Davide Parenzo

A versatile collection of Concertos and Arias by Vivialdi, from I Solisti Ambrosiani. The Solisti Ambrosiani are an Italian ensemble specialising in early music and in the philological performance on original instrumentation, founded in 2008 by the soprano Tullia Pedersoli and the violinist Davide Belosio.

Carl Maria von Weber had a special fondness for the clarinet, finding it the ideal instrument for expressing the profound Romanticism he had made his own.

Friedrich Wilhelm Rust composed until 1796, the year of his death, but his works remained unedited until the rediscovery and printing of a portion of them curated by his grandson. A complete analysis of Friedrich Wilhelm Rust’s works turns out to be a complex endeavor even today, as only a small part of his work has been researched and performed. Nevertheless, his keyboard works are slowly making their way into the concertizing repertoire and it is here that Friedrich Wilhelm Rust undoubtedly distinguishes himself with an innovative and wholly personal style.

Padre Davide da Bergamo was one of Italy’s most famous and prolific organists and organ composers (besides being a monk). His lifespan, 1791- 1863, encompassed the Romantic Era, in which organ music detached itself from purely liturgical use. He introduced the symphonic form in his organ works, especially in his “Sinfonias”, which are substantial structures in classical/romantic style and form. This recording features the first recording of his “6 Sonatas & Sinfonias”. Organist Marco Ruggeri chose two organs from Da Bergamo’s time, magnificent instruments which do full justice to the colours and virtuosity of Da Bergamo’s works. Booklet contains liner notes, biography and information on the instruments.

Among the entertainments with which the Bavarian nobles of the 18th century occupied their monotonous and idle daily life, in addition to gambling, tobacco smoking and reading, the mandora and calichon are often mentioned. The latter were lutes, with only 6- (or even 5-) courses of strings, which – being much less demanding than the contemporary German 13-course lute – became among the favourite instruments of the German, Austrian and Bohemian aristocracy, including women, who were generally excluded from professional instrumental music. The larger 8-course calichon, due to its versatility was widely used as a continuo-playing instrument in chamber ensembles and orchestras, especially in monasteries and among the clergy.