Italian 18 Set 2019

Johann Sebastian Bach has always been considered one of the greatest music transcribers of all times. Many of his transcriptions (mostly the ones from Italian composers Vivaldi and Marcello) have become instant classics, and they are still viewed as masterpieces of the baroque repertoire. Bach has always been very active as a transcriber of his own music too. His masterful transcription of his Sonata for viola da gamba & keyboard No. 1, which he transformed into a trio for two flutes and continuo, has given the inspiration for this CD project.

Beethoven opened the new century with the publication of his first symphony, but also with that of other important works, such as four piano sonatas (Opp. 26, 27, and 28) and two sonatas for piano and violin – in A Minor, Op. 23, and F Major, Op. 24. Originally, the two sonatas were published in 1801 as a set, under the opus number 23. But something as trivial as their having been mistakenly printed on different-size paper in their second reprint a year later compelled the publisher (and Beethoven) to present them as two distinct works, each with its own opus number – probably to save both face and money.

Some of the most challenging keyboard music ever composed in a new recording of consummate artistry.

Bononcini’s La decollazione was first performed during Lent of 1709 in the chapel of Emperor Joseph I in Vienna. The rather sober scoring of La decollazione for strings and continuo might be explained by the Lenten presentation, but the vocal and instrumental demands of the piece fully exploited the brilliance of the Viennese musicians, and their skill in opera. At the same time, Bononcini integrated his skills in counterpoint, normally associated with sacred music, throughout the work so that it presents as both worldly and spiritual.

Mascagni’s first and most successful work has become an opera classic as it features elements of the Greek tragedy, mixing up religious and archaic elements. It’s a story of love, passion, jealousy and restored honor in bloodshed. Directors Di Gangi and Giacomazzi set this traditional Cavalleria in a Sicilian village of the 1940s where the buildings are rather bare and the piazza is the stage for private as well as public drama. Conductor Valerio Galli is at the head of the Orchestra del Maggio Musicale Fiorentino, one of the best in Italy. Good performance reviews for the whole cast.

Sun Ra presented quite a few solo piano shows between 1977 and 1980 in the US and Europe, and several have been issued commercially. From a solo keyboard standpoint, it was one of Sunny's most prolific periods.

Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of the works of Niccolí Paganini, but equally accomplished across a wide variety of repertory for the instrument. His playing is characterized by a taut, visceral tone and a disciplined musical approach that avoids self-indulgence. Having also established himself as a successful conductor, chamber musician, and teacher, Accardo may be considered one of the most accomplished and influential musicians of his generation. This compilation album contains some of the greatest interpretations of the violist Salvatore Accardo. Salvatore Accardo has been playing for 26 years with Foné's Giulio Cesare Ricci and this disc contains some of the most beautiful recordings for violin solo, violin and piano, quartet, violin and orchestra.

Frédéric Chopin made his name in the high-society salons of his native Poland and, above all, in the vibrant Paris of Eugène Delacroix, Victor Hugo and George Sand. His pieces for solo piano, often technically challenging, always enchanting, are in constant global demand today, especially when brought to life by a performer of Maurizio Pollini’s stature. The 76-year-old Italian musician has been in love with Chopin’s art since