Sasso D.v.a.v

Dans un disque précédent, Exploration (2006), Dal Sasso, qui appartient à cette génération bénie née autour de 1968, exploitait l'héritage de Gil Evans et invitait en soliste un aîné, modèle légendaire d'intransigeance, le saxophoniste américain David Liebman. Créer des textures nouvelles qui jouent avec chaleur tantôt de dissonances doucement agressives (ainsi Morning Sound, où les flûtes ne craignent pas d'expressives faussetés), tantôt harmoniquement confortables (Rondo et Prétextes), où les cuivres et les anches enveloppent, telle est son ambition dans Prétextes.

The name of violinist and conductor Evaristo Felice Dall'Abaco does not necessarily spring to one's lips when significant figures of the late Baroque period are under consideration. To summarize, he was a contemporary of Antonio Vivaldi and the Veronese-born master of music attached to the court of Maximilian II Emanuel, Elector of Bavaria. As such, Dall'Abaco spent the first 11 years of his tenure in exile with the Elector in the Netherlands, and later, in France.

After a long period of neglect, Handel's 1719 opera Ottone has attracted renewed attention from historical-performance groups. The opera deals with episodes from the life of Otto II, Holy Roman Emperor in the 10th century, a topic so obscure that even for an 18th century audience an "argument" had to be attached to the libretto by way of background information. The opera was highly successful in Handel's own time, perhaps less for its musical value than for the always fun news stories about the stars in Handel's orbit; this time the feature was soprano Francesca Cuzzoni, who refused to sing the aria "Falsa imagine" until Handel threatened to throw her out a window.

A series of "Super Hits Collection" is a gift edition of popular music. In each CD 20 best songs of world-famous performers. Have a nice listening!

Christophe Dal Sasso's fifth album as a leader opens an ambitious and original musical adventure in the form of three cycles of compositions inspired by the infinity of the cosmos and the different components of the universe. Devoted to the nebulae, this recording presents itself as the first part of a trilogy with evolutionary orchestration. At the frontiers of classical writing and the soul of jazz, this first cycle is based on the association of a jazz quintet and a string trio (violin, viola and cello).

A la tête d’un orchestre époustouflant, Christophe Dal Sasso retrace en musique deux siècles d’histoire de l’un des plus prestigieux vignobles de Bordeaux. Habitée par le souffle du jazz, cette suite pour big band restitue en onze tableaux la tumultueuse saga de Château Palmer, sous la plume fertile de l’un des grands orchestrateurs de notre époque (Yusef Lateef, Milton Nascimento, les frères Belmondo, David Liebman…). Une œuvre épique à la mesure du cru d’exception qui l’a inspirée.

A 20 ans, avant d'être célèbre dans toute l'Europe et de venir à Londres se mesurer à Haendel, ce natif de Modène (1670-1747) composa cet oratorio précoce. Il y témoigne d'une capacité évidente à dépasser ses modèles: les airs sont inspirés, l'écriture instrumentale habile et la figure de Marie-Madeleine ainsi mise en musique a toute l'ambiguïté de la sensualité séductrice et du repentir édificateur.

The work was produced with the Virtual Stage system, the innovative method that features new blended methods, between real and virtual, between philology and technology, applied to the operatic setting for both audio and scene through multitrack recording. The voice cast consists of young talents headed by virtuoso tenor Leonardo De Lisi as Ulysses. The ensemble instrumental sees musicians prominent of the group Dutch Heliosphere, together with the flautist Marco Di Manno co-founder of the Ensemble, Dimitri Betti assistant to the continuo players musician and harpsichordist and Giacomo Benedetti on the organ, with the participation of the Juvenes Cantores choir of the Cathedral of Sarzana by Alessandra Montali.

In the margin of official religious institutions, Catholic confraternities and Muslim orders offered a mystical experience. Music played an important role in their rituals, as a way of access to God. Simple, repetitive, haunting, this music sung in groups during processions or devotional meetings was intended to place the assembly in a state of ecstatic trance.