{"title":"Alberto Boischio","description":"\u003cp\u003eBrowse albums and recordings associated with Alberto Boischio in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"unus-inter-pares-stravinsky-bartok-lincetto","title":"Unus inter pares | Carbonare, Nordio, Boischio","description":"\u003cp\u003e\u003cstrong\u003eUnus inter pares\u003c\/strong\u003e places Adriano Lincetto alongside Stravinsky and Bartók, remembering the Paduan composer within his musical context. Alessandro Carbonare, Domenico Nordio and Alberto Boischio alternate trio works and solo pieces for clarinet, violin, viola and piano.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD057CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 96kHz · 24bit — CVLD057\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlessandro Carbonare — clarinet\u003cbr\u003eDomenico Nordio — violin and viola\u003cbr\u003eAlberto Boischio — piano\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal 96 kHz · 24-bit digital recording, live in the studio at Auditorium Pollini in Padua in April 2001.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna\u003cbr\u003eExecutive producer: Marco Lincetto\u003cbr\u003eRecording, mix and mastering: Marco Lincetto\u003cbr\u003eDesign and layout: L’Image\u003c\/p\u003e\u003ch3\u003eProgramme by work\u003c\/h3\u003e\u003cp\u003e1. Histoire du soldat, Suite 1919 for Violin, Clarinet and Piano (Igor Stravinsky) - Domenico Nordio 14'38\"\u003c\/p\u003e\n\u003cp\u003e2. Three Pieces for solo clarinet (Igor Stravinsky) - Alessandro Carbonare 3'40\"\u003c\/p\u003e\n\u003cp\u003e3. Contrasts for Violin, Clarinet and Piano, Sz. 111 (Béla Bartók) - Domenico Nordio 17'25\"\u003c\/p\u003e\n\u003cp\u003e4. Sequenza cromatica (Adriano Lincetto), originally for solo flute, performed on violin by Domenico Nordio — 3:21\u003c\/p\u003e\n\u003cp\u003e5. Sequenza cromatica per violino solo dall’originale per flauto solo di Adriano Lincetto (Giovanni Bonato) - Domenico Nordio 4'20\"\u003c\/p\u003e\n\u003cp\u003e6. Fantasia per viola, clarinetto e pianoforte (Adriano Lincetto) - Domenico Nordio 7'50\"\u003c\/p\u003e\n\u003cp\u003e7. Quattro improvvisi per pianoforte (Adriano Lincetto), Presto - Alberto Boischio 2'55\"\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTotal Time: 54:31\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Unus-Inter-Pares\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50034938085723,"sku":"CVLD057CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 96kHz · 24bit WAV","offer_id":46977395851611,"sku":"CVLD057","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/057-cover.jpg?v=1690556310"},{"product_id":"albeniz-lincetto-piano-solo","title":"Albéniz, Lincetto: Piano Solo | Alberto Boischio","description":"\u003cp\u003e\u003cstrong\u003eAlbéniz, Lincetto: Piano Solo\u003c\/strong\u003e. Alberto Boischio pairs Isaac Albéniz’s Recuerdos de viaje with Adriano Lincetto’s Schizzi per pianoforte.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD256\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlberto Boischio\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eAnalogue recording on ¼-inch two-track tape, Teac 2-B RTR, at 38 cm\/s, in August 1997 at Taio Public Auditorium. Digital remastering by Marco Lincetto at Velut Luna Studio, Casalserugo, on 11 June 2014, using Velut Luna analogue console and Prism Sound AD-2 Dream converter at 88.2 kHz · 24 bit.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eProduction: Velut Luna\u003cbr\u003eExecutive Producer: Marco Lincetto\u003cbr\u003eMusical producers: Marco Lincetto\u003cbr\u003eRecording, mix and mastering engineer: Marco Lincetto\u003cbr\u003ePhotos: Marco Lincetto\u003cbr\u003eDesign and layout: L’Image\u003cbr\u003eSales manager: Patrizia Pagiaro\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cstrong\u003eISAAC ALBENIZ\u003c\/strong\u003e\u003cbr\u003eRecuerdos de viaje\u003cbr\u003e01 - En el mar, 5:52\u003cbr\u003e02 - Leyenda, Barcarole, 4:34\u003cbr\u003e03 - Alborada, 4:53\u003cbr\u003e04 - En la Alhambra, 3:53\u003cbr\u003e05 - Puerta de tierra, 3:38\u003cbr\u003e06 - Rumores de la Caleta, 3:25\u003cbr\u003e07 - En la playa, 5:17\u003cbr\u003e\u003cstrong\u003eADRIANO LINCETTO\u003c\/strong\u003e\u003cbr\u003eSchizzi per pianoforte (1989)\u003cbr\u003e08 - Preludio, Lento espressivo, 2:17\u003cbr\u003e09 - Notturno, Andante sereno, 2:28\u003cbr\u003e10 - Lento espressivo, 3:49\u003cbr\u003e11 - Allegramente scanzonato, 1:02\u003cbr\u003e\u003cstrong\u003eTot. Time: 41:12\u003c\/strong\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003ch4\u003eBiographical notes from the edition\u003c\/h4\u003e\u003cp\u003e\u003cstrong\u003eIsaac Albeniz\u003c\/strong\u003e\u003cbr\u003eAn excellent Catalonian pianist, Isaac Albeniz had quite a lively life. After studying piano with Marmontel at the Paris Conservatoire and with Mendizabal at the Madrid Conservatoire, he ran away from home to embark on a concert career as he was still very young. Travelling in many countries such as South America, the United States, England and Germany, he was able to experience the most varied experiences.  In the decade between 1880 and 1892 he devoted himself to teaching, while maintaining his concert activity and expanding his recital repertoire with his own compositions. In 1892 he was in London, where he could benefit from the financial support of the banker Francis-Money Couts. He settled in Paris from 1893 and there, in full maturity, his talent as a composer finally managed to express itself (Iberia, his probably best known and most important composition, dates from this period). The friendship and closeness with the best personalities of the French musical world of the time, evidently exerted a strong influence on Albeniz: Faurè, Debussy, Dukas, Chausson. Unfortunately, much of his work has been lost. Yet many compositions – mainly composed for his instrument, the piano – still remain unpublished or unrecognized. Curiously, in the popular imagination Albeniz’s name is often united with the guitar; this is due to his Spanish origin, but, above all, to a fortunate series of his pieces transcriptions for the six-string instrument, made by famous guitarists. The set of compositions proposed in this CD is, in the opinion of the writer, particularly significant and exemplary of Albeniz's poetics. The evocative and strongly descriptive tones allow us to significantly unveil the author's many life experiences.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAdriano Lincetto\u003c\/strong\u003e\u003cbr\u003eMaestro Adriano Lincetto - the title is not underlined by chance, as we will see later - was born in Padua on 7 October 1936, and died there in tragic circumstances on 24 April 1996. During these sixty years, he gained great experience in music, which, from his early childhood was his main life companion. Despite his humble origins, his iron will (he worked during the day as a messenger to pay for his piano lessons) and his true natural talent allowed him to brilliantly graduate in just seven years with full marks and honours at the Padua Conservatory of Music under the guidance of Maestro Silvio Omizzolo. His reserved and intimately modest character did not allow him to develop the concert career that in the sixties his talent could have offered him: in fact, despite successful tours as a soloist and in chamber ensembles - not only in Italy but especially in Switzerland and France (we mention some acclaimed radio recordings for ORTF, for the French National Radio and for Swiss Radio) - in the mid-seventies he retired from the scene to dedicate himself to teaching and composition. His collaborations with some famous opera singers open another - and in some ways unresolved - important chapter: we mention above all Lucìa Valentini Terrani, whom he discovered and launched towards the worldwide success that everyone knows, and the baritone Antonìo Salvadori. For the great love he had for music, in its most intimate and familiar sense, he divided his life into two main activities: the public one, teaching (he was a professor of piano at \"his\" Conservatory in Padua from 1966 until his death) and the other, intimately private, composition. Lincetto wrote above all for himself, and more often for his musician friends, certainly not for popular acclaim, money and rich prizes. This modus operandi, a mirror of his true and pure artistic nature, allowed him to \"... emerge from the parody of the so-called artistic world - in turn a grotesque and lethal parody of what is generally understood as the world - without caring about any suggestion, imposition and criterion that came from that parody of art. His salvation, and that of those who listen to his music, lies in the balance in which he lived and composed, beyond old and new things...\", as the famous Romanian philosopher and musicologist Radu Lidjienko wrote about him some time ago. Adriano Lincetto has really written a lot of music for orchestra, soloists, choir, the most diverse musical assemblies and for various instruments such as the mandolin and the \"Alpine horn\"; on the contrary, he has hardly written for solo piano. In addition to the composition of this recording, we also mention \"I Momenti Musicali\" and some other minor composition powerfully conditioned by Chopínian poetics, composed in his youth and entirely dedicated to his wife, at the time his fiancée.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAlberto Boischío\u003c\/strong\u003e\u003cbr\u003eAlberto Boischio is an old but young pianist. He has dedicated his entire life to date to the piano, without forgetting his family, his wife and, for a year, his little son Matteo. Yet the piano represents his whole life and we hope that this continues to be the case, because of the unconditional opinion we have of his talent: beyond any useless chronicler's list of awards, titles and whatever else today's \"intelligentsia\", the aristocracy of the music-world seems to demand to grant great artists a licence.\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Albeniz-Lincetto\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":48288393593179,"sku":"CVLD256","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_607447ee-14a1-45d1-bb0a-10a83f4eb693.jpg?v=1716213810"},{"product_id":"busoni-24-preludi-boischio","title":"Busoni: 24 Preludi | Alberto Boischio","description":"\u003cp\u003eAlberto Boischio performs Ferruccio Busoni’s 24 Preludes on a Borgato piano, in a programme devoted to the composer’s piano writing.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eFile Hi-Res WAV 96kHz · 24bit — CVLD080\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlberto Boischio — piano Borgato.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 96 kHz · 24 bit; Lonigo (Vicenza); 2003-02.\u003c\/p\u003e\u003cp\u003eRecorded live in the studio.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna\u003cbr\u003eSound engineer: Marco Lincetto\u003cbr\u003eEditing and mastering engineer: Fabio Framba\u003cbr\u003eArtistic direction: Alberto Boischio and Marco Lincetto\u003cbr\u003ePhotos: Ilenco Tracmot\u003cbr\u003eLayout: l’image\u003cbr\u003ePR: Francesco Pesavento\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e01 - Ferruccio Busoni - 24 preludi op37-1, Moderato\u003cbr\u003e02 - Ferruccio Busoni - 24 preludi op37-2, Andantino sostenuto\u003cbr\u003e03 - Ferruccio Busoni - 24 preludi op37-3, Andante con moto\u003cbr\u003e04 - Ferruccio Busoni - 24 preludi op37-4, Allegretto\u003cbr\u003e05 - Ferruccio Busoni - 24 preludi op37-5, Vivace assai quasi presto\u003cbr\u003e06 - Ferruccio Busoni - 24 preludi op37-6, Moderato\u003cbr\u003e07 - Ferruccio Busoni - 24 preludi op37-7, Allegro vivace\u003cbr\u003e08 - Ferruccio Busoni - 24 preludi op37-8, Allegro moderato\u003cbr\u003e09 - Ferruccio Busoni - 24 preludi op37-9, Allegretto vivace e con brio\u003cbr\u003e10 - Ferruccio Busoni - 24 preludi op37-10, Vivace ed energico\u003cbr\u003e11 - Ferruccio Busoni - 24 preludi op37-11, Allegretto piacevole alla danza\u003cbr\u003e12 - Ferruccio Busoni - 24 preludi op37-12, Andantino\u003cbr\u003e13 - Ferruccio Busoni - 24 preludi op37-13, Allegretto scherzando\u003cbr\u003e14 - Ferruccio Busoni - 24 preludi op37-14, Lento\u003cbr\u003e15 - Ferruccio Busoni - 24 preludi op37-15, Andantino sostenuto con espressione\u003cbr\u003e16 - Ferruccio Busoni - 24 preludi op37-16, Maestoso ed energico\u003cbr\u003e17 - Ferruccio Busoni - 24 preludi op37-17, Allegretto vivace\u003cbr\u003e18 - Ferruccio Busoni - 24 preludi op37-18, Allegretto con moto\u003cbr\u003e19 - Ferruccio Busoni - 24 preludi op37-19, Allegro vivo\u003cbr\u003e20 - Ferruccio Busoni - 24 preludi op37-20, Allegro moderato\u003cbr\u003e21 - Ferruccio Busoni - 24 preludi op37-21, Andantino sostenuto\u003cbr\u003e22 - Ferruccio Busoni - 24 preludi op37-22, Vivace e scherzoso\u003cbr\u003e23 - Ferruccio Busoni - 24 preludi op37-23, Allegro vivace\u003cbr\u003e24 - Ferruccio Busoni - 24 preludi op37-24, Presto\u003cbr\u003e25 - Ferruccio Busoni - Exercise por l'Emploi de le troisieme pedale\u003cbr\u003e26 - Ferruccio Busoni - Klavierskizze, Indianische Erntelied\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003eFerruccio Busoni’s 24 Preludes, Op. 37, are paired with two further piano pieces in a 26-track programme performed by Alberto Boischio on a Borgato piano.\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Ferruccio-Busoni-24-Preludes-Op-37\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 96kHz · 24bit WAV","offer_id":49758821319003,"sku":"CVLD080","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/080-cover.jpg?v=1735037872"},{"product_id":"chopin-piano-solo-boischio","title":"Chopin Piano Solo | Alberto Boischio","description":"\u003cp\u003eAlberto Boischio performs a solo piano programme devoted to Fryderyk Chopin, recorded at the Church of San Francesco in Schio.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eFile Hi-Res WAV 96kHz · 24bit — CVLD216\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlberto Boischio — piano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 96 kHz · 24 bit; Chiesa di San Francesco, Schio; 1998-09-24\/26.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Velut Luna\u003c\/strong\u003e\u003cbr\u003eExecutive producer: Marco Lincetto\u003cbr\u003eMusical producer: Maria Grazia Bambini\u003cbr\u003eRecording \u0026amp; Mastering engineer: Marco Lincetto\u003cbr\u003eEditing engineer: Fabio Framba\u003cbr\u003eDesign: l’image\u003cbr\u003ePhoto: Ilenco Tracmot\u003cbr\u003eMarketing: Francesco Pesavento\u003cbr\u003eSales Manager: Moreno Danieli \u0026amp; Patrizia Pagiaro\u003cbr\u003ePress Agent: Emanuela Dalla Valle\u003cbr\u003eWorld Wide Contacts: Cristiana Dalla Valle\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e1) Ballata in sol min. op. 23, N.1 (1831) 9’23”\u003cbr\u003e2) Mazurka in sol min. op. 67, N.2 (1849) 2’09”\u003cbr\u003e3) Mazurka in la min. op. 67, N.4 (1846) 3’24”\u003cbr\u003e4) Notturno in fa diesis min. op. 48, N.2 (1842) 7’49”\u003cbr\u003e5) Notturno in do diesis min. \/ op. postuma (1830) 3’47”\u003cbr\u003eSonata in si min. op. 58 (1844)\u003cbr\u003e6) - allegro maestoso 9’11”\u003cbr\u003e7) - Scherzo, molto vivace 2’37”\u003cbr\u003e8) - Largo 8’13”\u003cbr\u003e9) - Presto non tanto, agitato 5’14”\u003cbr\u003eDurata totale 51’56\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003ch4\u003eEdition notes\u003c\/h4\u003e\u003cp\u003eOne hundred and fifty years after his death, is there still something to discover about Chopin? As for his biography, I would say no: even the clouds that hung over his ancestors have been swept away by meticulous archive research, and his father's earthly story has been entirely reconstructed. Unless unknown memories, locked away in the archives of families close to Chopin, suddenly appear, it seems unlikely that the still obscure aspects of his life can be illuminated. His relationships with contemporaries, and especially with George Sand, have been thoroughly investigated, finally returning, after more than a century of fables, to what the documents reveal. In my opinion, critical studies still have three major lines of inquiry open: Technique, the Reconciliation of Microcosm and Macrocosm, and the Feeling of Homeland.\u003c\/p\u003e\u003cp\u003eChopin's revolutionary technique developed in conjunction with a significant evolution in piano construction: between approximately 1820 and 1830, the instrument acquired a frame with metal plates and tension bars that reinforced the traditional wooden frame, thicker and more tensioned strings, more robust hammers covered in felt instead of leather, and a heavier action. Classical technique, codified by Muzio Clementi, did not allow the pianist to develop the full sonic potential of the Romantic piano, and attempts to preserve it by adapting it to the instrument's changed characteristics were unsuccessful. Chopin, however, created a technique that rejected certain fundamental postulates of classical tradition (such as the equality of fingers and action limited to fingers and hand) and discovered previously unknown possibilities of touch.\u003c\/p\u003e\u003cp\u003eSome conservative critics of Chopin's time considered the Études Op. 10 unplayable, and indeed they were if approached with Clementi's technique. But in the Études Op. 10 and Op. 25, a new and very broad technique was invented, which represented a definitive acquisition for the piano. Subsequently, in the Trois Nouvelles Études, Chopin addressed, so to speak, the birth of sound on the piano, that is, the boundary between sound and silence, opening up a field that would be thoroughly explored fifty years later by the French symbolists. Now, concerning Chopin's technique, studied from the texts and pianos he was familiar with, there is still much to be said, in my opinion.\u003c\/p\u003e\u003cp\u003eThe most complex form created by classicism is the sonata, which in its most typical moments brings together four different forms: the two-themed and three-part allegro, the two-themed song, the scherzo with trio, and the rondo. This grand form stands as an insurmountable bulwark before composers who appeared on the scene around 1830.\u003c\/p\u003e\u003cp\u003eSchubert, who died in 1828, was already considered a master of small forms throughout the century, and Romantic composers tended to use small forms and to take up and develop, independently of each other, the forms of the classical sonata: for example, Chopin's ballad derives from the two-themed and three-part allegro, and Chopin's scherzo derives from Beethoven's \"scherzo with trio.\"\u003c\/p\u003e\u003cp\u003eAnother example of the development of a traditional form, the two-themed one, is found in some nocturnes, which expand John Field's salon dimension to a poetic scale and meaning. Chopin also tackles, albeit by exception, the grand classical form; but like Schumann, he organizes small forms into cycles, creating the polyptych. In this sense, certain groups of mazurkas and waltzes are to be considered, but above all the Preludes Op. 28, in which the aphoristic form, the three-part monothematic form, and the song form are inserted into a complex and rigidly pre-structured scheme. Many studies have been made on the Preludes, even recently; but it does not seem to me that the \"secret,\" the enigma of this absolute masterpiece, has been revealed.\u003c\/p\u003e\u003cp\u003eThe third crucial point in Chopin's poetics concerns his non-belonging to the Central European culture that had dominated the field of piano literature during the Classical era. The son of a Polish mother and a Lorrainese father who moved to Poland at a very young age, Chopin spoke Polish, was culturally formed in Warsaw, and was the first composer to achieve international fame by systematically using stylistic elements belonging to the musical tradition of his people, which were grafted onto stylistic elements of the lingua franca, the European \"koinè.\"\u003c\/p\u003e\u003cp\u003eThe exotic had already appeared in Central European music for some time. But for Chopin, the exotic is not a picturesque element: he does not occasionally sample the exotic; he IS the exotic, and the culture of his land invests European structures, transforming them. Already in the Scherzo Op. 20, a musical scale characteristic of Poland is contrasted with European harmony: this creates an accord that would be debated by theorists throughout the century.\u003c\/p\u003e\u003cp\u003eDuring his years in Paris, Chopin would constantly return to this, we might say, unusual chemical reaction; and in this way, instead of creating national opera according to the intentions of the musicians who had sympathized with the Kosciuszko uprising in 1794 and the 1830-31 insurrection, he would profoundly influence the course of Central European music until Decadence. And here too, despite the efforts of biographers and critics, something obscure remains.\u003c\/p\u003e\u003cp\u003eWhat will 1999 bring us? Some novelty or a lazy re-flowering of old tales?\u003cbr\u003ePiero Rattalino\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Alberto-Boischio-Plays-Chopin-Piano-Solo\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 96kHz · 24bit WAV","offer_id":49837035716955,"sku":"CVLD216","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/216-cover.jpg?v=1736206605"},{"product_id":"musica-per-due-pianoforti-vol-1-2-t-trevisan-e-f-trevisan","title":"Rachmaninov: Musica per due pianoforti | Duo Trevisan","description":"\u003cp\u003eTeresa and Filippo Trevisan play Rachmaninov, with Alberto Boischio and Fabiano Maniero. Two volumes in one digital edition.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD258\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eTeresa Trevisan, Filippo Trevisan — piano; Alberto Boischio — piano (Vol. 2, 13–14); Fabiano Maniero — trumpet (Vol. 2, 15).\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eProduction: Velut Luna \/ Executive Producer: Marco Lincetto \/ Musical producers: Filippo and Teresa Trevisan \/ Recording, mix and mastering engineer: Marco Lincetto \/ Photos: Paolo Lavezzi \/ Design and layout: L’Image \/ Sales manager: Patrizia Pagiaro\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eVol.1\u003c\/span\u003e\u003cbr\u003eSymphonic Dances op.45 for two pianos\u003cbr\u003e01 - Non Allegro, 11:25\u003cbr\u003e02 - Andante con moto, 9:33\u003cbr\u003e03 - Lento assai, 13:15\u003cbr\u003eSuite op.17 for two pianos\u003cbr\u003e04 - Introduction, 4:26\u003cbr\u003e05 - Valse, 6:01\u003cbr\u003e06 - Romance, 7:32\u003cbr\u003e07 - Tarantella, 6:25\u003cbr\u003eTot.Time: 59:12\u003cbr\u003e\u003cspan\u003eVol.2\u003c\/span\u003e\u003cbr\u003eSuite op.5 for two pianos\u003cbr\u003e01 - Barcarole, 7:47\u003cbr\u003e02 - A Night For Love, 6:18\u003cbr\u003e03 - Tears, 6:00\u003cbr\u003e04 - Russian Easter, 2:28\u003cbr\u003eRussian Rhapsody for two pianos\u003cbr\u003e05 - Moderato, Vivace, Andante, Poco più mosso,\u003cbr\u003eCon moto, Tempo I, 9:35\u003cbr\u003e06 - Romance for piano four hands, 2:05\u003cbr\u003eSix Morceaux, op.11 for piano four hands\u003cbr\u003e07 - Barcarole, 5:44\u003cbr\u003e08 - Scherzo, 3:08\u003cbr\u003e09 - Russian Theme, 4:39\u003cbr\u003e10 - Waltz, 3:53\u003cbr\u003e11 - Romance, 3:55\u003cbr\u003e12 - Slava (Glory), 4:22\u003cbr\u003e13 - Valse for piano six hands, 1:03\u003cbr\u003e(with Alberto Boischio)\u003cbr\u003e14 - Romance for piano six hands, 3:57\u003cbr\u003e(with Alberto Boischio)\u003cbr\u003e15 - Polka Italienne for piano four hands and trumpet, 1:54\u003cbr\u003e(with Fabiano Maniero on trumpet)\u003cbr\u003e16 - Russian Rhapsody (alternate version), 9:35\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTot.Time: 77:38\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e\u003cstrong\u003e\"Duo Trevisan\"\u003c\/strong\u003e\u003cbr\u003eThey debuted as a piano duo at the Boole Madame Festival in France in 1989 and subsequently recorded music by Mozart and Rachmaninov on two pianos for Italian television RAI. In 1992, on the occasion of a series of concerts organized by the Culture Committee of the Province of Udine, Mozart's complete works for two pianos were presented. They have played in the Netherlands (Doelen Theatre in Rotterdam), in the USA (at Paul Hall of the Lincoln Centre in New York and at Hartford University), in Italy (Scuola Grande di S. Giovanni Evangelista in Venice, Amici della Musica in Udine) and in Austria (Wiener Saal in Salzburg). They performed Mozart's Concerto KV365 for two pianos and orchestra with the Udine Philharmonic Orchestra in October 1996. They performed Rachmaninov Music for two pianos at the First International Piano Festival \"Adriano Lincetto\", in Padua, in October 1997, during the recording sessions of these Rachmaninov Complete Recordings of Music for two pianos and four hands. Finally, the 2000 celebrations for the year of Johann Sebastian Bach gave the Duo Trevisan the opportunity to propose and perform an interesting transcription for piano four hands of the Six Brandenburg Concertos, arranged by Max Reger. They performed this composition live at the Nicola Trevisan Cultural Center in Udine and recorded it for Velut Luna.\u003cbr\u003eIn December 2001, Filippo Trevisan tragically died in a fatal skydiving accident, and thus the Duo Trevisan abruptly ended their brilliant career forever.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"Hi-Res WAV file 88.2 kHz · 24 bit","offer_id":49909230731611,"sku":"CVLD258","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/rachmaninov-musica-due-pianoforti-duo-trevisan-cover.jpg?v=1789461503"},{"product_id":"alberto-boischio-plays-beethoven-boschio","title":"Alberto Boischio Plays Beethoven","description":"\u003cp\u003eAlberto Boischio plays Beethoven’s Piano Sonatas No. 8 op. 13 and Nos. 13–14 op. 27. Recorded in the studio in 2015.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD274CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD274\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlberto Boischio — piano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; San Giacomo Spazio d’Arte; 2015-10-03.\u003c\/p\u003e\u003cp\u003eRecorded live in the studio.\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cbr\u003eProduction: Velut Luna\u003cbr\u003eExecutive Producer: Marco Lincetto\u003cbr\u003eRecording Engineers: Marco Lincetto and Cristiano Zatta\u003cbr\u003eEditing Engineer: Michele Sartor\u003cbr\u003eMix and Mastering Engineer: Marco Lincetto\u003cbr\u003eMusical Assistant: Matteo Boischio\u003cbr\u003ePhoto: Marco Lincetto\u003cbr\u003eGraphics and Layout: L’Image\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003ePiano Sonata n.8 in C minor, op.13 \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e01 - Grave. Allegro di molto e con brio - 9:01\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02 - Adagio Cantabile - 4:39\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03 - Rondò. Allegro - 4:24\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePiano Sonata n.13 in E flat major, op.27, n.1 \"Quasi una fantasia\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e04 - Andante. Allegro. Tempo I - 5:12\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05 - Allegro molto e vivace - 1:59\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06 - Adagio con espressione - 2:54\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e07 - Allegro vivace. Presto - 5:24\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePiano Sonata n.14 in C sharp minor, op.27, n.2 \"Moonlight\"\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e08 - Adagio sostenuto - 6:10\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e09 - Allegretto - 2:05\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10 - Presto agitato - 7:53\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTotal Time: 50:05\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eI was 12 and a half years old when my piano teacher, Elisa Cannavacciuolo, told me, \"Go to Ricordi and buy Beethoven's Sonata No. 13.\" The dealer, unsure whether the 13 referred to the sonata number or the opus number, sold me both scores; opus 13 is the Pathétique, and opus 13 is Op. 27, No. 1. First contact established! With only three years of study behind me, these two scores initially instilled absolute despair in me, but at the same time further fueled the flame that the Bonn composer himself had first lit in me.\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eYes, indeed! Beethoven was my first spark. Returning to these sonatas as an adult was like returning for a while to my family home, enjoying once again the delicious dish of Sunday lunch along with the delightful sensation of enveloping fire, enthusiasm, passion, and energy in the paternal embrace of the passing years.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Alberto-Boischio-Plays-Beethoven\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50002639618395,"sku":"CVLD274CD","price":18.0,"currency_code":"EUR","in_stock":false},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49914192429403,"sku":"CVLD274","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/274-cover.jpg?v=1737158513"},{"product_id":"gli-invisibili-sol-ensemble-boischio-meira-de-aguiar-gradella","title":"Gli invisibili | Adriano Lincetto","description":"\u003cp\u003eMusic by Adriano Lincetto and words by Giorgio Erminio Fantelli with SolEnsemble, Boischio, Meira de Aguiar and Gradella.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD291CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD291\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eSolEnsemble — women’s choir; Alberto Boischio — piano; Tatiana Meira de Aguiar — soprano; Alvaro Gradella — spoken voice.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eProduction: Velut Luna\u003c\/li\u003e\u003cli\u003eExecutive producer: Marco Lincetto\u003c\/li\u003e\u003cli\u003eRecording, mix and mastering: Marco Lincetto; digital and analog technologies, custom Ribera Tube R12 and R47 microphones\u003c\/li\u003e\u003cli\u003eEditing of “9 Vilote Pavane”: Michele Sartor\u003c\/li\u003e\u003cli\u003ePhotos: Marco Lincetto, except SolEnsemble photos supplied by the ensemble\u003c\/li\u003e\u003cli\u003eDesign and layout: L’Image\u003c\/li\u003e\u003cli\u003eCover painting: Danilo Lincetto\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e01–09 — 9 Vilote Pavane, per coro femminile — 10:14\u003c\/p\u003e\u003cp\u003e10–14 — 5 Momenti musicali, per pianoforte solo — 9:40\u003c\/p\u003e\u003cp\u003e15–38 — 24 Melodie, per voce vocalizzante e pianoforte — 29:31\u003c\/p\u003e\u003cp\u003e39 — El Testamiento, per voce recitante — 4:13\u003c\/p\u003e\u003cp\u003eMusic: Adriano Lincetto (1–38). Vilote texts and the poem El Testamiento: Giorgio Erminio Fantelli. 1–9: SolEnsemble; 10–14: Alberto Boischio; 15–38: Tatiana Meira de Aguiar, Alberto Boischio; 39: Alvaro Gradella.\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Gli-invisibili\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50000742580571,"sku":"CVLD291CD","price":50.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49918070423899,"sku":"CVLD291","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_e471160c-8c63-426d-9983-afed031bf38e.jpg?v=1737234972"},{"product_id":"beethoven-in-trio-trio-rachmaninov","title":"Beethoven in Trio | Trio Rachmaninov","description":"\u003cp\u003eTrio Rachmaninov brings together two sides of Beethoven’s music: the Triple Concerto Op. 56, with Amadeus Adriatic Orchestra conducted by Stefano Sacher, and the Piano Trio Op. 70 No. 1, the “Ghost”. Stefano Furini, Cecilia Barucca Sebastiani and Alberto Boischio move from dialogue with the orchestra to the chamber setting of the piano trio.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and Hi-Res WAV file, 88.2 kHz · 24bit. Velut Luna catalogue CVLD315.\u003c\/p\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eStefano Furini — violin; Cecilia Barucca Sebastiani — cello; Alberto Boischio — piano. Amadeus Adriatic Orchestra; Stefano Sacher — conductor in the Triple Concerto.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eThe Triple Concerto was recorded live at Sala Piccola Fenice, Trieste, on 27 January 2019. The “Ghost” Trio was recorded at Magister Area Studios, Preganziol, on 5 August 2019. Original digital recording at 88.2 kHz · 24bit, with analogue mixing and mastering by Marco Lincetto.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna. Executive producer: Marco Lincetto. Musical producer: Matteo Boischio. Recording, mix and mastering: Marco Lincetto. Recording assistant in Trieste: Fulvio Strain. Photography: Marco Lincetto. Design: L’Image.\u003c\/p\u003e\u003ch3\u003eTracklist\u003c\/h3\u003e\u003cp\u003e\u003cstrong\u003eConcerto Triplo in Do maggiore op. 56\u003c\/strong\u003e\u003cbr\u003e1. Allegro — 17:49\u003cbr\u003e2. Largo — 4:47\u003cbr\u003e3. Rondò alla polacca — Allegro — Tempo I — 13:28\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTrio in Re maggiore op. 70 n. 1 “Gli Spiriti”\u003c\/strong\u003e\u003cbr\u003e4. Allegro vivace e con brio — 7:08\u003cbr\u003e5. Largo assai ed espressivo — 11:22\u003cbr\u003e6. Presto — 8:41\u003c\/p\u003e\u003cp\u003eTotal time: 63:20.\u003c\/p\u003e\u003ch3\u003eTrio Rachmaninov and Amadeus Adriatic Orchestra\u003c\/h3\u003e\u003cp\u003eFormed in Trieste in 1995, Trio Rachmaninov trained at the Trio di Trieste’s International Chamber Music School in Duino. In 1996 it won first prize at the Pinerolo International Chamber Music Competition, followed by concerts in Italy and abroad. Stefano Furini began studying with his father, graduated with honours under Piero Toso and continued his chamber music studies in Duino with Alberto Boischio. From 1990 he served as concertmaster of Teatro Verdi in Trieste, alongside guest concertmaster engagements including Teatro alla Scala.\u003c\/p\u003e\u003cp\u003eCecilia Barucca Sebastiani began studying with her father, a pupil of Libero Lana, and graduated from the Trieste Conservatory under Maestro Serafin. Following successes in national and international competitions, she continued with Rocco Filippini at Cremona’s Accademia Stauffer, Trio di Parma in Duino and Giovanni Sollima at Fondazione Romanini. Alberto Boischio graduated with honours in Padua and developed his chamber music career first in a duo with Furini, then in Trio Rachmaninov, formed in Duino with cellist Jacopo Francini. At the time of the edition, he taught piano accompaniment and vocal practice at the Buzzolla Conservatory in Adria and worked as rehearsal pianist at Teatro La Fenice in Venice.\u003c\/p\u003e\u003cp\u003eFounded and conducted by Stefano Sacher, Amadeus Adriatic Orchestra began in December 2015 within the Trieste branch of Associazione Mozart Italia. Its activity includes concerts in Italy, Austria and Slovenia, with repertoire ranging from Haydn, Mozart, Schubert and Beethoven to Mendelssohn, Chopin, Saint-Saëns, Respighi and contemporary music. Its projects have received support from Regione Friuli Venezia Giulia since 2017.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50000734945627,"sku":"CVLD315CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49935340929371,"sku":"CVLD315","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_2e80aeb5-b716-47c1-9c34-332b94611d3b.jpg?v=1737497798"},{"product_id":"adriano-lincetto-legacy","title":"Adriano Lincetto: Legacy | opere in sei volumi","description":"\u003cp\u003eRecordings of Adriano Lincetto’s works in six volumes: Gianò, solo piano, chamber music, orchestra, songs and villotte.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eComplete collection on USB drive or as Hi-Res WAV files; individual volumes as Hi-Res WAV files. Digital variants specify 88.2 kHz · 24bit for the full collection and volumes 1–4 and 6, and 192 kHz · 24bit for volume 5. Velut Luna CVLD371.\u003c\/p\u003e\u003cp\u003eThe collection organises recordings of Adriano Lincetto’s works gathered for this edition into six volumes. Marco Lincetto made the recordings, except for the home version of Gianò recorded by the composer in 1969 and remastered for this release.\u003c\/p\u003e\n\n\n\u003ch3\u003eVOLUME 1 - GIANO' 64:42\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eI Sogni di Gianò\u003c\/b\u003e \u003ci\u003e(studio version for electronic organ, mezzo-soprano and flute),\u003c\/i\u003e 24:54\u003c\/p\u003e\n\u003cp\u003e1 - 8: Movimenti I - VII e Finale\u003c\/p\u003e\n\u003cp\u003eAdriano Lincetto, \u003ci\u003eorgan\u003c\/i\u003e, Lucia Valentini Terrani, \u003ci\u003emezzosoprano\u003c\/i\u003e, Antonio Carraro,\u003ci\u003e flute\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eHome recording made by the composer at his Padua studio in 1969 with a Geloso recorder and Sennheiser MD 440 microphone\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Sogni di Gianò\u003c\/b\u003e \u003ci\u003e(transcription for solo organ by the composer)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e9: Finale, 2:38\u003c\/p\u003e\n\u003cp\u003eAdriano Lincetto,\u003ci\u003e organ\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded in February 1996 at the parish church of Bassanello, Padua: the composer’s last public performance, two months before his death. Recorded by Marco Lincetto.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Sogni di Gianò, Suite Orchestrale\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e10: Canzone d'amore, 13:03\u003c\/p\u003e\n\u003cp\u003e11: Sono stato soldato, 12:06\u003c\/p\u003e\n\u003cp\u003e12: La fisarmonica e il bambino, 3:36\u003c\/p\u003e\n\u003cp\u003e13: Finale, 4:16\u003c\/p\u003e\n\u003cp\u003eOrchestra di Padova e del Veneto, conductor Fabio Framba, Silvia Regazzo, mezzosoprano\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, September 2009\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 2 - PIANO SOLO 22:19\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eQuattro Schizzi, per pianoforte solo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1: Preludio, Lento espressivo, 2:16\u003c\/p\u003e\n\u003cp\u003e2: Notturno, Andante sereno, 2:27\u003c\/p\u003e\n\u003cp\u003e3: Lento espressivo, 3:49\u003c\/p\u003e\n\u003cp\u003e4: Allegramente scanzonato, 1:03\u003c\/p\u003e\n\u003cp\u003eAuditorium di Taio, Trento, July 1997\u003c\/p\u003e\n\u003cp\u003e5: \u003cb\u003eda Quattro Improvvisi: Presto\u003c\/b\u003e, 2:56\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, June 2001\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCinque Momenti Musicali, per pianoforte solo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e06: Andante molto calmo, 2:31\u003c\/p\u003e\n\u003cp\u003e07: Agitato, 1:22\u003c\/p\u003e\n\u003cp\u003e08: Calmo e sereno, 1:43\u003c\/p\u003e\n\u003cp\u003e09: Mosso con spirito, 2:13\u003c\/p\u003e\n\u003cp\u003e10: Andante, 1:53\u003c\/p\u003e\n\u003cp\u003eStudio Zanta, Camponogara, May 2017\u003c\/p\u003e\n\u003cp\u003eAlberto Boischio, piano\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 3 - CAMERA I 76:40\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eQuintetto per fiati\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Moderatamente mosso e ironico, 3:23\u003c\/p\u003e\n\u003cp\u003e02: Adagio ma non troppo, 3:37\u003c\/p\u003e\n\u003cp\u003e03: Allegro moderato, 2:42\u003c\/p\u003e\n\u003cp\u003eAlban Quintet:\u003c\/p\u003e\n\u003cp\u003eErmanno Giacomel, flute, Giuseppe Nalin, oboe, Mirta Ormen, clarinet, Franco Poloni, horn, Paolo Tognon, bassoon\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, August 1993\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrio per flauto, viola e violoncello\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e04: Moderato, Allegro molto, 4:08\u003c\/p\u003e\n\u003cp\u003e05: Molto lento, Statico, 3:25\u003c\/p\u003e\n\u003cp\u003e06: Allegro ironico con spirito, 2:30\u003c\/p\u003e\n\u003cp\u003eAntonio Carraro, flute, Sergio Agius, viola, Andrea Musto, cello\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, August 1993\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCinque piccoli pezzi per flauti dolci e fagotto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e05: Allegro scanzonato, 1:14\u003c\/p\u003e\n\u003cp\u003e06: Andante, 2:10\u003c\/p\u003e\n\u003cp\u003e07: Allegro deciso, 1:10\u003c\/p\u003e\n\u003cp\u003e08: Adagio molto cantabile e malinconico, 3:29\u003c\/p\u003e\n\u003cp\u003e09: Allegro molto con ironia, 1:41\u003c\/p\u003e\n\u003cp\u003eMaria Giovanna Fiorentino e Francesca Fiorentino, recorders, Paolo Tognon, bassoon\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, August 1993\u003c\/p\u003e\n\u003cp\u003e10: \u003cb\u003eFantasia per viola, clarinetto e pianoforte\u003c\/b\u003e, 7:57\u003c\/p\u003e\n\u003cp\u003eDomenico Nordio, viola, Alessandro Carbonare, clarinet, Alberto Boischio, piano\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, June 2001\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eQuintetto per fiati\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e11: Moderatamente mosso e ironico, 3:14\u003c\/p\u003e\n\u003cp\u003e12: Adagio ma non troppo, 3:22\u003c\/p\u003e\n\u003cp\u003e13: Allegro moderato, 2:49\u003c\/p\u003e\n\u003cp\u003eQuintetto Pedrollo di Vicenza\u003c\/p\u003e\n\u003cp\u003eAuditorium del Conservatorio, Vicenza, September 2022\u003c\/p\u003e\n\u003cp\u003e14: \u003cb\u003eTurodo Nacto per arpa,\u003c\/b\u003e 5:25\u003c\/p\u003e\n\u003cp\u003eCaterina Bergo\u003c\/p\u003e\n\u003cp\u003eMagister Recording Area Studio, Preganziol, November 2005\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSonata per due arpe\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e15: Allegro con spirito, 3:57\u003c\/p\u003e\n\u003cp\u003e16: Adagio espressivo, 4:09\u003c\/p\u003e\n\u003cp\u003e17: Allegro scorrevole, 3:55\u003c\/p\u003e\n\u003cp\u003eCaterina Bergo e Paola Donato, harps\u003c\/p\u003e\n\u003cp\u003eMagister Recording Area Studio, Preganziol, November 2005\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eScene Minime per quartetto d'archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e18: Ninna nanna, 1:48\u003c\/p\u003e\n\u003cp\u003e19: L'ubriaco, 1:25\u003c\/p\u003e\n\u003cp\u003e20: Funerale della bambola, 1:41\u003c\/p\u003e\n\u003cp\u003e21: Lo sberleffo, 0:54\u003c\/p\u003e\n\u003cp\u003e22: Il chiodo, 5:27\u003c\/p\u003e\n\u003cp\u003e23: Per la strada, 0:53\u003c\/p\u003e\n\u003cp\u003eKairos String Quartet: Sara Michieletto e Francesco Scattolin, violins, Michele Sguotti, viola, Laura Moretti, cello\u003c\/p\u003e\n\u003cp\u003eChiesa di San Francesco, Schio, February 1996\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 4 - CAMERA II 74:15\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eDivertimento a due per chitarra e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Introduzione, 2:54\u003c\/p\u003e\n\u003cp\u003e02: Danza, 2:53\u003c\/p\u003e\n\u003cp\u003e03: Finale, 3:38\u003c\/p\u003e\n\u003cp\u003ePaolo Muggia, guitar, Lorella Ruffin, piano\u003c\/p\u003e\n\u003cp\u003eSala degli Specchi del Hotel Ritz, Abano Terme, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdagio e Allegro per mandolino e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e04: Adagio, 2:05\u003c\/p\u003e\n\u003cp\u003e05: Allegro, 3:46\u003c\/p\u003e\n\u003cp\u003eUgo Orlandi, mandolin, Maura Mazzonetto, piano\u003c\/p\u003e\n\u003cp\u003eSala degli Specchi del Hotel Ritz, Abano Terme, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eQuartetto per quattro flauti in do\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e06: Allegro deciso e molto marcato, 4:42\u003c\/p\u003e\n\u003cp\u003e07: Andante cantabile e sognante, 3:51\u003c\/p\u003e\n\u003cp\u003e08: Vivacissimo, 3:42\u003c\/p\u003e\n\u003cp\u003eTommaso Benciolini, Gloria Ammendola, Marco Aurelio Di Giorgio, Niccolò Valerio, flutes\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSonatina per flauto e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e09: Allegro spigliato, 4:00\u003c\/p\u003e\n\u003cp\u003e10: Andante elegiaco, 3:10\u003c\/p\u003e\n\u003cp\u003e11: Allegro ironico e grottesco, 2:31\u003c\/p\u003e\n\u003cp\u003eElia Guglielmo, flute, Maria Bisi, piano\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGiochi d'infanzia per tre flauti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e12: Allegro spiritoso, 1:05\u003c\/p\u003e\n\u003cp\u003e13: Adagio ma non troppo, 2:13\u003c\/p\u003e\n\u003cp\u003e14: Scorrevole, 1:20\u003c\/p\u003e\n\u003cp\u003eLudovico Degli Innocenti, Alice Sabbadin, Roberta Nobile, flutes\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e15: \u003cb\u003eAdagio e Allegro per orchestra di Flauti,\u003c\/b\u003e 5:57\u003c\/p\u003e\n\u003cp\u003eOrchestra di flutes Cesare Pollini\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e16: \u003cb\u003eSequenza cromatica per flauto solo,\u003c\/b\u003e 3:06\u003c\/p\u003e\n\u003cp\u003eAlice Sabbadin, flute\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e17: \u003cb\u003eSequenza cromatica per flauto solo, eseguita col violino,\u003c\/b\u003e 3:25\u003c\/p\u003e\n\u003cp\u003eDomenico Nordio, violin\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, June 2001\u003c\/p\u003e\n\u003cp\u003e18: \u003cb\u003eElegia per tromba e organo,\u003c\/b\u003e 3:45\u003c\/p\u003e\n\u003cp\u003eFabiano Maniero, tromba, Silvio Celeghin, organ\u003c\/p\u003e\n\u003cp\u003eChiesa di Noale, January 1997\u003c\/p\u003e\n\u003cp\u003e19: \u003cb\u003eda La Messa degli Artisti: Et Incarnatus est,\u003c\/b\u003e 3:09\u003c\/p\u003e\n\u003cp\u003eLuisa Giannini, soprano, Silvio Celeghin, organ\u003c\/p\u003e\n\u003cp\u003eChiesa di Noale, January 1997\u003c\/p\u003e\n\u003cp\u003e20: \u003cb\u003eda La Messa degli Artisti: Domine non sum dignus,\u003c\/b\u003e 3:16\u003c\/p\u003e\n\u003cp\u003eLuisa Giannini, soprano, Silvio Celeghin, organ\u003c\/p\u003e\n\u003cp\u003eChiesa di Noale, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDivertimento a due per chitarra e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e21: Introduzione, 2:59\u003c\/p\u003e\n\u003cp\u003e22: Danza, 3:01\u003c\/p\u003e\n\u003cp\u003e23: Finale, 3:33\u003c\/p\u003e\n\u003cp\u003eLapo Vannucci, guitar, Luca Torrigiani, piano\u003c\/p\u003e\n\u003cp\u003eMagister Area Recording Studio, Preganziol, September 2015\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 5 - ORCHESTRA 87:28\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eSuite per Paer, per orchestra d'archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Allegro con Spirito, 1:28\u003c\/p\u003e\n\u003cp\u003e02: Adagio, 2:29\u003c\/p\u003e\n\u003cp\u003e03: Tempo di valzer, 2:28\u003c\/p\u003e\n\u003cp\u003e04: Allegro molto, 2:13\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eConcerto per flauto e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e05: Largo espressivo cantabile, Allegro moderato, 5:12\u003c\/p\u003e\n\u003cp\u003e06: Lento, cantando con molta espressione, 4:35\u003c\/p\u003e\n\u003cp\u003e07: Allegro vivacissimo, 4:36\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Enzo Caroli, flute\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eElegia per corno delle Alpi e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e08: Adagio, ma non troppo lento. Allegro molto. Poco meno cantando. Tempo I, 13:02\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Alessio Benedettelli, alphorn\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDivertimento per fagotto e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e09: Notturno, 3:17\u003c\/p\u003e\n\u003cp\u003e10: Danza, 3:32\u003c\/p\u003e\n\u003cp\u003e11: Elegia, 6:51\u003c\/p\u003e\n\u003cp\u003e12: Finale, 3:00\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Andrea Bressan, bassoon\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDivertimento a due per chitarra \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(version for strings by Adriano Lincetto)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e13: Preludio, 4:18\u003c\/p\u003e\n\u003cp\u003e14: Danza, 3:13\u003c\/p\u003e\n\u003cp\u003e15: Finale, 4:07\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Alessandro Bono, guitar\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdagio e Allegro per mandolino e pianoforte \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(version for strings by Claudio Mandonico)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e16: Adagio, 2:09\u003c\/p\u003e\n\u003cp\u003e17: Allegro, 3:51\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Ugo Orlandi, mandolin\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eConcerto per flauto e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e18: Largo espressivo cantabile, Allegro moderato, 4:38\u003c\/p\u003e\n\u003cp\u003e19: Lento, cantando con molta espressione, 4:48\u003c\/p\u003e\n\u003cp\u003e20: Allegro vivacissimo, 4:12\u003c\/p\u003e\n\u003cp\u003eOrchestra di Padova e del Veneto, Federico Guglielmo, lead violin, Mario Folena, flute\u003c\/p\u003e\n\u003cp\u003eChiesa dei Cappuccini, Padova, May 2011\u003c\/p\u003e\n\u003cp\u003e21: \u003cb\u003eIl Chiodo \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(version for voice and orchestra by Simone Tonin, lyrics by Rosella Caporale),\u003c\/b\u003e\u003c\/i\u003e 3:17\u003c\/p\u003e\n\u003cp\u003eOrchestra Sinfonica del Conservatorio Pollini, Giuliano Medeossi, conductor, Rosella Caporale, voice\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, May 2015\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 6 - MELODIE E VILLOTTE 62:41\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eVentiquattro Melodie, per voce e pianoforte (bassoon version by Adriano Lincetto)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Allegro, tempo di valzer \/ Agitato \/ Moderato cantabile \/ Mosso \/ Andante cantabile \/ Andante \/ Allegro scherzando \/ Scorrevole, ma non molto \/ Maestoso \/ Mosso, ma cantabile \/ Lento espressivo \/ Moderatamente mosso \/ mosso, ma cantabile \/ Molto calmo, espressivo \/ Valzer brillante \/ Drammatico \/ Calmo espressivo \/ Andante cantabile \/ Con allegria, scherzando \/ Alla marcia \/ Scorrevole, molto espressivo \/ Cantabile \/ Andante sereno \/ Andante mosso \/ Tempo I, Allegro, tempo di valzer, 22:51\u003c\/p\u003e\n\u003cp\u003eLeopoldo Armellini, bassoon, Lorella Ruffin, piano\u003c\/p\u003e\n\u003cp\u003eSala degli Specchi del Hotel Ritz, Abano Terme, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNove Villotte Pavane \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(texts by Giorgio Erminio Fantelli)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e02: Co te go visto \/ El me sposo \/ Se te passi de là \/ Lu diseva e mi diseva \/ Se podesse inciodarte \/ Go dito al prete \/ te voio ben de luni \/ Se tuti i basi \/ Sento sonare la campana a morto, 10:16\u003c\/p\u003e\n\u003cp\u003eSol Ensemble\u003c\/p\u003e\n\u003cp\u003eMagister recording Area Studio, Preganziol, July 2017\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eVentiquattro Melodie, per voce e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Allegro, tempo di valzer \/ Agitato \/ Moderato cantabile \/ Mosso \/ Andante cantabile \/ Andante \/ Allegro scherzando \/ Scorrevole, ma non molto \/ Maestoso \/ Mosso, ma cantabile \/ Lento espressivo \/ Moderatamente mosso \/ mosso, ma cantabile \/ Molto calmo, espressivo \/ Valzer brillante \/ Drammatico \/ Calmo espressivo \/ Andante cantabile \/ Con allegria, scherzando \/ Alla marcia \/ Scorrevole, molto espressivo \/ Cantabile \/ Andante sereno \/ Andante mosso \/ Tempo I, Allegro, tempo di valzer, 29:31\u003c\/p\u003e\n\u003cp\u003eTatiana Meira Aguiar, soprano, Alberto Boischio, piano\u003c\/p\u003e\n\u003cp\u003eCasa Boischio, Padova, July 2017\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"USB - 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MELODIES AND VILLOTTE - 88.2kHz · 24bit","offer_id":49952704332123,"sku":"CVLD371\/6","price":16.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/VELUTLUNACVLD371-cover.jpg?v=1737676388"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/alberto-boischio.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}