Lino Requiem

Il Balletto di Bronzo formed in Naples in the late sixties with a line-up consisting of Lino Ajello (guitar), Giancarlo Stinga (drums), Marco Cecioni (guitar/vocals) and Michele Cupaiuolo (bass) using initially the name Battitori Selvaggi. Despite avoiding the fate of many other Italian progressive bands of releasing one album and splitting up (they managed two) they still suffered from a lack of interest, the reason cited by some that they were too advanced for the time, which ultimately led to a split in 1973.
In 2013 Lino Ajello and Marco Cecioni reformed the band but the name "Balletto di Bronzo" continues to belong to the prog trio of Gianni Leone who however, participated in the recording of "CUMA 2016 DC"…

Le récit de la vie de Lino Saputo, c’est celui—hors du commun et profondément inspirant—d’un jeune immigrant qui, encore adolescent, s’est attelé à la construction d’un monde où son père et ses proches pourraient à nouveau prospérer dans la dignité et la passion de leur art. …

Danish trumpeter Jakob Buchanan also has a background in modern jazz and his large-scale work Requiem combines big band music, choral music, modern jazz and classical tones into a sweeping musical statement that enters the realm of spirituality. On the opening, "Requiem Aeternam," Buchanan's trumpet breaks through the silence like a glowing light in the dark before an organ intones with multiple brass voices in the background. Then a choir of Latin voices rise from out of nowhere and the composition grows into an understated bass-driven groove where Indra Rios-Moore sings: "nothing is permanent / the sun and the moon rise and set. / From hour to hour everything changes, / To take for permanent, that which is only transitory, is like the delusion of a mad man."

This live 2008 performance of Brahms' Ein deutsches Requiem is John Eliot Gardiner's second recording of the piece, the first from 1991, and he uses the same performing forces, the Monteverdi Choir and Orchestre Révolutionnaire et Romantique. This second interpretation is part of his Brahms series, begun in 2008, which includes the four symphonies, for the label Soli Deo Gloria. The performance is approximately the same length as his earlier version and clocks in at less than 65 minutes, considerably shorter than the usual performance of the Requiem, making it one of the shortest recorded versions, in fact. Gardiner generates genuine excitement with his propulsive tempos in the faster sections.

Bruckner’s early Requiem of 1849 and the setting of Psalm 114 (really 116) were composed well before his long period of gruelling technical study with Simon Sechter, during which period he was permitted to compose almost nothing. That was followed by another stretch with Otto Kitzler, less prohibitive so far as creative work was concerned, but still severe; at this time he wrote the Overture in G minor, the ‘study’ symphony in F minor, and a number of choral pieces, including the substantial Psalm 112 (with orchestra) on this record. This period of deliberate creative abstinence has led to the belief that Bruckner was a late starter, that he wrote no music of worth before he was about forty.