{"title":"Davide Burani","description":"\u003cp\u003eBrowse albums and recordings associated with Davide Burani in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"mozart-gabler-fattschek-heyse-kohler-mareggini-burani-gli-archi-italiani","title":"Mozart, Gabler, Fattschek, Heyse, Köhler | Giovanni Mareggini, Davide Burani","description":"\u003cp\u003eFlutist Giovanni Mareggini and harpist Davide Burani, with Gli Archi Italiani, perform music by Mozart, Gabler, Fattschek, Heyse and Köhler.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD211CD\u003c\/li\u003e\u003cli\u003eFile Hi-Res WAV 88.2kHz · 24bit — CVLD211\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eGiovanni Mareggini — flute; Davide Burani — harp Salvi Diana; Gli Archi Italiani.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 24 bit. Mozart: Chiesa della Madonna dell’Uliveto, Montericco di Albinea (Reggio Emilia), 2011-01-04; Gabler, Fattschek, Heyse, Köhler: Magister Area Studios, Preganziol, 2011-03-29.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna | Executive producer: Marco Lincetto |\u003cbr\u003eArtistic direction: Anna Pasetti | Recording \u0026amp; Mastering engineer: Marco Lincetto |\u003cbr\u003eEditing engineer: Michele Sartor | Design: l’image | Photo: Benito Vanicelli |\u003cbr\u003eEnglish text: Guido Mariani | Marketing: Francesco Pesavento |\u003cbr\u003eSales Manager: Moreno Danieli \u0026amp; Patrizia Pagiaro |\u003cbr\u003ePress Agent: Emanuela Dalla Valle | World Wide Contacts: Cristiana Dalla Valle\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e01 - Mozart - KV299 - Allegro\u003cbr\u003e02 - Mozart - KV299 - Andantino\u003cbr\u003e03 - Mozart - KV299 - Allegro\u003cbr\u003e04 - Gabler - Andante con var op34\u003cbr\u003e05 - Fattschek - Sonatina op3 - Allegro\u003cbr\u003e06 - Fattschek - Sonatina op3 - Adagio\u003cbr\u003e07 - Fattschek - Sonatina op3 - Allegretto con var\u003cbr\u003e08 - Heyse - Sonata op4 - Allegro moderato\u003cbr\u003e09 - Heyse - Sonata op4 - Tempo di minuetto\u003cbr\u003e10 - Heyse - Sonata op4 - Presto\u003cbr\u003e11 - Kohler - Sonata op59 - Allegro con spirito\u003cbr\u003e12 - Kohler - Sonata op59 - Romanza, Andantino\u003cbr\u003e13 - Kohler - Sonata op59 - Andante con var\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003ch4\u003eEdition notes\u003c\/h4\u003e\u003cp\u003eWolfgang Amadeus Mozart (Salzburg, 1756-Vienna, 1791) composed his Concerto for Flute, Harp and Orchestra K299 during his second stay in Paris in 1778, commissioned by Adrien-Louis de Bounières, Duke of Guines. Very close to Queen Marie Antoinette, Guines was French ambassador to London for several years, but was forced to return to Paris after a major financial scandal in which he was involved due to his secretary (the title of duke was granted to him as compensation, thanks to the queen's intercession). Composed in three movements (Allegro, Andantino and Allegro), the Concerto is characterized by a wealth of thematic elements. The first movement, in C major, opens with a joyful arpeggio\u003cbr\u003ein full orchestra on the fundamental chord, followed by a broken scale that quickly leads to the exposition of strings and oboes. The second theme (still in the tonic key) is introduced by two long notes from the horns and presents a gallant character that elegantly contrasts with the martial and joyful character of the first theme. The entry of the two solo instruments is preceded by a series of fast triplets\u003cbr\u003efrom the strings that recall the beginning of the \"Jupiter\" Symphony K551 (from 1788, exactly ten years after this Concerto). Flute and harp then reprise the first theme, re-elaborating and enriching it with continuous dialogue, until reaching the classical modulation to the dominant key. Here the flute is entrusted with a cantabile and lyrical phrase, while the harp has the task of accompanying, in a truly chamber music dimension; then follows a virtuosic passage by the harp that leads to the reprise of the second theme in G major, which is in turn re-elaborated. A new cantabile motif from the flute in A minor, followed by the re-proposition of the first theme by the harp, marks the beginning of the most evocative (and perhaps most \"French\") part of the first movement, with a moment of very intense dialogue between the two instruments. The reprise of the two main themes, the cadenza of the soloists and a brief coda conclude the movement. The Andantino (in F major) is perhaps the most famous movement of the entire Concerto. Composed in bipartite form, with a streamlined orchestration for strings alone, this movement shines with melodic richness and the flute's expansive cantability, accompanied by the delicate arpeggios and virtuosity of the harp. The concluding Allegro is\u003cbr\u003econstructed in sonata-rondo form. The initial exposition begins with a \"piano\" from the strings alone, followed by the oboes, which is soon contrasted by a sudden and very dynamic \"forte\" from the strings, with repeated notes and fast figurations. The chiaroscuro contrast between \"piano\" and \"forte\" constitutes one of the most important elements of this movement, contributing decisively to its vivacity. Here too, the entry of the soloists marks a thematic re-elaboration in a dialogue form, with the flute once again standing out for the cantability of the phrases entrusted to it, balancing the more decidedly virtuosic musical writing of the harp. It is interesting how Mozart here alternates newly conceived melodic phrases with previously proposed motifs, creating in the listener the impression of being faced with a true Rondo. The twenty-two-year-old Wolfgang arrived in France at the beginning of March 1778, accompanied by his mother, hoping to gain the queen's protection, known for welcoming artists and musicians from all over Europe to her court. However, Marie Antoinette was at that time dealing with her first pregnancy and, despite the support of the Duke of Guines, she never received him. He was nevertheless offered the position of organist at Versailles, which he refused, despite his father's advice who considered it a secure job and a good way to stay in contact with the court and access the queen's entourage.\u003cbr\u003eThose were the years of the harp's greatest splendor in France, which had already become the favorite instrument of the French aristocracy since the 1760s. Meanwhile, important musical pages had already been dedicated to the transverse flute, but these two instruments had rarely met until then. The enlightened commission of the Duke of Guines, an amateur flutist who loved to play with his harpist daughter (who also took composition lessons from Mozart), gave a decisive impulse to the birth of the repertoire for flute and harp which, from then on, progressively began to be enriched with works by French, Italian, but especially German authors.\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Davide-Burani-Giovanni-Mareggini-Plays-Mozart-Gabler-Fattschek-Heyse-kohler\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\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":51801980043611,"sku":"CVLD211CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49823204802907,"sku":"CVLD211","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/211-cover.jpg?v=1736032870"},{"product_id":"sospiri-nel-tardo-romanticismo-burani-orchestra-da-camera-di-ravenna-manetti-noferini","title":"Sospiri nel tardo Romanticismo | Davide Burani","description":"\u003cp\u003eDavide Burani, Orchestra da Camera di Ravenna, Paolo Manetti and Roberto Noferini in a programme for harp and strings.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD239CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD239\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eDavide Burani — harp; Orchestra da Camera di Ravenna; Paolo Manetti — conductor; Roberto Noferini — violin.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003e\u003cem\u003e\u003cspan\u003e\u003cstrong\u003eProduction: Velut Luna\u003c\/strong\u003e\u003cbr\u003eRecording: Marco Lincetto\u003cbr\u003eEditing: Mattia Zanatta\u003cbr\u003eStereo mix and mastering: Marco Lincetto\u003cbr\u003eCritical text: Iole Di Gregorio\u003cbr\u003eLayout: L’Image\u003cbr\u003eMarketing \u0026amp; Sales Managers: Patrizia Pagiaro\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003e01 - Claude Debussy: Danses - Danse sacrée\u003cbr\u003e02 - Claude Debussy: Danses - Danse profane\u003cbr\u003e03 - Edward Elgar: Elegy op 58\u003cbr\u003e04 - Edward Elgar: Sospiri op 70\u003cbr\u003e05 - Giovanni Caramiello: Duetto sulla Casta Diva del Bellini (trasc per harp sola di D Burani)\u003cbr\u003e06 - Jules Massenet: Méditation de Thaïs\u003cbr\u003e07 - Luigi Maurizio Tedeschi: Fantasia op 48\u003cbr\u003e08 - Luigi Maurizio Tedeschi: Elegia op 22\u003cbr\u003e09 - Marcel Grandjany: Aria in classic style\u003cbr\u003e10 - Jean Sibelius: Andante festivo op postuma\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eHarp and strings together in Romanticism\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIole Di Gregorio\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRomantic sensibility led to the conception of melody as inextricably linked to the specific voice of an instrument, which determines how it vibrates and resonates in the soul. Although timbre is the primal, alogical, and instinctive element of music, composers until the eighteenth century had prioritized other elements of composition. The new attention to \"sound in itself\" fostered the transformation of string playing techniques and the search for original timbral blends in the orchestra, the refinement of traditional and newly invented instruments, and the valorization of ancient instruments rich in memories, such as the harp. Behind the modern harp, invented by Sebastian Erard in 1811 and equipped with 47 strings and 7 pedals, it is easy to discern the instrument whose origins are lost in myth and which, with a positivist spirit, we can trace back to the first applications of homo faber.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThroughout the romantic nineteenth century, predominantly in France – already on the eve of the Revolution, the harp was Queen Marie Antoinette's favorite instrument – we witness the progressive integration of the harp into the orchestral ensemble, consecrated by Hector Berlioz's treatise. Concurrently, the use of the harp in opera became established, as evidenced by the refined timbral blend of the Meditation from Jules Massenet's (1842 – 1912) Thaïs. Traces of the operatic world are found in the suggestive and charming compositions of Giovanni Caramiello (1838 – 1938), for many years an acclaimed harpist at the Teatro S. Carlo in Naples, author of a Duetto sulla Casta Diva del Bellini, for harp and piano, here offered in Davide Burani's transcription for solo harp.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe exploitation of the harp culminated in the symphonic production of Claude Debussy (1862 – 1918), who often included two harps in his scores and made extensive use of glissandi to create an impressionistic sound. The Danses sacrée et profane were commissioned in 1904 by the Pleyel House, which intended to promote a new \"chromatic\" harp model in competition with the aforementioned diatonic harp, a monopoly of the Erard firm. The new instrument did not manage to establish itself, but Debussy's Danses can, fortunately, be performed on the pedal harp thanks to the transcription by Henriette Renié, a renowned French teacher and concert artist. Since their first performance on November 6, 1904, at the Concerts Colonne in Paris, the Danses have created a reference model for European composers, exerting an influence comparable to that of Mahler's Adagietto from his Fifth Symphony in 1902, echoed in the stand-alone piece Sospiri op. 70, composed in 1914 for strings and harp by the English composer Sir Edward Elgar (1857 – 1934), to whom we owe some cornerstones of late Romantic string orchestra literature. Marcel Grandjany (1892 – 1974), an American harpist and composer of French origin, trained at the Paris Conservatoire, dedicated his Aria in classic style in 1937 to the harp and string ensemble, confirming the solidity of this union and the persistence of French harp taste worldwide.\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\/Sospiri-nel-tardo-romanticismo\" 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":50009877938523,"sku":"CVLD239CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49881359614299,"sku":"CVLD239","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/239-cover.jpg?v=1736725475"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/davide-burani.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}