è uno e centomila, tantissime sono le facce mostrate dall’artista siciliano durante la sua lunga carriera e decine sono le canzoni che si sono stampate in maniera indelebile nel ricordo del pubblico italiano.

This album, Il Circolo Respighi, was inspired by my discovery that Ottorino Respighi’s wife, Elsa (née Olivieri-Sangiacomo), was also his pupil and a talented composer herself. This revelation led to the idea of performing a recital featuring art songs composed by Respighi’s most influential teachers, Nicolai Rimsky-Korsakov and Giuseppe Martucci, by his students Vittorio Rieti and Elsa Respighi, and of course several of his own. In reflecting on the years 2020 and 2021, a period of disease, political upheaval and social change, it is interesting to note that the composers on this disc must have felt similar if not greater levels of uncertainty and angst during the tumultuous times in which they lived. This may be the reason so many of the songs here are focused on other times and places, real or imagined ― when times are hard, escapism is powerful.

Niccolò Fabi torna con un nuovo album "Meno per meno", uscito il 2 dicembre, nuovo progetto artistico del cantautore in occasione dei suoi 25 anni di carriera. Pur non essendo un disco live, l’origine di questo progetto ha il suo motivo ispiratore nel concerto del 2 ottobre all’Arena di Verona. Frutto del lungo e accurato lavoro di orchestrazione, e in alcuni casi di riscrittura realizzato insieme al Maestro Enrico Melozzi e la sua Orchestra Notturna Clandestina, il disco offre, infatti, al pubblico che non ha potuto vivere il concerto all’Arena di Verona, una testimonianza della nuova tappa artistica di Niccolò…

The most beautiful lounge & jazz songs by Papik, Banda Brasileira, Crystal Glide and many more on one compilation!