Giorgio Montefochi

One of the most prominent and influential Italian jazz musicians, pianist/composer Giorgio Gaslini's music wed elements of 20th century classical music (serialism, aleatory) with avant-garde jazz and pop idioms; he termed his widely encompassing style "total music." Gaslini took piano lessons as a child and began performing at the age of 13. He formed and recorded with a jazz trio at the age of 16, and at 19 he performed at the International Jazz Festival in Florence. Gaslini attended the Conservatorio in his home town of Milan, studying composition, conducting, and piano. Gaslini's interests were varied; in the late '50s and early '60s he led a jazz quartet, composed for film, and led several Italian symphony orchestras…

Giorgio Caoduro is one of the leading Italian baritones of his generation and one of the reigning Bel Canto singers of today. He has appeared at such renowned opera houses as the Royal Opera House Covent Garden, Opera National de Paris, La Scala di Milano, Teatro dell'Opera di Roma, Teatro del Maggio Musicale Fiorentino, Teatro Regio Torino, Staatsoper Unter den Linden Berlin, Deutsche Oper Berlin, Semperoper Dresden, Liceu Barcelona, San Francisco Opera, or Los Angeles Opera House. At the centre of his singing are the bel canto roles of Rossini, Donizetti, Bellini and Verdi. With his selection of highly virtuosic arias from operas by Rossini, Giorgio Caoduro reminds us of the dazzling richness of the repertoire composed for this type of voice, a repertoire in which the old roles of basso buffo, the more modern ones of tyrants, afflicted fathers or repentant criminals converged, and finally where the roles of mature heroes were already appearing, roles to which Verdi would give, a few years later, their letters of nobility.

The Swedish label Deeplay Digital, is being re-invented, known as the Deeplay Music from 2001 to 2010, and on 2013 return again under the name Deeplay Digital, and tomorrow will be published its fifth referencewith this new EP, and to this new EP brings us a review of a forgotten classic, the track ‘Utopia – Me Giorgio’ by Giorgio Moroder a tack from the album ‘From Here to Eternity’ from 1977 as the B-side of the single ‘From Here to Eternity’ from 1977, now remixed and updated by I- Robots aka Gianluca Pandullo (Opilec Music), an update with full respect for the original, performing an extended version of the track, as the original was 3:25 minutes and now with almost 7 minutes, opening the pack with the remix ‘I- Robots 1977 Reconstruction’ in which stays true to the original, right to the dance floor and almost 7 minutes, the second remix is called ‘I- Robots 2014 Tape Reconstruction’ with the effects taken from a tape by Moroder purchased at a flea market, with a sound cassette over, messier, and these analog synthesizers and danceable rhythms, and the third remix ‘I- Robots 2014 Reconstruction’ (exclusive bonus track in the digital edition) which have been cleaned dirty sounds from the Tape remix, to give it a more modern sound over club.

“Belgian pianist Matthieu Idmtal creates a wonderfully colorful and profound universe that not only surprised me, but even more completely captivated me. His great technical vocabulary leads to an interpretation that combines a refined sound with penetrating expressiveness in a sublime way.” – Opus Klassiek

“A moving performance, well cast and with sympaethetic conducting from Carlo Rizzi…Shicoff is in splendid voice, phrasing and shaping his big set-pieces sensitively, and Edita Gruberova makes a moving Violetta.” (Penguin Guide)

The production of the award-winning composer Carlo Alessandro Landini is enriched with this publication of a sacred page - not common for the maestro - of rare difficulty. Difficulty due not only to the essence of a text like that of a mass, so full of substance and meaning that it makes your wrists tremble at the idea of ?translating them into music, but also to the inevitable confrontation with the greatest geniuses in history who, from the Middle Ages to the present days, have tried their hand at this genre. Landini uses for his work an acappella vocal group (the Ensemble Fleur-de-Lys, directed by maestro Giorgio Ubaldi), in a sort of return to the purest essence of musical expression, the ancestral and at the same time always modern that comes from the human voice alone. A look therefore to the past great polyphonic traditions that finds it's reason in a modernity that has now overcome the 'sterility' of many avant-gardes that, through pure research, however, have not reached the completing of the art form.

While this soundtrack is arguably most notable for introducing Middle America to Blondie, there is also some interesting incidental music written by legendary producer Giorgio Moroder and performed by Harold Faltermeyer and Keith Forsey – the latter of which may be familiar to some as percussionist for the German prog/art rock collective Amon Düül…

This record was a collaboration between Philip Oakey, the big-voiced lead singer of the techno-pop band the Human League, and Giorgio Moroder, the Italian-born father of disco who spent the '80s writing synth-based pop and film music. It is a testimony to Moroder's fame as a composer that he was able to earn equal billing with Oakey for a record he co-wrote and produced, but for which he supplied no more than "occasional synthesizers" as a musician. The music is not substantially different from the standard fare from the Human League or, for that matter, almost any other synth-based Europop band in the '80s.

Paisiello (1740-1816) was the master of Italian opera buffo and a significant influence on Mozart. His orchestral writing and musical characterizations are deft and dramatic, and he was the first to introduce ensemble finales into comic operas. Don Chisciotte is an early work, premiered in Naples (where he spent most of his life) in 1769, and it already shows all the skills that made his work popular throughout Europe. The libretto by Lorenzi is based on a 1719 play that deals with the Don's visit to a noble court and the tricks that are played on him there, drawing in material from elsewhere in Cervantes' novel, including his tilt with the windmills. The characters are reduced from aristocrats to middle-class Neapolitans familiar to the opera's audiences, and they are treated with parodistic irony.