{"title":"Fonè Records","description":"\u003cp\u003e\u003cspan\u003eIn the Classical and Jazz recording market, \u003c\/span\u003e\u003cstrong\u003eFonè\u003c\/strong\u003e\u003cspan\u003e has been offering recordings for over 40 years, characterized by \u003c\/span\u003e\u003cstrong\u003etechnological sophistication\u003c\/strong\u003e\u003cspan\u003e and aiming to recapture the original musical atmospheres.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"vinni-la-primavera-al-qantarah-tricomi","title":"Spring came | Al Qantarah - Tricomi","description":"\u003ch1 lang=\"en-US\"\u003e\u003cspan face=\"Arial Narrow, sans-serif\"\u003e\u003cspan size=\"4\"\u003eVinni la primavera\u003c\/span\u003e\u003c\/span\u003e\u003c\/h1\u003e\n\u003ch1 lang=\"en-US\"\u003eMusic in Sicily at the time of Dante\u003c\/h1\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEcho la primavera \/ Vinni la primavera\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’59”\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNota di lavandaie della Chianta\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’12”\u003cbr\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAssolo di marranzanu\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e1’23”\u003cbr\u003e4.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFurnarisca\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2’40”\u003cbr\u003e5.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDolce lo mio drudo\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’18”\u003cbr\u003e6.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCanto di carrettiere\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’24”\u003cbr\u003e7.\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eE Vanténde\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e4’29”\u003cbr\u003e8.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eReis glorios\/Spara lu forti ‘i l’Andria \/ Ballettu\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e4’30”\u003cbr\u003e9.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEstampida ghaetta\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e6’06”\u003cbr\u003e10.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTan m'abellis\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e1’35”\u003cbr\u003e11.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTarantellina\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2’12”\u003cbr\u003e12.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSurfarara\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’06”\u003cbr\u003e13.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMeravigliosamente\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e4’05”\u003cbr\u003e14.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRex glorius\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’31”\u003cbr\u003e15.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCantu a capuana\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2’21”\u003cbr\u003e16.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBen volgra\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2’38”\u003cbr\u003e17.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eA la mazzarisa\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3’24”\u003cbr\u003e18.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBarcillunisa\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2’29”\u003cbr\u003e19.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e‘U pisari\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e2’51”\u003cbr\u003e20.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eStrenci li labri\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e6’27”\u003c\/p\u003e\n\u003cp\u003eTotal Time 67’40”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"300\" width=\"100%\" src=\"https:\/\/widget.qobuz.com\/album\/g2ssbiroovp9b?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003c\/strong\u003e\u003cbr\u003eRecorded at the Piaggio Museum Auditorium\u003cbr\u003ePontedera on 4 - 5 July 2021\u003cbr\u003eValve microphones Neumann U47, U48,M49\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply) Signoricci\u003cbr\u003eRecorded in stereo DSD on Pyramix Recorder using dCS A\/D and D\/A converters.\u003c\/p\u003e\n\u003cp\u003eThe mastering for the SACD was carried out by Giulio Cesare Ricci using the Signoricci system, entirely analog and tube-based.\u003c\/p\u003e\n\u003cp\u003eDante never visited Sicily, despite loving it and thinking of it as a mythical place, a melting pot of ancient Mediterranean cultures. There are therefore some interesting connections between him and the island. In this musical journey through Sicily between the 13th and 14th centuries, Al Qantarah seeks sonic and poetic suggestions that can be traced back to the influence of the supreme poet, and back to his own formation, strongly shaped by the cultural heritage that found fertile ground precisely in Sicily. The spirit of the Ensemble tries not to create a contrast between the use of learned and oral tradition sources, mixing them, as in the Sicilian tradition we find poetic themes, forms of polyphony and musical instruments found in surviving manuscripts and in medieval iconography. The intention is always to draw on written documents from the past and give them life through the style preserved by the people of Sicily, and vice versa to select and clean from the inevitable stratifications the current traditional repertoires, in an imaginary performance at the time of Dante.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":52659730940251,"sku":"SACD226","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52659730973019,"sku":"DSD226","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52659506479451,"sku":"HD226","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SACD226-1-640x640.jpg?v=1774457527"},{"product_id":"davide-toradze-piano-concerto-orchestra-sinfonica-nazionale-della-rai-noseda-toradze","title":"David Toradze - Piano Concerto | RAI National Symphony Orchestra, Noseda, Toradze","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eDavide Toradze\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003ePiano Concerto\u003c\/h1\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e1. \u003cstrong\u003ePiano Concerto: I. parte 1 \u003c\/strong\u003e\u003cspan\u003e20’21”\u003c\/span\u003e\u003cbr\u003e2. \u003cstrong\u003ePiano Concerto: II. parte 2 \u003c\/strong\u003e\u003cspan\u003e\u003cstrong\u003e1\u003c\/strong\u003e1’40”\u003c\/span\u003e\u003cbr\u003e3. \u003cstrong\u003eAlexander Toradze Remembers His Father\u003c\/strong\u003e \u003cspan\u003e7’34”\u003c\/span\u003e\u003cbr\u003e4. \u003cstrong\u003eAlexander Toradze on Interpreting Prokofiev's Seventh Piano Sonata\u003c\/strong\u003e \u003cspan\u003e7’39”\u003c\/span\u003e\u003cbr\u003e5. \u003cstrong\u003eAlexander Toradze on Interpreting the Piano Sonata op. 109 by L. van Beethoven\u003c\/strong\u003e \u003cspan\u003e5’56”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTotal Time 53’10” \u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/c01ys1h6akm7b?zone=IT-it\u0026amp;display=compact\" width=\"378\" height=\"104\"\u003e \u003c\/iframe\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOrchestra Sinfonica Nazionale della RAI\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGianandrea Noseda \u003c\/span\u003e\u003cem\u003eConductor\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003eAlexander Toradze \u003c\/span\u003e\u003cem\u003ePiano\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConceived, mastered and produced by Giulio Cesare Ricci\u003c\/strong\u003e\u003cbr\u003eThe master for the SACD was created by transferring the analog master recorded with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2-track 1\/2\" 30 ips modified by David Manley to Pyramix using dCS A\/D and D\/A converters. The mastering for SACD was done by Giulio Cesare Ricci using the entirely analog and tube Signoricci system.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":52789288960347,"sku":"SACD271","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52789288993115,"sku":"DSD271","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52789289025883,"sku":"HD271","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SLEEVE_sacd_271.jpg?v=1775852065"},{"product_id":"equilibrismi-magoni-finaz","title":"ACROBATICS| Magoni, Finaz","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eBALANCING ACTS\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003ePetra Magoni \u0026amp; Finaz\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable on: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSIDE A\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCicatrici\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eFinaz-Magoni\u003c\/strong\u003e) 3’29”\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCosa sono le nuvole\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eP.P.Pasolini-D.Modugno\u003c\/strong\u003e) 3’47”\u003cbr\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNaturale\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eFinaz-Magoni-Campanile\u003c\/strong\u003e) 7’18”\u003cbr\u003e4.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCorsa in automobile\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eFinaz-Magoni-Marinetti\u003c\/strong\u003e) 4’36”\u003cbr\u003e5.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRime Petrose\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eFinaz-Magoni-Alighieri\u003c\/strong\u003e) 3’44”\u003c\/p\u003e\n\u003cp\u003eTotal Time 22'54''\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eSIDE B\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e6.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRoxanne\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eSting\u003c\/strong\u003e) 5’05”\u003cbr\u003e7.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eHotel Chimera\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eFinaz-Magoni-Cocian\u003c\/strong\u003e) 3’29”\u003cbr\u003e8.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eLucy in the sky with diamonds\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eLennon-McCartney\u003c\/strong\u003e) 6’02”\u003cbr\u003e9.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDestini\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cstrong\u003eFinaz-Magoni-Palazzeschi\u003c\/strong\u003e) 4’51”\u003c\/p\u003e\n\u003cp\u003eTotal Time 19’27”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/yjkhk2j1gxjoc?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePetra Magoni - vocals\u003cbr\u003eFinaz - guitar\u003c\/p\u003e\n\u003cp\u003eTube Processed Analog Master \/ natural sound recording \/ HIFI Referenc\u003c\/p\u003e\n\u003cp\u003eConceived, mastered and produced by Giulio Cesare Ricci\u003cbr\u003eThe master for the Vinyl was implemented with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2-track 1\/2\" 30 ips modified by David Manley.\u003cbr\u003eThe mastering for the Vinyl was carried out by Giulio Cesare Ricci using the Signoricci system, entirely analog and tube-based.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePETRA MAGONI\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u0026amp;\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFINAZ\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ein\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBALANCING ACTS\u003c\/strong\u003e: tightrope walks through the avant-gardes of the 20th century for Voice and Augmented Guitar. Two Virtuosos of their instruments (voice and guitar) always seeking the perfect balance between creativity, technique, and emotion. Petra and Finaz are like two tightrope walkers on the edge of a precipice, venturing on a taut rope through the artistic avant-gardes of the last century. Literature, poetry, and music are revisited and interwoven in the creative impromptu reinterpretations of the two Tuscan artists, bound by years of deep friendship, who finally decide to confront each other on stage in this new, exciting project. Palazzeschi, Cage, Marinetti, Lennon-McCartney, re-experienced in the free artistic interplay of the perfect balance between Voice and Augmented Guitar, between written text and improvisation. The incredible and surprising voice of Petra Magoni and Finaz's guitar-orchestra will lead you hand-in-hand on an unpredictable journey between heaven and earth, always holding your breath.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"LP 33 rpm","offer_id":52789373862235,"sku":"LP188","price":50.0,"currency_code":"EUR","in_stock":true},{"title":"SACD","offer_id":52988273721691,"sku":"SACD274","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52789355544923,"sku":"DSD274","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52789355577691,"sku":"HD274","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/Sleeve_sacd_274.jpg?v=1775853331"},{"product_id":"chitarre-vagabonde-mesolella-ascolese","title":"VAGABOND GUITARS | Mesolella, Ascolese","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eWANDERING GUITARS\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMesolella \u0026amp; Ascolese\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1. SAMBA DE UMA NOTA SO A.C. Jobim 4’33’’\u003cbr\u003e2. ESTATE B. Martino 6’53’’\u003cbr\u003e3. HISTORIA DE UN AMOR C.E. Almaran 4’17’’\u003cbr\u003e4. LA CUMPARSITA G.M. Rodriguez 5’22’’\u003cbr\u003e5. BESAME MUCHO C. Velasquez 5’36’’\u003cbr\u003e6. CIMBRA R. Ferrao 3’20’’\u003cbr\u003e7. ARIA DI TE F. Mesolella Avion Travel 10’44’’\u003cbr\u003e8. DUJE N’ PARAVISE E.A. Mario 6’53’’\u003cbr\u003e9. O SOLE MIO E. Di Capua 2’10’’\u003cbr\u003e10. A DISTANCIA R. Carlos 4’58’’\u003cbr\u003e11. GAROTA DE IPANEMA A.C. Jobim 5’40’’\u003cbr\u003e12. SENTIMENTO 4’41’’\u003cbr\u003eF. Mesolella G. Servillo M. Tronco P. D’Argenzio\u003cbr\u003e13. TIGRI 2’53”\u003cbr\u003eF. Mesolella G. Servillo M. Tronco P. D’Argenzio ’\u003cbr\u003e14. JOHNNY GUITAR V. Young 4’37’’\u003cbr\u003e15. DUJE n’ PARAVISE fragment 0’59’’\u003cbr\u003eE.A. Mario\u003c\/p\u003e\n\u003cp\u003eTotal Time 73’36”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/htqphrv2nyylc?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eF. Mesolella - guitar \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eM. Ascolese - guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConceived, mastered and produced by Giulio Cesare Ricci\u003c\/strong\u003e\u003cbr\u003eThe master for the SACD was created by transferring the analog master, recorded with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2-track 1\/2\" 30 ips modified by David Manley, to Pyramix using dCS A\/D and D\/A converters.\u003cbr\u003eThe mastering for SACD was carried out by Giulio Cesare Ricci using the Signoricci system, entirely analog and tube-based.\u003c\/p\u003e\n\u003cp\u003eThis album, recorded live during a concert held on October 8, 2004, at the Auditorium of the Leo Amici Center in Caserta, features Fausto Mesolella and another great guitarist, Michele Ascolese.\u003cbr\u003eTwo great artists, but above all, two great friends. Here is a thought from Michele Ascolese:\u003c\/p\u003e\n\u003cp\u003e“Hello Fausto, it's a great pleasure to meet you again and hear our conversations, because that's what they are, translated into music during this CHITARRE VAGABONDE concert! I believe that this adventure shared with you during that period can truly be defined, as Vinicius De Moraes said, as the Art of Encounter! No predefined form, just space for imagination, curiosity, and unpredictability in playing. A heritage that I will always hold dear in memory of a unique guitarist like you who made music like a painter paints a canvas. Happy to have met you! A hug Michele”\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"LP 33 rpm (in ristampa)","offer_id":52789379334491,"sku":"LP186","price":50.0,"currency_code":"EUR","in_stock":false},{"title":"SACD","offer_id":52789379367259,"sku":"SACD275","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52789379400027,"sku":"DSD275","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52789379432795,"sku":"HD275","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_275.jpg?v=1775854341"},{"product_id":"psallite-sapienter","title":"SING SKILLFULLY","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eWANDERING GUITARS\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMesolella \u0026amp; Ascolese\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003ch3\u003eMESSA\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTHE MASS\u003c\/em\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003e  1. Campane della Basilica Cattedrale di Montecassino 1.02\u003cbr\u003e\u003cem\u003eThe bells of Cathedral Basilica of Montecassino\u003c\/em\u003e\u003cbr\u003e  2. Introito\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eIntroit\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eGaudeamus 2.48\u003cbr\u003e  3. Graduale\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGradual\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eDomine praevenisti 3.53\u003cbr\u003e  4. Tratto\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTract\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eBeatus vir qui timet 3.15\u003cbr\u003e  5. Sequenza\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSequence\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eLaeta quies 2.19\u003cbr\u003e  6. Offertorio\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOffertory\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eIustus ut palma 1.26\u003cbr\u003e  7. Comunione\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCommunion\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eGustate et videte 1.54\u003c\/p\u003e\n\u003ch3\u003eUFFICIO\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTHE OFFICE\u003c\/em\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eVespri Vespers\u003c\/strong\u003e\u003cbr\u003e  8. Inno\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHymn\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eSurge quid cessas 3.14\u003cbr\u003e  9. Antifona\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAntiphon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eFuit vir 2.28\u003cbr\u003e10. Antifona\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAntiphon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eBeatus vir 1.58\u003cbr\u003e11. Antifona\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAntiphon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eGloriosus 2.14\u003cbr\u003e12. Antifona\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAntiphon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eErat vir 2.50\u003cbr\u003e13. Antifona\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAntiphon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eVir Dei Benedictus 1.59\u003cbr\u003e14. Responsorio Breve\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBrief\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eresponse\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eSancte Pater Benedicte 1.31\u003cbr\u003e15. Antifona al Magnificat (Primi Vespri) Exsultet omnium 2.47\u003cbr\u003e\u003cem\u003eMagnificat Antiphon (First Vespers)\u003c\/em\u003e\u003cbr\u003e16. Antifona al Magnificat (Secondi Vespri) Hodie sanctus Benedictus 2.34\u003cbr\u003e\u003cem\u003eMagnificat Antiphon (Second Vespers)\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003eLodi\u003c\/h3\u003e\n\u003cp\u003e17. Antifona al Benedictus\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBenedictus Antiphon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eSanctissime 1.58\u003c\/p\u003e\n\u003ch3\u003e\n\u003cbr\u003eCompieta\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eComplime\u003c\/em\u003e\n\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003e18. Inno (tono Cassinese)\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHymn\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eTe lucis ante terminum 1.51\u003cbr\u003e19. Inno di ringraziamento\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHymn of Thanksgiving\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eTe Deum 5.40\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eListening to this album means reliving the emotion, mysticism, songs, and sounds of the Liturgy for the Solemnity of Saint Benedict held annually on March 21st at the Abbey of Montecassino. This album was recorded in the Cathedral of Montecassino Abbey, Cassino (FR) on October 7-12, 1998. The listener will begin this sonic journey by first hearing the festive bells of the Abbey and the extraordinary interpretation of the Monks chanting Gregorian chants. For the recording, Giulio Cesare Ricci used the legendary Neumann U47 and M49 tube microphones. The original analog masters were transferred directly from Nagra 4s to DSD. A unique album not to be missed!\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":52789493072219,"sku":"SACD276","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52789493104987,"sku":"DSD276","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52789493137755,"sku":"HD276","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/COVERsacd276.jpg?v=1775856424"},{"product_id":"i-5-elementi-alessandro-quarta","title":"THE 5 ELEMENTS | Fourth","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eThe 5 Elements\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eAlessandro Quarta\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDISC 1 - SIDE A\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eLA CREAZIONE 5'12\"  \u003c\/strong\u003e\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTERRA 12'20\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTOTAL TIME 17'32''\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDISC 1 - SIDE B\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eACQUA 11'06\"\u003c\/strong\u003e\u003cbr\u003e4.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eARIA 11'01\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTOTAL TIME 22'07''\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDISC 2 - SIDE A\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e5.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFUOCO 10'26\"\u003c\/strong\u003e\u003cbr\u003e6.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eETERE 8'21\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTOTAL TIME 18'47''\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDISC 2 - SIDE B\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e7.\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eRADICI 19' 32''\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTOTAL TIME 19'32''\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/ul8gd8z3082yb?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlessandro Quarta - Solo Violin\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuseppe Magagnino - Piano\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSolisti Filarmonici Italiani\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConceived,mastered and produced by Giulio Cesare Ricci\u003c\/strong\u003e\u003cbr\u003eThe Master for VinvI has been implemented with AMPEX AT102 (Electronic Tube Ampex Model 351-1965) 2 tracks 1\/2 inch 30 ips modified by David Manley. The Mastering for Vinyl was made by Giulio Cesare Ricci using the analog and valve Signoriccis svstem.\u003c\/p\u003e\n\u003cp\u003e“THE FIVE ELEMENTS” by Alessandro Quarta is a new musical work composed and performed by the violinist, inspired by the five elements of ancient tradition: Earth, Water, Air, Fire, and Ether, preceded by the introductory track The Creation. Quarta describes the work as a deep personal experience, a kind of \"musical cry\" that encompasses joy, pain, strength, and fragility. Each element has its own musical identity, with a precise tonality and emotional narrative. Earth: represented as an old woman, recounted with melancholy and calm (C minor). Water: inspired by Otranto and the Mediterranean, it originates from a drop in the desert and becomes a stormy sea (E-flat major). Air: is breath, movement, and lightness, invisible but vital (E minor, G major, B major). Fire: starts from Eros (A minor), but evolves into destructive and demonic fire (D minor). Ether: the spiritual and universal element, begins sweetly (D-flat major), but transforms into an intense storm (A minor, Dies Irae), only to conclude with the Light of Forgiveness (D major), a symbol of hope and rebirth. The work is an intense musical journey, between light and darkness, life and destruction, beauty and danger. Quarta invites the listener to a deep reflection on human responsibility towards nature and its elements, emphasizing how essential yet potentially destructive they are. With his music, the artist breaks every barrier, moving and shaking the soul, leaving a profound and personal mark on the listener.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"LP 33 rpm (2LP)","offer_id":52789496316251,"sku":"LP187","price":80.0,"currency_code":"EUR","in_stock":true},{"title":"SACD","offer_id":52789496349019,"sku":"SACD277","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52789496381787,"sku":"DSD277","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52789496414555,"sku":"HD277","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_277.jpg?v=1775857126"},{"product_id":"we-concentrate-on-you-the-music-of-cole-porter-mirabassi-sigurta-pietropaoli-di-leonardo","title":"WE CONCENTRATE ON YOU - THE MUSIC OF COLE PORTER | Mirabassi, Sigurtà, Pietropaoli, Di Leonardo","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eWE CONCENTRATE ON YOU\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eTHE MUSIC OF COLE PORTER\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eEVERYTHING I LOVE * 4’26’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eI CONCENTRATE ON YOU * 4’26’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eYOU’D BE SO NICE TO COME HOME TO * 4’03’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eI LOVE PARIS * 6’23’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eEASY TO LOVE * 5’28’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eWHAT IS THIS THING CALLED LOVE * 3’22''\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eSO IN LOVE * 8’08’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eIT’S DE-LOVELY * 4’31’’\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eLINE FOR LYONS J. 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Novaro 2’38’'\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eTotal Time 48'40\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/utnktfarfcekb?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGabriele Mirabassi\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eclarinet\u003cbr\u003e\u003cstrong\u003eFulvio Sigurtà\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003etrumpet\u003cbr\u003e\u003cstrong\u003eEnzo Pietropaoli\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edouble bass\u003cbr\u003e\u003cstrong\u003eMarcello Di Leonardo\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edrums\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/  natural sound recording \/  HiFi Reference\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cstrong\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003c\/strong\u003e\u003cbr\u003eRecorded at the Auditorium Museo Piaggio\u003cbr\u003ePontedera September 17th, 2022\u003cbr\u003eValve microphones: Neumann U47, U48, M49\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Stefano \"Steve\" Girolami\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThis album was recorded at the Auditorium of the Piaggio Museum during the fonè Music Festival. The songs on WE CONCENTRATE ON YOU are by Cole Porter with the exception of tracks 9 (J. Mulligan) and 10 (G. Mameli - M. Novaro). The absolute protagonist of the album is the LEADERLESS QUARTET: Gabriele Mirabassi on clarinet, Fulvio Sigurtà on trumpet, Enzo Pietropaoli on double bass, and Marcello Di Leonardo on drums. Among the tracks are I Concentrate on you, I love Paris, Easy to love, Inno d'Italia and Line for lyons... The master for the SACD was produced by Giulio Cesare Ricci using the all-analog and tube Signoricci system. An album not to be missed!\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52825390514523,"sku":"DSD242","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52825390547291,"sku":"HD242","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_242.jpg?v=1776370765"},{"product_id":"cinerama-music-from-the-movies-hamilton-birro-zunino-kramer","title":"CINERAMA - Music from the movies | Hamilton, Birro, Zunino, Kramer","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eCINERAMA\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eMusic from the movies\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1.Three Coins In The Fountain Styne - Cahn  6’45”\u003c\/p\u003e\n\u003cp\u003e2. I Will Wait For You  Micheal Legrand  8’55”\u003c\/p\u003e\n\u003cp\u003e3. Love Theme From “Point Blank\" Johnny Mandel  5’34”\u003c\/p\u003e\n\u003cp\u003e4. Wives And Lovers Burt Bacharach  6’43”\u003c\/p\u003e\n\u003cp\u003e5. On Green Dolphin Street Kaper - Washington  7’38”\u003c\/p\u003e\n\u003cp\u003e6. Two For The Road Henry Mancini  7’02”\u003c\/p\u003e\n\u003cp\u003e7. Close Enough For Love Johnny Mandel  8’49”\u003c\/p\u003e\n\u003cp\u003e8. I Love You, Samantha Cole Porter  5’25”\u003c\/p\u003e\n\u003cp\u003e9. Manha De Carnaval Luiz Bonfà  7’19”\u003c\/p\u003e\n\u003cp\u003eTotal Time 64’10”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/fgdar9mxquq4a?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScott Hamilton\u003c\/strong\u003e saxophone\u003cbr\u003e\u003cstrong\u003ePaolo Birro\u003c\/strong\u003e piano\u003cbr\u003e\u003cstrong\u003eAldo Zunino\u003c\/strong\u003e bass\u003cbr\u003e\u003cstrong\u003eAlfred Kramer\u003c\/strong\u003e drums\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-us\"\u003eConceived, recorded and produced by Giulio Cesare Ricci. No editing. All the tracks on this record are heard as they were performed.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eRecorded at the Auditorium Museo Piaggio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003ePontedera October 1st - 2nd, 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eValve microphones: Neumann U47, U48, M49\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003ePhotos by Stefano “Steve” Girolami\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eThe Mastering for SuperAudioCD was made by Giulio Cesare Ricci using the Signoricci’s analog and tube system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThis album is part of the recordings Giulio Cesare made during the concerts of the fonè Music Festival Piaggio 2022 edition, organized by himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe chosen location is the Piaggio Auditorium, located inside the famous Museum of Pontedera, the place where Piaggio was founded and where it still produces today.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIn CINERAMA, the protagonists are 4 extraordinary musicians: Scott Hamilton on saxophone, Paolo Birro on piano, Aldo Zunino on double bass, and Alfred Kramer on drums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eScott Hamilton, who for many years has graced the best stages in the world as the leader of his quartet or alongside other jazz legends, is an interpreter of extraordinarily elegant music, based on impeccable phrasing and a fascinating sound. Already in the seventies, when the widespread trend was to explore particularly aggressive sound alternatives, he stood out for the sweetness of his saxophone and his creative imagination. The album contains 9 tracks from famous films, including: Three Coins In The Fountain (1954), On Green Dolphin Street (1947), Close Enough For Love (1979) etc…\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe album continues the extraordinary discographic project that Scott Hamilton wished to begin with Giulio Cesare Ricci \/ fonè records starting in 2012.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eFor this recording, Giulio Cesare Ricci brought all his equipment, both analog (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracks, ½”, 30ips modified by David Manley) and digital (Pyramix Recorder, dCS A\/D and D\/A converters).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRegarding microphones, he used his original collection of Neumann U47, U48, M49, as well as the Signoricci microphone preamplifier and cables. Pairs of 1947 and 1949 Neumann tube microphones (U47, U48 and M49) with a very natural timbre were used, employing bi-microphone field effect techniques.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThese microphones have an important history: they are the original microphones used to record, among others, the Beatles' performances at Abbey Road Studio and by RCA for their \"Living Stereo\" recordings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe sound that Giulio Cesare Ricci manages to capture with these legendary microphones is perfectly in line with his sonic taste.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eNo other microphone has such a true timbre and the ability to record all the nuances of sound and all the richness of harmonics.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe uniqueness of these microphones is linked to their ability to create a perfect \"sound photograph\" and to perfectly place the music in the sound space chosen for the recording.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThis is because for each recording Giulio Cesare Ricci creates two Masters: an analog master for vinyl and a DSD digital master for SuperAudioCD as in this case. For this SACD he used the DSD format, on Pyramix using dCS A\/D and D\/A DSD converters.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eFrom 1998 to today, he has recorded in DSD 64 x 44.1 bit with Signoricci ex Philips workstations equipped with Pyramix programs, dCS 904 analog-to-digital converters, and dCS 954 digital-to-analog converters, all to best produce the fonè SACD.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe mastering of the SACD was carried out using the entirely analog and tube Signoricci system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eA \"state-of-the-art\" system without sound manipulation, equalization, reverberation, compression, and expansion... but natural sound and true timbre to best enhance the acoustics of the Piaggio Museum Auditorium.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAll this to create recordings characterized by technological refinement and aimed at recovering the original musical atmospheres. For this recording, Ricci also used the \"field effect\" recording technique... all to allow the listener, in their home hi-fi system, to relive the live effect as if they had been present at the performance.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":52825451135323,"sku":"SAC243","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52825451168091,"sku":"DSD243","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52825451200859,"sku":"HD243","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd-243.jpg?v=1776371714"},{"product_id":"four-stories-roberto-gatto-quartet","title":"FOUR STORIES | Roberto Gatto Quartet","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eFOUR STORIES\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eRoberto Gatto Quartet\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1. \u003c\/span\u003e\u003cstrong\u003eKool\u003c\/strong\u003e\u003cspan\u003e Mary Lou Williams 6’11”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. \u003c\/span\u003e\u003cstrong\u003eThe Music Next Door\u003c\/strong\u003e\u003cspan\u003e Roberto Gatto 4’46”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. \u003c\/span\u003e\u003cstrong\u003eIl valzer della fonderia\u003c\/strong\u003e\u003cspan\u003e Alessandro Presti 4’50”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. \u003c\/span\u003e\u003cstrong\u003eSalon Malaga\u003c\/strong\u003e\u003cspan\u003e Matteo Bortone 5’45”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. \u003c\/span\u003e\u003cstrong\u003eFour Stories\u003c\/strong\u003e\u003cspan\u003e Roberto Gatto 6’24”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. \u003c\/span\u003e\u003cstrong\u003eCherry Song\u003c\/strong\u003e\u003cspan\u003e Alessandro Presti 5’41”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. \u003c\/span\u003e\u003cstrong\u003eWaver\u003c\/strong\u003e\u003cspan\u003e Alessandro Lanzoni 5’25”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8. \u003c\/span\u003e\u003cstrong\u003eMonaco-Palermo\u003c\/strong\u003e\u003cspan\u003e Alessandro Presti 5’36”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9. \u003c\/span\u003e\u003cstrong\u003eVictoria Regia\u003c\/strong\u003e\u003cspan\u003e Matteo Bortone 4’09”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10. \u003c\/span\u003e\u003cstrong\u003eGardenia\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eGary Peacock 3’23”       \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/ychzsas2lz9cb?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRoberto Gatto Quartet\u003c\/strong\u003e\u003cbr\u003eAlessandro Presti trumpet\u003cbr\u003eMatteo Bortone double bass\u003cbr\u003eAlessandro Lanzoni piano\u003cbr\u003eRoberto Gatto drums\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003c\/strong\u003e\u003cbr\u003eNo editing. All the tracks on this record are heard as they were performed.\u003c\/p\u003e\n\u003cp\u003eThis album is part of the recordings Giulio Cesare made during the concerts of the fonè Music Festival Piaggio 2023 edition, which he himself organized. The chosen location is the Piaggio Auditorium inside the famous Museum of Pontedera, the place where Piaggio was born and where it still produces today. The protagonists of FOUR STORIES are 4 great musicians with an extraordinary leader, Roberto Gatto, the greatest Italian jazz drummer, accompanied by Alessandro Presti on trumpet, Matteo Bortone on double bass, and Alessandro Lanzoni on piano. Roberto Gatto has played throughout Europe and the rest of the world with his groups and with international artists. The groups bearing his name are characterized, in addition to an interesting timbral research and impeccable performing technique, by a great warmth typical of Mediterranean culture. This certainly makes Roberto Gatto one of the most interesting drummers and composers in Europe and worldwide. Among the pieces played, many were composed by the artists themselves: The Music next door by R. Gatto, Il valzer della fonderia by A. Presti, Waver by A. Lanzoni, and Victoria Regia by M. Bortone. The album is completed by two very special pieces by Mary Lou Williams and Gary Peacock. For this recording, Giulio Cesare Ricci brought all his equipment, both analog (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracks, ½”, 30ips modified by David Manley) and digital (Pyramix Recorder, dCS A\/D and D\/A converters). Regarding microphones, he used his original collection of Neumann U47, U48, M49, as well as the Signoricci microphone preamplifier and cables. Pairs of Neumann tube microphones from 1947 and 1949 (U47, U48, and M49) with a very natural timbre were used, employing bi-microphone field effect techniques. These microphones have an important history: they are, in fact, the original microphones used to record, among others, the Beatles' performances at Abbey Road Studio and by RCA for \"Living Stereo\" recordings. The sound that Giulio Cesare Ricci manages to capture with these legendary microphones is perfectly in line with his sonic taste. No other microphone has such a true timbre and the ability to record all the nuances of sound and all the richness of harmonics. The uniqueness of these microphones is linked to their ability to perform a perfect \"sonic photograph\" and to perfectly place the music in the sound space chosen for the recording. This is because for each recording, Giulio Cesare Ricci creates two Masters: an analog master for vinyl and a DSD digital master for SuperAudioCD, as in this case. For this SACD, he used the DSD format, on Pyramix using dCS A\/D and D\/A DSD converters. From 1998 to today, he has recorded in DSD 64 x 44.1 bit with Signoricci ex Philips workstations equipped with Pyramix programs, dCS 904 analog-to-digital converters, and dCS 954 digital-to-analog converters, all to best realize the fonè SACD. The SACD mastering was done using the entirely analog and tube Signoricci system. A \"state-of-the-art\" system without sound manipulation, equalization, reverberation, compression, and expansion... but natural sound and true timbre to best enhance the acoustics of the Piaggio Museum Auditorium. All this to create recordings characterized by technological sophistication and aimed at recovering the original musical atmospheres. For this recording, Ricci also used the \"field effect\" recording technique... all this to allow the listener, in their home hi-fi system, to relive the live effect as if they had been present at the performance.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52825503138139,"sku":"DSD245","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52825503170907,"sku":"HD245","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_245.jpg?v=1776372331"},{"product_id":"gratia-pietropaoli-mirabassi-rabbia-sonus-vocum-ensemble","title":"GRATIA | Pietropaoli, Mirabassi, Rabbia, Sonus Vocum Ensemble","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eGRATIA\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eEnzo Pietropaoli\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e1. Ave Regina Caelorum 5’27”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e2. Ave Regina Caelorum 7’52”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous - Enzo Pietropaoli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e3. Ave Maria 5’05”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e4. Ave Maria 8’11”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous - Enzo Pietropaoli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e5. Salve Regina 7’12”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e6. Alma Redemptoris Mater 5’43”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e7. Alma Redemptoris Mater 4’57”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous - Enzo Pietropaoli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e8. Regina Coeli 4’58”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAnonymous - Enzo Pietropaoli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e9. Anti-Phone 2’13”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eEnzo Pietropaoli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eTotal Time 51’38”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/ulwi8k62myddb?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e\u003cstrong\u003eEnzo Pietropaoli\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003edouble bass, arrangements and musical direction\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e\u003cstrong\u003eGabriele Mirabassi\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eclarinet\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e\u003cstrong\u003eMichele Rabbia\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003epercussion and live electronics\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e\u003cstrong\u003eSonus Vocum Ensemble\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eBaltazar Zúñiga Fabio Furnari Roberto Rilievi\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTube Processed Analog Master \/  natural sound recording \/  HiFi Reference\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-us\"\u003eConceived, mastered and produced by Giulio Cesare Ricci\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eThe Master for the SACD was created by transferring the original analog master\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003emade with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 - 1965)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e2 tracks 1⁄2” 30ips modified by David Manley.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eThe mastering for the SACD was done by Giulio Cesare Ricci \u003c\/span\u003e\u003cspan lang=\"en-us\"\u003eusing the entirely analog and tube-powered Signoricci system.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\"I approached this work fascinated by the simplicity of the \u003c\/span\u003e\u003cspan\u003eAntiphons, by that minimalism that leaves all avenues \u003c\/span\u003e\u003cspan\u003eof imagination open, an extremely precious contrast, \u003c\/span\u003e\u003cspan\u003eancient and very modern. \u003c\/span\u003e\u003cspan\u003e\"Gratia\" aims to demonstrate, or rather to confirm, that even the \u003c\/span\u003emost diverse and distant languages can meet under the sign of a boundless mysticism, of a love that can go beyond individual cults.\"\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003eEnzo Pietropaoli\u003c\/em\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":53032496038235,"sku":"SACD255","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52825554354523,"sku":"DSD255","price":20.0,"currency_code":"EUR","in_stock":false},{"title":"WAV 96kHz · 24bit","offer_id":52825554387291,"sku":"DSD256","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_255.jpg?v=1776373128"},{"product_id":"musica-nuda-magoni-spinetti","title":"NAKED MUSIC | Magoni, Spinetti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMUSICA NUDA\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003ePetra Magoni, Ferruccio Spinetti\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1. ELEANOR RIGBY 2’32\u003c\/p\u003e\n\u003cp\u003e2. ROXANNE 3’16\u003c\/p\u003e\n\u003cp\u003e3. PRENDILA COSI 4’21\u003c\/p\u003e\n\u003cp\u003e4. RUN WITH ME 3’55\u003c\/p\u003e\n\u003cp\u003e5. I WILL SURVIVE 3’51\u003c\/p\u003e\n\u003cp\u003e6. GUARDA CHE LUNA 2’29\u003c\/p\u003e\n\u003cp\u003e7. MALEDETTO SIA L’ASPETTO 0’57\u003c\/p\u003e\n\u003cp\u003e8. BLACKBIRD 1’56\u003c\/p\u003e\n\u003cp\u003e9. SACRIFICE 3’37\u003c\/p\u003e\n\u003cp\u003e10. HOW INTRO\/HOW INSENSITIVE 2’36\u003c\/p\u003e\n\u003cp\u003e11. VOGLIO DI VITA USCIR 1’50\u003c\/p\u003e\n\u003cp\u003e12. RAINDROPS KEEP FALLING ON MY HEAD 3’00\u003c\/p\u003e\n\u003cp\u003e13. NESSUNO 1’39\u003c\/p\u003e\n\u003cp\u003e14. NATURE BOY 6’06\u003c\/p\u003e\n\u003cp\u003e15. IMAGINE 4’21\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePetra Magoni\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003evocals\u003cbr\u003e\u003cstrong\u003eFerruccio Spinetti\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edouble bass\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv id=\"content-wrapper\" class=\"col-xs-12\"\u003e\n\u003csection id=\"main\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Product\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv id=\"product-tab\" class=\"tabs\"\u003e\n\u003cdiv class=\"tab-content\" id=\"tab-content\"\u003e\n\u003cdiv class=\"tab-pane fade in active\" id=\"description\" role=\"tabpanel\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eThis album was recorded in Migliarino (PI) on March 14, 2003, and is the first album recorded by Musica Nuda. Petra Magoni and Ferruccio Spinetti masterfully interpret unforgettable songs such as Lennon's Imagine, Lennon\/McCartney's Eleanor Rigby and Blackbird, and Sting's Roxanne. The Master was created by transferring the original analog master, made with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2-track 1\/2 inch 30ips modified by David Manley, to Pyramix using dCS A\/D and D\/A converters. The mastering for the SACD was carried out by Giulio Cesare Ricci using the entirely analog and tube-based Signoricci system. An album not to be missed!\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"LP 33 rpm","offer_id":52825650200923,"sku":"LP171","price":60.0,"currency_code":"EUR","in_stock":true},{"title":"SACD","offer_id":52825630245211,"sku":"SACD256","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52825630277979,"sku":"DSD256","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52825630310747,"sku":"HD256","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cover_sacd-256.jpg?v=1776374623"},{"product_id":"little-wonder-magoni-spinetti","title":"NAKED MUSIC, LITTLE WONDER | Magoni, Spinetti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMUSICA NUDA, LITTLE WONDER\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003ePetra Magoni, Ferruccio Spinetti\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1. IS THIS LOVE B. Marley\u003c\/p\u003e\n\u003cp\u003e2. AIN'T NO SUNSHINE B.Withers\u003c\/p\u003e\n\u003cp\u003e3. PRACTICAL ARRANGEMENT M.R.Ballou - Sumner Gordon M.\u003c\/p\u003e\n\u003cp\u003e4. QUAND IL EST MORT LE POETE G.Becaud\u003c\/p\u003e\n\u003cp\u003e5. TOUT S'ARRANGE QUAND ON S'AIME' Mogol - Piero Soffici - French lyrics: André Salvet-Claude Carrère\u003c\/p\u003e\n\u003cp\u003e6. AL FREDDO AL FREDDO Kholoda - Vladimir Vysotskij Semenovich - Sergio Secondiano Sacchi\u003c\/p\u003e\n\u003cp\u003e7. UN VECCHIO ERRORE P.Conte\u003c\/p\u003e\n\u003cp\u003e8. IO SONO META' P.Magoni - F.Spinetti - L.De Crescenzo\u003c\/p\u003e\n\u003cp\u003e9. SEI FORTE PAPA' S.Jugens - B.Zambrini\u003c\/p\u003e\n\u003cp\u003e10. FAR NIENTE C.Buarque - Bardotti\u003c\/p\u003e\n\u003cp\u003e11. LA VIE EN ROSE E.Piaf - L.Guglielmi\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/0825646122141?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePetra Magoni\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003evocals\u003cbr\u003e\u003cstrong\u003eFerruccio Spinetti\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edouble bass\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv id=\"content-wrapper\" class=\"col-xs-12\"\u003e\n\u003csection id=\"main\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Product\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv id=\"product-tab\" class=\"tabs\"\u003e\n\u003cdiv class=\"tab-content\" id=\"tab-content\"\u003e\n\u003cdiv class=\"tab-pane fade in active\" id=\"description\" role=\"tabpanel\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eThis album features the duo Magoni - Spinetti with famous songs such as Is This Love (Bob Marley), Un vecchio errore (Paolo Conte), La vie en rose (Edith Piaf, Louis Guglielmi) etc.\u003c\/p\u003e\n\u003cp\u003eThe Master was created by transferring the original analog master, made with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2-track 1\/2 inch 30ips modified by David Manley on Pyramix using dCS A\/D and D\/A converters.\u003c\/p\u003e\n\u003cp\u003eMastering for the SACD was carried out by Giulio Cesare Ricci using the entirely analog and tube Signoricci system.\u003c\/p\u003e\n\u003cp\u003eAn album not to be missed!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"LP 33 rpm","offer_id":52825673007451,"sku":"LP172","price":60.0,"currency_code":"EUR","in_stock":true},{"title":"SACD","offer_id":52825673040219,"sku":"SACD257","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52825673072987,"sku":"DSD257","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52825673105755,"sku":"HD257","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd-257.jpg?v=1776375345"},{"product_id":"musica-nuda-leggera-magoni-spinetti","title":"NUDE, LIGHT MUSIC | Magoni, Spinetti","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eMUSICA NUDA, LITTLE WONDER\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003ePetra Magoni, Ferruccio Spinetti\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1) COME SI CANTA UNA DOMANDA\u003c\/p\u003e\n\u003cp\u003e2) CONDIZIONE IMPRESCINDIBILE\u003c\/p\u003e\n\u003cp\u003e3) DIMANE\u003c\/p\u003e\n\u003cp\u003e4) LEGGERA feat. Tony Canto\u003c\/p\u003e\n\u003cp\u003e5) LUNEDÌ\u003c\/p\u003e\n\u003cp\u003e6) FELTRINELLI feat. Fausto Mesolella\u003c\/p\u003e\n\u003cp\u003e7) CANZONE SENZA PRETESE feat. Frida Bollani Magoni\u003c\/p\u003e\n\u003cp\u003e8) TI DARÒ feat. Luigi Salerno\u003c\/p\u003e\n\u003cp\u003e9) ZITTO ZITTO\u003c\/p\u003e\n\u003cp\u003e10) LUCE\u003c\/p\u003e\n\u003cp\u003e11) TU SEI TUTTO PER ME feat. Fausto Mesolella\u003c\/p\u003e\n\u003cp\u003e12) TI RUBERÒ\u003c\/p\u003e\n\u003cp\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/0190295853723?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePetra Magoni\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003evocals\u003cbr\u003e\u003cstrong\u003eFerruccio Spinetti\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003edouble bass\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\" id=\"content-wrapper\"\u003e\n\u003csection itemtype=\"https:\/\/schema.org\/Product\" itemscope=\"\" id=\"main\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv class=\"tabs\" id=\"product-tab\"\u003e\n\u003cdiv id=\"tab-content\" class=\"tab-content\"\u003e\n\u003cdiv role=\"tabpanel\" id=\"description\" class=\"tab-pane fade in active\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eLEGGERA is another important album by Musica Nuda, Petra Magoni and Ferruccio Spinetti.\u003c\/p\u003e\n\u003cp\u003eAmong the performed tracks: COME SI CANTA UNA DOMANDA (Spinetti - Servillo), LEGGERA which gives the album its title (Kaballà - Canto) feat. Tony Canto, FELTRINELLI (Cusumano) feat. Fausto Mesolella, CANZONE SENZA PRETESE (Luttazzi - Zeppieri) feat. Frida Bollani Magoni, LUCE (Spinetti - Salerno), TI RUBERO' (Lauzi) -- The master was created by transferring the original analog master, made with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2-track 1\/2 inch 30ips, modified by David Manley to Pyramix using dCS A\/D and D\/A converters. The mastering for the SACD was carried out by Giulio Cesare Ricci using the entirely analog and tube Signoricci system. An album not to be missed!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52825721241947,"sku":"DSD258","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52825721274715,"sku":"HD258","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd-258.jpg?v=1776375997"},{"product_id":"musica-nuda-verso-sud-magoni-spinetti","title":"MUSICA NUDA, TOWARDS SOUTH | Magoni, Spinetti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMUSICA NUDA, VERSO SUD\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003ePetra Magoni, Ferruccio Spinetti\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1 I GIORNI DI FESTA\u003cbr\u003e2 L'AMORE ARANCIONE\u003cbr\u003e3 DISAMISTADE\u003cbr\u003e4 SAMBA E AMORE\u003cbr\u003e5 AMAZING GRACE\u003cbr\u003e6 INTRO AMARA TERRA\u003cbr\u003e7 AMARA TERRA MIA\u003cbr\u003e8 PASSIONE\u003cbr\u003e9 VERSO SUD\u003cbr\u003e10 CARUSO\u003cbr\u003e11 FRONNE\u003cbr\u003e12 IO SO\u003cbr\u003e13 IO SO CHE TI AMERO'\u003cbr\u003e14 ANIMA E CORE\u003cbr\u003e15 ABBASSO IL CONTRABBASSO\u003cbr\u003e16 VUELVO AL SUR\u003cbr\u003e17 TE VOGLIO BENE ASSAJE\u003cbr\u003e18 O SOLE MIO\u003c\/p\u003e\n\u003cp\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/vluae74oe5lmb?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cp\u003e\u003cstrong\u003ePetra Magoni\u003c\/strong\u003e vocals\u003cbr\u003e\u003cstrong\u003eFerruccio Spinetti\u003c\/strong\u003e double bass\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv id=\"content-wrapper\" class=\"col-xs-12\"\u003e\n\u003csection id=\"main\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Product\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv id=\"product-tab\" class=\"tabs\"\u003e\n\u003cdiv class=\"tab-content\" id=\"tab-content\"\u003e\n\u003cdiv class=\"tab-pane fade in active\" id=\"description\" role=\"tabpanel\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eThis album features Petra Magoni \u0026 Ferruccio Spinetti, a duo consolidated for years. Among the performed tracks: Disamistade (De André - Fossati), Amazing Grace a traditional piece, Verso sud (Spinetti) which gives the album its title, Caruso (Dalla), Anema E Core (D’Acquisto, Manlio), Abbasso Il Contrabbasso (Carosone - Fiorentini) …… and a bonus track O Sole Mio feat. Fausto Mesolella…… The Master was created by transferring the original analog master made with the AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2 tracks 1\/2 inch 30ips modified by David Manley on Pyramix using dCS A\/D and D\/A converters. The mastering for the SACD was carried out by Giulio Cesare Ricci using the entirely analog and tube Signoricci system. An album not to be missed!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cfooter class=\"page-footer\"\u003e\u003c\/footer\u003e\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"LP 33 rpm","offer_id":52830494589275,"sku":"LP162","price":60.0,"currency_code":"EUR","in_stock":true},{"title":"SACD","offer_id":52830494622043,"sku":"SACD259","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":52830494654811,"sku":"DSD259","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52830494687579,"sku":"HD259","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd-259.jpg?v=1776444947"},{"product_id":"gran-gala-2026-fone-records","title":"GRAND GALA 2026 | Various Artists","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eGRAN GALÀ 2026\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDONNA\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e4’03”\u003cbr\u003eS. Giovannini - P. Garinei - G. Kramer\u003cbr\u003efrom SACD 270 DONNA A.M. Castelli voice\u003cbr\u003eG. Coscia accordion R. Sellani piano\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e2.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCHLOE\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e8’24” Charles N. Daniels - Gus Kahn\u003cbr\u003efrom SACD 238 POINCIANA S. Hamilton sax P. Birro piano\u003cbr\u003eA. Zunino double bass A. Kramer drums\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e3.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eGAROTA DE IPANEMA\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e5’41’’ Antonio Carlos Jobim\u003cbr\u003efrom SACD 275 CHITARRE VAGABONDE\u003cbr\u003eF. Mesolella guitar M. Ascolese guitar\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e4.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSENTIMENTO\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e4’41”\u003cbr\u003eF. Mesolella - G. Servillo - M. Tronco - P. D’Argenzio\u003cbr\u003efrom SACD 275 CHITARRE VAGABONDE\u003cbr\u003eF. Mesolella guitar M. Ascolese guitar\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e5.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eROXANNE\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e5’04”\u003cbr\u003eSting\u003cbr\u003efrom SACD 274 EQUILIBRISMI\u003cbr\u003eP. Magoni voice Finaz guitar\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e6.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eLUCY IN THE SKY WITH DIAMONDS\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e6’00”\u003cbr\u003eJohn Lennon - Paul McCartney\u003cbr\u003efrom SACD 274 EQUILIBRISMI\u003cbr\u003eP. Magoni voice Finaz guitar\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e7.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFUOCO\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e10’26”\u003cbr\u003eAlessandro Quarta\u003cbr\u003efrom SACD 277 ALESSANDRO QUARTA I 5 ELEMENTI\u003cbr\u003eA. Quarta violin G. Magagnino piano\u003cbr\u003eSolisti Filarmonici Italiani\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e8.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEINE KLEINE NACHTMUSIK KV 525\u003cbr\u003e\u003cem\u003eAllegro\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e8’30\"\u003cbr\u003eWolfgang Amadeus Mozart\u003cbr\u003efrom SACD 235 EINE KLEINE NACHTMUSIK\u003cbr\u003eKV 525 FOR STRINGS\u003cbr\u003eS. Accardo violin M. Batjer violin\u003cbr\u003eT. Hoffman viola R. Filippini cello\u003cbr\u003eF. Petracchi double bass\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e9.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePIANO CONCERTO\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSecond Part\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e11’40”\u003cbr\u003eDavid Toradze\u003cbr\u003efrom SACD 271 DAVID TORADZE Piano Concerto\u003cbr\u003eOrchestra Sinfonica Nazionale della RAI\u003cbr\u003eGianandrea Noseda conductor Alexander Toradze piano\u003c\/p\u003e\n\u003cp\u003eTotal Time 64’29”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA collection featuring the best of the Fonè catalogue: jazz, classical, and singer-songwriter music come together in fourteen tracks with a warm and enveloping sound. From Salvatore Accardo to Fausto Mesolella, from Petra Magoni to Alessandro Quarta, all mastered with the analog tube processing that has always distinguished the label's productions. An album designed for those seeking emotion and detail.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD (in ristampa)","offer_id":52830621958491,"sku":"SACD278","price":20.0,"currency_code":"EUR","in_stock":false},{"title":"DSD 64","offer_id":52830621991259,"sku":"DSD278","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52830622024027,"sku":"HD278","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_278.jpg?v=1776445517"},{"product_id":"icone-in-musica-fone-ensable-fornaciari-colonna-merlini","title":"ICONS IN MUSIC, FONE ENSABLE | Fornaciari, Colonna, Merlini","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eICONS IN MUSIC\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFonè ensemble\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, CD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eHeinrich Ignaz Franz von Biber\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 1 The Annunciation in D minor - D minor 6'42\"\u003cbr\u003eSonata No. 10 The Crucifixion in G minor - G minor 6'41\"\u003cbr\u003eSonata No. 12 The Ascension in C major - C major 4'27\"\u003cbr\u003eSonata No. 13 Pentecost in D minor - D minor 6'01\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 14 The Assumption in D major - D major 9'23\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eJohann Sebastian Bach\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 3 in C major - C major BWV 1005 - Pentecost Sonata\"\u003cbr\u003eAdagio 5'33\"\u003cbr\u003eFuga 11'32\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eAntonio Vivaldi\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eConcerto in D major - D major\u003cbr\u003eFor the Most Holy Assumption of the Virgin Mary\u003cbr\u003eAllegro 5'04\"\u003cbr\u003eAdagio 2'45\"\u003cbr\u003ePresto 5'13\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eTotal Time 1h 3'21\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/8012871000425?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cp\u003e\u003cspan\u003eLeonardo Colonna double bass\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eErnesto Merlini, organ\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMarco Fornaciari, violin\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\" id=\"content-wrapper\"\u003e\n\u003csection itemtype=\"https:\/\/schema.org\/Product\" itemscope=\"\" id=\"main\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv class=\"tabs\" id=\"product-tab\"\u003e\n\u003cdiv id=\"tab-content\" class=\"tab-content\"\u003e\n\u003cdiv role=\"tabpanel\" id=\"description\" class=\"tab-pane fade in active\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003e\u003cspan\u003eConceived, recorded, and produced by Giulio Cesare Ricci \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded at the Propositura of San Verano, Peccioli (Pisa)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecording date November 19, 2005\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNeumann U 47, U 48, M 49 tube microphones \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSignoricci microphone preamplifiers \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSignoricci signal, microphone, and power cables \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The themes to which the icons refer can be ordered into two general categories: portrait icons (for example, portraits of saints, Mother of God of the Sign, Christ Pantocrator) and narrative icons. Some of these subjects have also inspired masterpieces by great musicians. H. Biber (18th century), a Bohemian, lived between Salzburg and Vienna. Considered one of the greatest violinists and composers, he gained great fame for his expertise. \u003cbr\u003eOne of his masses for 36 voices was attributed to Bach until the mid-last century. \u003cbr\u003eSome of the \"Rosary Sonatas\" will be performed, in which Biber describes the mysteries one by one, prescribing a different tuning for the violin in each sonata to better differentiate their spiritual moods. \u003cbr\u003eNumerous icons with similar subjects have been painted over the centuries for those presented tonight. \u003cbr\u003eJ.S. Bach needs no introduction. However, the identification that the six sonatas and partitas for solo violin were completed, and the famous Chaconne written virtually impromptu, at a moment of the deepest drama, constitutes a source of new studies (Helga Thone: Chaconne, dance or funerary monument? Leipzig 1994). Returning from a journey, Bach found that his young wife had suddenly died, leaving him with four small children. At this moment, that absolute masterpiece, the six sonatas and partitas for solo violin, took its definitive form in practically a few days. In the sonata in C major, whose fugue constitutes the most complex example of polyphonic mastery entrusted to a monodic instrument, numerous self-citations (musical themes) are present, taken from various chorales previously composed by Bach, all \u003cbr\u003eon the subject of Pentecost, just as in the first sonata the citations refer to the Nativity and in the second to the Passion. \u003cbr\u003eVivaldi's Concerto dedicated to the Assumption of Our Lady the Virgin Mary is one of two that the author dedicated to this feast (August 15), which was very dear in his Venice. \u003cbr\u003eIn contrast to the meditative and profound depth of the previous compositions, extroverted and joyful in character, the evening will conclude with a glimmer of serene Mediterranean brightness.\"\u003cbr\u003e\u003cem\u003eMarco Fornaciari\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cfooter class=\"page-footer\"\u003e\u003c\/footer\u003e\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52830905598299,"sku":"DSD004","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52830905631067,"sku":"HD004","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/FONESRCD004-cover_art.jpg?v=1776446860"},{"product_id":"marco-fornaciari-violino","title":"FORNACIARI (Violin) | Fornaciari","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eFORNACIARI\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eViolin\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eGIUSEPPE TARTINI (1692-1770)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 13 in B minor\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAndante\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAllegro assai\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiga: allegro affettuoso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e(Ed. ZANIBON); 7‘20“\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eFRANZ SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eSix Ländlers D374 for solo violin\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e\u003cspan\u003e\u003c\/span\u003e(Ed. HENLE); 2’40”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-us\"\u003eKAROL JOSEF LIPINSKY (1790-1861)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eCapriccio Op. 29 No. 3\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e\u003cspan\u003e\u003c\/span\u003e(Ed. POLSKIE WYDAWNICTWO MUZYCZNE); 2’50”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eFRITZ KREISLER (1875-1962)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eRecitative and Scherzo-Caprice Op. 6\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e(Ed. SCHOTT); 4’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eBRUNO BETTINELLI (1913, living)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan\u003eMonologue for solo violin\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e(Ed. CURCI); 6’50”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eBÈLA BARTÒK (1881-1945)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata for solo violin\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003eTempo di ciaccona\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eFuga\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eMelodia\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003ePresto\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e(Ed. BOOSEY and HAWKES); 24’30”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/ardu2z87rcyvc?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSTEREO\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eINSTRUMENT:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eVettori Violin 1981\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRECORDING PLACE:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eLivorno, San Ranieri Chapel, October 10\/14, ‘83\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRECORDING:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eStudio R.G.C. Livorno\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003ePRODUCTION DIRECTOR:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSOUND ENGINEER:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eMARCO FORNACIARI violin\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eA few words to justify the program presented in this edition will not be superfluous. At first glance, especially to the European public, it might appear eclectic, if not incoherent, or in any case chosen with outdated concert criteria. Now, without forgetting that editions of this kind are frequent, especially in the USA and USSR, which is certainly not insignificant, it must be said that when it comes to highlighting the qualities and characteristics of a modern instrument like the violin made by Carlo Vettori in 1981, it is natural to lean towards representative music, both in chronological terms and in terms of compositional school. This is how Marco Fornaciari chose to attempt a repertoire that ranges from the early 18th century to the present day.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGIUSEPPE TARTINI (1692-1770), from Istria, violinist, sound theorist, and harmony scholar, reveals in his \"Sonata No. 13 in B minor\" (taken from a group of 24, of which the autograph is preserved in Padua) the stylistically simple breadth, projected towards a barely hinted virtuosity, of the pure and elegant 18th-century expressive lines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe Six Ländlers for solo violin D 374 by FRANZ SCHUBERT (1797-1828), composed in February 1816, are a small, almost unknown gem by the Viennese master, and present the tones and cadences of the Waltz (which derives from the ländler, a popular rural dance) purified, however, of the symphonic refinements to which the Strausses, among others, have accustomed us.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eScarcely known, KAROL JOZEF LIPINSKI (1790-1861), a Polish violinist, eclectic composer, and orchestra conductor. A rival of Paganini, with whom he did not fare badly in a concert competition, he composed no less than 4 collections of Capriccios, in the Italian style. From Op. 29, \"Capriccio\" No. 3 is performed, a dazzling cascade of notes in the purest virtuosic style of the early last century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe \"Recitative and Scherzo-Capriccio\" Op. 6 by FRITZ KREISLER (1875-1962), on the other hand, is a brilliant example of how the late-Viennese melodic tradition continues in our\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003ecentury; the great celebrity of this work makes it superfluous to dwell on it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eOf significant interest is the \"Monologue for solo violin\" by BRUNO BETTINELLI (1913, living), a master who taught more than one generation of musicians from the composition chair of the \"G. Verdi\" Conservatory in Milan. Not tied to schemes or schools, not influenced by fads, Bettinelli demonstrates how it is possible to compose, today, music enjoyable even by the wider public, provided that the ties with Italian cantabile are not broken.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eWith the \"Sonata for solo violin\" dedicated to Y. Menuhin, composed in the classical four-movement structure of the sonata da chiesa, one of the most difficult pieces in all violin literature, both in terms of musical writing and technique, BÉLA BARTOK (1881-1945) contributed decisively to pushing the limits of human possibilities in concert performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eMARCO FORNACIARI (1953), who graduated from the \"L. Cherubini\" in Florence, obtained his Konzertdiplom in Geneva, under the guidance of Maestro Corrado Romano, receiving the \"premier prix avec distinction\". He has performed concerts all over the world, both as a soloist and as first violin of the \"Solisti Veneti\". The instrument used for the performance was built in 1981 by CARLO VETTORI, a Florentine luthier who, in his now thirty years of activity (he began working at a very young age in the workshop of his father Dario, also an esteemed luthier), has achieved numerous successes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv id=\"content-wrapper\" class=\"col-xs-12\"\u003e\n\u003csection id=\"main\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Product\"\u003e\u003cfooter class=\"page-footer\"\u003e\u003c\/footer\u003e\u003c\/section\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52831152177499,"sku":"DSD8301","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52831152210267,"sku":"HD8301","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8301sleeve_9f34ab20-5971-412e-9547-1fdc510341fe.jpg?v=1776447750"},{"product_id":"i-bis-di-nikita-magaloff-magaloff","title":"NIKITA MAGALOFF'S ENCORES | Magaloff","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF'S ENCORES\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003ePiano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1.     \u003c\/span\u003e\u003cspan\u003eCanzonetta del Salvator Rosa (No. 3 from “Années de pèlerinage; deuxième année: Italie”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e2.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"de\"\u003eGnomenreigen (Dance of the Gnomes) No. 2 from “Zwei Konzertetuden”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e3.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"de\"\u003eConsolation No. 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"fr\"\u003e4.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eLa chasse (No. 5 from “Six Grandes Etudes de Paganini“)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eA. ALABIEFF (1787-1851), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"fr\"\u003e5.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eLe Rossignol (No. 1 from “Deux Mélodies russes”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eF. SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e6.     \u003c\/span\u003e\u003cspan\u003eImpromptu in E-flat major Op. 90 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e7.     \u003c\/span\u003e\u003cspan\u003eNocturne in C-sharp minor (Op. posth.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e8.     \u003c\/span\u003e\u003cspan\u003eEtude in G-flat major Op. 10 No. 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"de\"\u003eJ.S. BACH (1685-1750)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e9.     \u003c\/span\u003e\u003cspan\u003eSiciliana in G minor from Sonata No. 2 for flute and harpsichord)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e10. \u003c\/span\u003e\u003cspan\u003eHungarian Dances: No. 5 in F-sharp minor, No. 7 in F major, No. 9 in E minor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eS. RACHMANINOFF (1873-1943)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan lang=\"fr\"\u003e11.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003ePolichinelle Op. 3 No. 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"fr\"\u003e12.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSérénade Op. 3 No. 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e13. \u003c\/span\u003e\u003cspan\u003eAndante spianato et Grande Polonaise brillante Op. 22\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"fr\"\u003e14.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eIntermezzo Op. 117 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/wjsxnvgp3h6jz?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBi-microphone configuration with field effect (Fonè Studio).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRecording engineer: Giulio Cesare Ricci. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eProduction director: Giulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci is proud to dedicate this album of \"encores,\" recorded during his recent Italian tour, to Maestro Nikita Magaloff on the occasion of his 75th birthday. The recordings were made at the Teatro Donizetti in Bergamo, the Teatro Grande in Brescia, the Teatro Goldoni in Livorno, the Teatro Manzoni in Pistoia, and the Teatro Comunale in Imola.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cstrong\u003eNikita Magaloff\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a student of Liszt and cousin and professor of Rachmaninoff. He later moved to Paris, where he studied with Isidor Philipp, graduating at the age of 17 with a Premier Grand Prix. On this occasion, Maurice Ravel said of him: \"A great musician, truly extraordinary, has been born.\" He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. His career saw countless significant events, including the first performance of Prokofiev's \"Seventh Sonata,\" the performance of Stravinsky's \"Capriccio\" under the composer's direction, tours in Europe, the USA, Japan, and Israel, and frequent and regular participation in the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), always attentive to the emergence of new talents among the younger generations. He has recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados, and most recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is among the unsurpassed interpreters, a body of work he also presented in cycles of five recitals in all the most important European cities.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52849151770971,"sku":"DSD8706","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52849151803739,"sku":"HD8706","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8706sleeve_342f6d6e-05f3-4e76-b9e2-3c92431b514f.jpg?v=1776805004"},{"product_id":"nikita-magaloff-pianoforte-magaloff","title":"NIKITA MAGALOFF: PIANO | Magaloff","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNIKITA MAGALOFF\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003ePiano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003eAnnées de pèlerinage, deuxième année: Italie\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e1.    \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSonetto 47 del Petrarca\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e2.    \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSonetto 104 del Petrarca\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e3.    \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSonetto 123 del Petrarca\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e4.    \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003eSix Chants polonais (from Op. 74)\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eMädchens Wunsch\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eFrühling\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eDas Ringlein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eBacchanal\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eMeine Freuden\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"de\"\u003eDie Heimkehr\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSonata in F minor, Op. 5\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e5.    \u003c\/span\u003e\u003cspan\u003eAllegro maestoso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e6.    \u003c\/span\u003e\u003cspan\u003eAndante espressivo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e7.    \u003c\/span\u003e\u003cspan\u003eScherzo: Allegro energico\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e8.    \u003c\/span\u003e\u003cspan\u003eIntermezzo “Rückblick”: Andante molto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e9.    \u003c\/span\u003e\u003cspan\u003eFinale: Allegro moderato ma rubato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/gq0m8gaxdisy6?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eon May 21, 1986, at Teatro Grande, Brescia; bi-microphone field effect configuration (Studio Fonè).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eRecording engineer\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eProduction director\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eNIKITA MAGALOFF\u003c\/span\u003e\u003c\/b\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a student of Liszt and cousin and professor of Rachmaninoff. He later moved to Paris, studying with Isidor Philipp and graduating at the age of 17 with a First Grand Prix. It was on this occasion that Maurice Ravel said of him: \"A great musician, truly extraordinary, has been born.\" He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. His career saw countless significant events, including the first performance of Prokofiev's \"Seventh Sonata,\" the performance of Stravinsky's \"Capriccio\" under the composer's direction, \"tours\" in Europe, the USA, Japan, and Israel, and frequent and regular presence on the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), attentive as he was to the emergence of new talents among the younger generations. He recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados and, more recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is one of the unsurpassed interpreters, a work he also presented in cycles of five recitals in all the major European cities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003eFrédéric Chopin (1810.1849) \/ Franz Liszt (1811-1886)\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"fr\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eSix Chants Polonais (from Op. \u003c\/span\u003e\u003cspan\u003e74) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe second \"Year of Pilgrimage\" dedicated to Italy is considered the most important of the three as a whole. The entire Year was published in 1858, preceded by two drafts dating back to '37 and '49 respectively. This recording features the three \u003ci\u003ePetrarch Sonnets\u003c\/i\u003e, whose entry into Liszt's oeuvre dates back to around 1838 as \u003ci\u003eLieder\u003c\/i\u003e for voice and piano, and which were then excellently transcribed for solo piano. \u003c\/span\u003e\u003cspan\u003eOn this occasion too, Liszt reveals exceptional mastery in the art of transcription, understood as an authentic recreation of a new writing and language, in relation to the new expressive medium. Exemplary is the adherence to the poetic texts that sing of the first encounter with the beloved woman (Sonnet 47), the unhappy love and intimate conflicts of the poet's soul (Sonnet 104), and the appearance of the angelic woman as a symbol of ideal beauty (Sonnet 123). 16 Polish songs from Chopin's Op. 74 (S. 480), composed in 1847, were revised and published in '60. They are dedicated to Princess Maria von Hohenlohe, daughter of Princess Carolyne Sayn-Wittgenstein. These are six of the 17 songs that make up Chopin's original work composed between 1829 and '47 and published ten years later. As with Schubert's \u003ci\u003eLieder\u003c\/i\u003e, Liszt's choice falls on texts of greater emotional impact and melodic beauty, which, as always, Liszt knows how to connect with discreet tonal links and subtle transitions of atmosphere. \u003c\/span\u003e\u003cspan\u003eIn the order chosen by Liszt, the Songs are: 1. \u003ci\u003eMaiden's Wish\u003c\/i\u003e, which also opens Chopin's collection; 2. \u003ci\u003eSpring\u003c\/i\u003e (Op. 74 No. 2); 3. \u003ci\u003eThe Ringlet \u003c\/i\u003e(Op. 74 No. 14); 4. \u003ci\u003eToast\u003c\/i\u003e (Op. 74 No. 4); 5. \u003ci\u003eMy Joys\u003c\/i\u003e (Op. 74 No. 12); 6. \u003ci\u003eThe Bridegroom\u003c\/i\u003e (Op. 74 No. 15). Once again, Liszt is appreciated as a transcriber, respecting Chopin's intimacy and maintaining a light hand in the piano writing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eJohannes Brahms (1833-1897) \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eSonata in F minor, Op. 5\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIn October 1853, Schumann enthusiastically hailed the rising star of young Brahms, then twenty years old, in the pages of the \"Neue Zeitschrift für Musik\". It was precisely during that period that the Hamburg composer completed, by composing the first, third, and fifth movements (the second and fourth had already been composed before the fateful arrival at Schumann's house), his Sonata in F minor, destined to remain his last, as well as the most important of his three for solo piano. The signature \"Kreisler iunior\" at the bottom of the manuscript says much about his moral commitment to continue in the furrow traced by the author of \u003ci\u003eKreisleriana...\u003c\/i\u003e The \u003ci\u003eSonata\u003c\/i\u003e is dedicated to Countess von Hohenthal. The unusual five movements seem to hark back to the archaic tradition of \"\u003ci\u003eDivertimenti\u003c\/i\u003e\". The sequence of movements alternates fast and slow tempi, the latter linked by the identity of the thematic material. And even within the same movement, particularly the first, entirely based on the continuous flowing sound of the passionately vibrant main theme, we discover Brahms already laying the foundations of that particular compositional technique - called continuous development - which would become characteristic of his \u003ci\u003eSymphonies\u003c\/i\u003e. Also evident here, as in the rest of the \u003ci\u003eSonata\u003c\/i\u003e, is the search for an almost orchestral sonic depth. The nocturnal, contemplative romantic atmosphere of the celebrated \u003ci\u003eAndante\u003c\/i\u003e connects to the equally suggestive \u003ci\u003eAdagios\u003c\/i\u003e of the \u003ci\u003eSonatas Op. 1 and 2\u003c\/i\u003e and redeems, with its intense but pure and restrained pathos, the sentimental tone of Sternau's verses preceding it: \u003ci\u003eDer Abend dämmert, das Mondlicht scheint, Da sind zwei Herzen in Liebe vereint Und halten sich selig umfangen.\u003c\/i\u003e (Evening falls, the moonlight shines: here are two hearts united in love, and they remain happily embraced). Verses that reflect the solitary existential moment Brahms was experiencing at the time. The rhythmically distinct \u003ci\u003eScherzo\u003c\/i\u003e is a typical Brahmsian creation, while in the \u003ci\u003eTrio\u003c\/i\u003e, a nostalgic cantabile prevails. Unlike classical tradition, Brahms inserts an \u003ci\u003eIntermezzo\u003c\/i\u003e at this point, as the fourth movement, which he titles \"\u003ci\u003eRückblick\u003c\/i\u003e\" (\"Retrospect, Remembrance\"), echoing, in the darker key of B-flat minor, the theme of the \u003ci\u003eAndante\u003c\/i\u003e. The \u003ci\u003efinale\u003c\/i\u003e, structured as a \u003ci\u003eRondo\u003c\/i\u003e, has a rhythmically sharp main theme alongside which, with a singular effect, are two secondary, lyrically cantabile motives. The second of these motives (in D-flat) will lead to extensive polyphonic and contrapuntal elaboration (even then, these procedures proved congenial to Brahms's severity). Finally, a brilliant coda where the main theme also reappears, concludes this monumental work in a climate of triumphant euphoria. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"en-gb\"\u003eAnna Bergonzelli\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52895726797147,"sku":"DSD8707","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52895726829915,"sku":"HD8707","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8707sleeve.jpg?v=1777489656"},{"product_id":"nikita-magaloff-pianoforte-schubert-magaloff","title":"NIKITA MAGALOFF: SCHUBERT PIANO | Magaloff","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eSchubert Piano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eFRANZ SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSonata in B-flat major D. 960\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1.    \u003c\/span\u003e\u003cspan\u003eMolto moderato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2.    \u003c\/span\u003e\u003cspan\u003eAndante sostenuto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e3.    \u003c\/span\u003e\u003cspan\u003eScherzo. Allegro vivace con delicatezza\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e4.    \u003c\/span\u003e\u003cspan\u003eAllegro, ma non troppo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eFRANZ SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e5.    \u003c\/span\u003e\u003cspan\u003eImpromptu in E-flat major op. 90 no. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/lqzyjroyafko4?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eon May 23, 1986, at Teatro Donizetti, Bergamo; two-microphone setup with field effect (Studio Fonè).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eRecording engineer\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eProduction director\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eNIKITA MAGALOFF piano\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a pupil of Liszt and cousin and teacher of Rachmaninoff. He later moved to Paris, studied with Isidor Philipp, graduating at the age of 17 with a Premier Grand Prix. On this occasion, Maurice Ravel said of him: «\u003ci\u003eA great, truly extraordinary musician has been born\u003c\/i\u003e». He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. Numerous significant events marked his career, including the first performance of Prokofiev's «\u003ci\u003eSeventh Sonata\u003c\/i\u003e», the performance of Stravinsky's «\u003ci\u003eCapriccio\u003c\/i\u003e» under the composer's direction, tours in Europe, the USA, Japan, and Israel, frequent and regular presence on the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), attentive as he was to the emergence of new talents among the younger generations. He has recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados, and, most recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is among the unsurpassed interpreters, a work he also presented, in cycles of five recitals, in all the most important European cities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eFranz Schubert (1797-1828) - \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eSonata in B-flat major D. 960. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe Sonata in B-flat D. 960 is the last and undoubtedly the most important of Schubert's sonatas. From the surviving manuscript, we can precisely determine the date the sonata was completed: September 26, 1828. Less than two months later, on September 19, Schubert would conclude his brief earthly existence. He intended to dedicate these last creations to the celebrated virtuoso J.N. Hummel, but by the time the Sonatas finally saw the light ten years later, Hummel too had passed away. Thus, Diabelli, on his own initiative, dedicated them to Schumann, who had the merit of always believing in Schubert's genius and following the fate of his works (it was he, in fact, who rediscovered the manuscript of the Symphony in C major). This Sonata combines the beauty of its thematic material with a truly surprising formal fluidity. The first movement, with its solemn opening, is one of the broadest and most serene written by Schubert and appears devoid of those strong contrasts that usually characterize the initial movement. It should be noted in this regard that Schubert, even in his best moments, uses a less varied style of writing than Beethoven; his attention to the sonata form is also animated by less \"intellectual curiosity\". Yet, Schubert still manages to be original. In this first movement, for example, he achieves fascinating effects by presenting the theme against a harmonic background that changes each time, with tonal and expressive highlights of great effectiveness. This procedure does not greatly benefit the compactness of the work, but it must be acknowledged that it is precisely a typically romantic symptom to focus attention on a beautiful detail, rather than globally on the formal organization. After this broad and discursive Molto moderato movement, punctuated by pauses and trills in the bass part, recalling distant drum rolls, Schubert in the subsequent Andante sostenuto unfolds his intense lyricism, offering an amplified and solemn version of the Lied \"Ständchen\" (Serenade) written a few months earlier. Of note is the affinity of the motif appearing in the central section with the initial theme of the Sonata (Radcliffe) and, in the first and third sections, the use of the resonance pedal and the crossing of hands that allow different registers and timbres to resonate simultaneously: a technical solution rich in consequences that would extend to the impressionists (Rattalino). Another derivation from the thematic material of the first movement is found in the Allegro vivace con delicatezza (third movement), which is structured as a Scherzo with a rapid and delicate dance-like gait and a more compact Trio that has the appearance of a delightful \"exercise\" with a syncopated rhythm. The finale is a brilliant Rondò in which the vigorous flow of the discourse is periodically interrupted by a single note, a sustained G, which imposes a kind of brake on the main theme. Contrasting insertions are achieved with lyrical interludes and more dynamic and strong passages in the high register of the instrument. The conclusion with a spirited Presto closes this highly original last Schubertian creation which, despite the musical quality of the material with which it is shaped, has sometimes aroused reservations and misunderstandings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"en-gb\"\u003eAnna Bergonzelli\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52895738397019,"sku":"DSD8708","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52895738429787,"sku":"HD8708","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8708sleeve_9c196cd0-dc1c-45ae-82e3-5ebae1018647.jpg?v=1777490260"},{"product_id":"nikita-magaloff-fryderyk-chopin-magaloff","title":"NIKITA MAGALOFF: FRYDERYK CHOPIN | Magaloff","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNIKITA MAGALOFF\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFryderyk Chopin\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSonata no. 1 in C minor, Op. 4 \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 Allegro Maestoso [6'04\"] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 Minuet [4'40\"] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e3 Larghetto [3'09\"] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e4 Finale [6'19”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e12 Etudes, Op. 10 \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 in C major (Allegro) [1'55”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 in A minor (Allegro) [1'18”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e3 in E major (Lento ma non troppo) [4'00”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e4 in C sharp minor (Presto) [1'57”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e5 in G flat major (Vivace) [1'32”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e6 in E flat minor (Andante) [3'31”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e7 in C major (Vivace) [1'25”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e8 in F major (Allegro) [2'18”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e9 in F minor (Allegro, molto agitato) [1'58”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e10 in A flat major (Vivace assai) [2'02”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e11 in E flat major (Allegretto) [2'00”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e12 in C minor (Allegro con fuoco) [2'24”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eTotal time: 46’32” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"en-us\"\u003eFRYDERYK CHOPIN (1810 - 1849) \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e3 New Etudes for the Method of I. Moscheles and F.J. Fétis\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 in F minor (Andantino) [2’10”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 in D flat major (Allegretto) [1’41”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e3 in A flat major (Allegretto) [1’32”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e12 Etudes, Op. 25 \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 in A flat major (Allegro sostenuto) [2’04”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 in F minor (Presto) [1’27”]  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e3 in F major (Allegro) [1’44”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e4 in A minor (Agitato) [1’34”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e5 in E minor (Vivace) [2’43”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e6 in G sharp minor (Allegro) [1’56”]\u003cspan\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"en-us\"\u003e7 in C sharp minor (Lento) [4’37”]\u003cspan\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e8 in D flat major (Vivace) [1’02”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e9 in G flat major (Allegro assai) [54”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e10 in B minor (Allegro con fuoco) [3’26”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e11 in A minor (Lento - Allegro con brio) [3’18”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e12 in C minor (Molto allegro con fuoco) [2’27”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003eWaltz in C sharp minor, Op. 64 No. 2 [3‘03“]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003ePolonaise in A flat major, Op. 53 [6’00”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003eNocturne in C sharp minor, Op. posth. [3’42”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eTotal time: 45’20” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/kfy0ck6yuaxoa?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eRecorded at Teatro Grande, Brescia\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eRecording date June 1967\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eRemastering Original mono recording rechanneled for stereo effect by Fonè\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGeneral Producer \u0026amp; Recording supervisor Giulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eExecutive producer Alessandro Orizio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eMusic consultant Giacomo Fornari\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eDesign Martino Gerevini\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eEnglish translation ElisonLeaney\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eFrench translation Edwige Saulnier\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGerman translation Emma Mitterrutzner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003ePhoto Giornale di Brescia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eLelli \u0026amp; Masotti\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52895750160731,"sku":"DSD9106","price":30.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52895750193499,"sku":"HD9106","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9106sleeveokBelieve.jpg?v=1777490957"},{"product_id":"musical-landscapes-and-avant-garde-visions-busoni-mariotti","title":"MUSICAL LANDSCAPES AND AVANT-GARDE VISIONS | Busoni, Mariotti","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eMUSICAL LANDSCAPES AND AVANT-GARDE VISIONS\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSuite Campestre Op. 18\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 81 (1878)\u003c\/p\u003e\n\u003cp\u003e1 Canzone Villereccia del Mattino\u003cbr\u003e2 La Caccia\u003cbr\u003e3 L‘Orgia\u003cbr\u003e4 II ritorno\u003cbr\u003e5 Preghiera della sera\u003c\/p\u003e\n\u003cp\u003e6\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia nach Johann Sebastian Bach\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 253 (1909)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndianisches Tagebuch\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 267 (1915)\u003cbr\u003e7 Allegretto affettuoso, un poco agitato\u003cbr\u003e8 Vivace\u003cbr\u003e9 Andante\u003cbr\u003e10 Maestoso ma andando\u003c\/p\u003e\n\u003cp\u003e11\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina seconda\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 259 (1912)\u003c\/p\u003e\n\u003cp\u003e12\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eVierte Ballet-Szene Op. 33a\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 238 (1892)\u003c\/p\u003e\n\u003cp\u003e13\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina in diem nativitatis Christi MCMXVII\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 274 (1917)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrei Albumblätter\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 289 (1917 - 1921)\u003cbr\u003e14 (Zürich) Andantino sostenuto\u003cbr\u003e15 (Roma) Andante\u003cbr\u003e16 (Berlin) In der Art eines Choralvorspiels. Sostenuto religioso\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/td948kq8eftja?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp\u003eFerruccio Busoni's Leonardesque figure stands imposingly in the musical landscape at the turn of the two centuries. A frantic activity as a man and musician was the characteristic that accompanied him throughout his life, and his universal genius allowed him to reach absolute artistic peaks, even if often unrecognized. His virtuosity, impressive for speed and power but never showy or an end in itself, and his avant-garde and highly original musical imagination were legendary. From his youth, he was adored by the public, often leaving critics bewildered. His compositions, especially the later ones, are among the most significant and ingenious of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He genuinely endeavored to disseminate, through performances, revisions, and critical articles, the works of his contemporary composers (such as those of Arnold Schoenberg, who succeeded him in the composition chair at the Berlin Musikakademie). His literary background and subtle, acute mind allowed him to prepare librettos for his own operas and to maintain epistolary relationships with the greatest personalities of his time, in addition to publishing several fundamental writings. The most significant of these, the \"Sketch of a New Aesthetic of Music\" from 1907, contains ingenious insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspirer of new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The characteristic pieces of the Suite Campestre, composed at the age of twelve, clearly take Schumann's Album for the Young as a model. They reflect the late romantic idealization of rural life. In Preghiera della sera, certain mystical atmospheres emerge and a polyphonic writing of clear Bachian ancestry, elements so beloved by the mature Busoni. The Fantasia nach (after) Johann Sebastian Bach was composed in memory of his father Ferdinando. Although based on three organ compositions by Bach, about half of the piece consists of original material. The continuous alternation of minor and major sections well expresses both the emotional and tonal progression of the entire piece. The melancholy of the beginning turns into pacification at the end: the score significantly bears the inscription PAX EI! on the last page. The New World, visited several times during tours, held great fascination for Busoni. The songs and melodies of Native Americans left an indelible impression on him, leading him to compose a fantasy for piano and orchestra from which he drew the suite Indianisches Tagebuch (Indian Diary). The themes are almost literal transcriptions of Native American motifs, treated according to the schemes of Western music, yet with penta- and hexatonic inflections typical of those populations. The term Sonatina refers to the dimensions and form, not to their difficulty. The return to simple and clear compositional schemes (codified by Busoni in his idea of \"new classicism\") and the often intimate character of the Sonatinas are in clear contrast with previous compositions. The Sonatina seconda, almost an exception, represents his atonal experiment, following Schoenberg's example. New elements appear, such as the lack of bar indications for long stretches or a new way of understanding accidentals. The unstable, chaotic, brutal character reflects that of Umberto Boccioni's painting \"The City Rises,\" owned by Busoni and from which he was inspired. The Sonatina in diem nativitatis Christi, with its calm, serene simplicity, perfectly represents the model of \"new classicism.\" Christmas bells, Chorales, the mystical atmosphere, and also the pipers are inserted into a fine polyphonic texture, archaic and suggestive. The Vierte Ballett-Szene (Fourth Ballet Scene) of 1892 is almost a tribute to Johann Strauss and his Waltzes, in the sign of brilliant and salon virtuosity then in vogue. The last compositions are closely related to Busoni's unfinished opera, Doktor Faust, in which themes were often developed and matured in his piano works. The Drei Albumblätter (Three Album Leaves), thoughtful and melancholic, reflect the composer's state of mind after the horrors of the First World War. The first, algid and crystalline, displays refined harmonic solutions and a subtle, intimate rhythmic charge. The second, a fugato, is an extremely abstract and mysterious page, while the third returns to Bachian reminiscences with the chorale \"Christ lag in Todesbanden\" (Christ lay in death's bonds).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898084225371,"sku":"DSD9511","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898084258139,"sku":"HD9511","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9511sleeve.jpg?v=1777539544"},{"product_id":"transformation-and-transfigurations-busoni-mariotti","title":"TRANSFORMATION AND TRANSFIGURATIONS | Busoni, Mariotti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eTRANSFORMATION AND TRANSFIGURATIONS\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina Brevis. In signo Johannis Sebastiani Magni\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 280 (1918)\u003c\/p\u003e\n\u003cp\u003e4\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eElegien\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 249 (1907)\u003cbr\u003e2 Nr. 2 All’Italia. In modo napolitano (Andante barcarolo)\u003cbr\u003e3 Nr. 1 Nach der Wendung. Recueillement (Sostenuto, quasi Adagio)\u003cbr\u003e4 Nr. 4 Turandots Frauengemach. Intermezzo (Andantino sereno - Più vivo e distaccato e ritmato)\u003cbr\u003e5 Nr. 7 Berceuse (Andantino calmo)\u003c\/p\u003e\n\u003cp\u003e6\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina super “Carmen”\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 284 (1920) Kammer-Fantasie über Bizets Carmen\u003c\/p\u003e\n\u003cp\u003e7\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eChoral Vorspiel über ein Bachsches Fragment\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 256a (1912)\u003c\/p\u003e\n\u003cp\u003e8\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNuit de Noel. Esquisse pur le piano\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 251 (1908)\u003c\/p\u003e\n\u003cp\u003e9\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eToccata. Preludio - Fantasia - Ciaccona\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 287 (1920)\u003cbr\u003eQuasi Presto, arditamente - Sostenuto, quasi Adagio - Allegro risoluto\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/fgcdemdoskzvb?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp\u003eThe Leonardesque figure of Ferruccio Busoni stands imposingly in the musical landscape straddling the two centuries. A frantic activity as a man and a musician characterized his entire life, and his universal genius allowed him to reach absolute artistic heights, even if often unrecognized. His virtuosity, impressive in speed and power but never ostentatious or an end in itself, and his avant-garde and highly original musical imagination were legendary. From a young age, he was adored by the public, often baffling critics. His compositions, especially the later ones, are among the most significant and brilliant of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He sincerely strove to disseminate the works of his contemporary composers (such as Arnold Schoenberg, who succeeded him in the composition chair at the Musikakademie in Berlin) through performances, revisions, and critical articles. His literary background and subtle, acute mind enabled him to prepare librettos for his own operas and maintain epistolary relationships with the leading figures of his time, in addition to publishing several fundamental writings. The most significant of these, the Sketch of a New Esthetic of Music from 1907, contains brilliant insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspiration for new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The years from 1895 to 1907 mark a period of reflection in Busoni's piano output. His considerable commitments as a concert pianist almost overshadowed his composing, yet they fostered a new language, expressed for the first time in the Elegien. With these, the most fruitful and stimulating artistic period began, which Busoni himself called his \"third style,\" and whose works are no longer marked by an opus number. The new expressive means of the Elegien stem from late-Romantic Brahmsian and Lisztian sonorities, refined, however, by new, brilliant insights of an Impressionistic and Expressionistic character. The sonic experiments, simple tonal chords juxtaposed with jarring dissonances, pure tonality alongside bitonality, constitute the major revelation of the Elegien. All'Italia, a tribute to his native country rich in popular song citations, shows the expressive use of dissonances, superimposed tonalities, and the juxtaposition of shifting, almost Debussyian pianistic colors (for this recording, the unpublished version of the finale prepared for Egon Petri in 1917 was used). The Intermezzo Turandots Frauengemach (Turandot's Harem) is one of Busoni's most famous pieces. The celebrated melody of \"Greensleeves,\" with its ambiguous tonal character, is well suited to the new musical conceptions. Nach der Wendung (After the Transformation), similarly, expresses its enigmatic nocturnal character through the tension released by the alternation of the very distant keys of C and F-sharp throughout the piece. The Berceuse offers a further glimpse into Busoni's aesthetic universe: the concept of eternity, of the so-called \"Omnipresence of Time.\" Close to the Elegien is Nuit de Noël, with its Impressionistic colors, imitations of bells, and Christmas carols. In 1910, Busoni's largest and most important piano composition, the Fantasia Contrappuntistica, was published, based on J. S. Bach's Art of Fugue. The Choral Vorspiel über ein Bachsches Fragment (Chorale Prelude on a Bach Fragment) from two years later represents a kind of smaller version of the Fantasia Contrappuntistica, based roughly on the same themes but of minimal dimensions. By the composer's own admission, the piece was conceived more for didactic purposes than for public performance. The term Sonatina refers to their size and form, not their difficulty. The return to simple and clear compositional schemes (codified by Busoni in his idea of \"new classicism\") and the often intimate character of the Sonatinas are in stark contrast to his earlier compositions. The Sonatina Brevis. In signo Johannis Sebastiani Magni is in fact a free arrangement of the Fantasy and Fugue in D minor BWV 905, almost a homage to the great Johann Sebastian on the margins of Busoni's gigantic work of revising Bach's clavier works for Breitkopf in those years. The most famous of the Sonatinas, the Sonatina super \"Carmen\" has nothing in common with Lisztian paraphrases on opera arias. Bizet's famous melodies are not debased or vulgarized, but rather treated as autonomous themes within the free sonata form. A subtle irony and sense of bitterness permeate the brilliant musical texture: the tragic and ironic ending is singular. The last compositions are closely related to Busoni's unfinished opera, Doktor Faust, in which themes were often developed and matured in his piano works. The Toccata is his last important work for piano. The piece is imbued with the themes and strong, dark hues of Doktor Faust; the tripartite structure consists of monolithic, well-defined sections, in which it is not difficult to recognize Faustian (Prelude) and Mephistophelean (Ciaccona) aspects juxtaposed with lyrical ones. The severity and nervous tension, combined with incredible technical difficulty, make the Toccata one of the absolute pinnacles of Ferruccio Busoni's output. The Frescobaldian motto inscribed next to the title is a warning to performers, whose truth was well known to Busoni: \"It is not without difficulty that one reaches the end.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898213593435,"sku":"DSD9512","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898213626203,"sku":"HD9512","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9512sleeve.jpg?v=1777540217"},{"product_id":"supreme-art-of-counterpoint-and-bold-innovation-busoni-mariotti","title":"SUPREME ART OF COUNTERPOINT AND BOLD INNOVATION | Busoni, Mariotti","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eSUPREME ART OF COUNTERPOINT AND BOLD INNOVATION\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch5\u003eSupreme Art of Counterpoint and bold Innovation\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eMacchiette Medioevali\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eOp. 33 Kind. 194 (1895)\u003c\/p\u003e\n\u003cp\u003e1 Lady\u003cbr\u003e2 Knight\u003cbr\u003e3 Page\u003cbr\u003e4 Warrior\u003cbr\u003e5 Astrologer\u003cbr\u003e6 Troubadour\u003c\/p\u003e\n\u003cp\u003e7\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia contrappuntistica\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 256 (1910)\u003c\/p\u003e\n\u003cp\u003e8\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eZehn Variationen über ein Präludium von Chopin Op. 22\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(2. Version) Kind. 213a (1922) \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/a7bf9jrxtxq5b?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv id=\"content-wrapper\" class=\"col-xs-12\"\u003e\n\u003csection id=\"main\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Product\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv id=\"product-tab\" class=\"tabs\"\u003e\n\u003cdiv class=\"tab-content\" id=\"tab-content\"\u003e\n\u003cdiv class=\"tab-pane fade in active\" id=\"description\" role=\"tabpanel\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eThe multifaceted figure of Ferruccio Busoni stands imposingly in the musical landscape at the turn of the two centuries. A frenetic activity as a man and as a musician was the characteristic that accompanied him throughout his life, and his universal genius allowed him to reach absolute artistic heights, even if often unrecognized. His virtuosity, impressive for its speed and power but never showy or an end in itself, and his avant-garde and highly original musical imagination were legendary. From his youth, he was adored by the public, often leaving critics bewildered. His compositions, especially the later ones, are among the most significant and ingenious of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He sincerely strove to disseminate, through performances, revisions, and critical articles, the works of his contemporary composers (such as those of Arnold Schoenberg, who succeeded him in the composition chair at the Musikakademie in Berlin). His literary education and his subtle and acute mind allowed him to prepare the librettos for his own operas and to maintain epistolary relationships with the greatest personalities of his time, in addition to publishing some fundamental writings. The most significant of these, the \"Sketch of a New Aesthetic of Music\" from 1907, contains brilliant insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspirer of new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The characteristic pieces of the \"Macchiette Medioevali\" clearly take Schumann's \"Album for the Young\" as a model. They reflect the late Romantic idealization of courtly life in the Middle Ages. In \"The Astrologer,\" certain mystical atmospheres and a polyphonic writing of clear Bachian ancestry emerge, elements so beloved by the mature Busoni. In 1910, Busoni's largest and most important piano composition saw the light: the \"Fantasia contrappuntistica,\" which is based on J. S. Bach's \"Art of Fugue.\" Busoni's Variations on the Chorale \"Allein Gott in der Höh sei Ehr\" (\"All Glory to God in the Highest\") precede the three fugues of Contrapunctus XIX, unfinished by Bach and slightly modified by Busoni. This is completed with an extended fugue, followed by a mystical and visionary intermezzo, then three variations in which the main themes reappear. A cadenza with large arpeggios prepares the fourth fugue, in which all themes are simultaneously combined in a massive six-part polyphony. Over an ostinato bass, the opening chorale reappears transfigured, then a stretta leads to the finale, of extraordinary grandeur and power. Busoni's intention is not to create a transcription, a form for which, to his regret, he was more famous than as a composer, but rather to present the original work rethought and mediated by his great musical personality. Intended for the concert hall, however, are the \"Zehn Variationen über ein Präludium von Chopin\" (Ten Variations on a Chopin Prelude). The model is clearly Brahmsian. The second version, presented here, corrects certain youthful excesses and gains in expressive depth, without neglecting the concert performance.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cfooter class=\"page-footer\"\u003e\u003c\/footer\u003e\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898277720411,"sku":"DSD9513","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898277753179,"sku":"HD9513","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9513sleeve.jpg?v=1777540760"},{"product_id":"tra-mistero-e-occulto-busoni-mariotti","title":"BETWEEN MYSTICISM AND THE OCCULT | Busoni, Mariotti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eBETWEEN MYSTICAL AND OCCULT\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina seconda\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 259 (1912)\u003c\/p\u003e\n\u003cp\u003e2\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina in diem nativitatis Christi MCMXVII\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 274 (1917)\u003c\/p\u003e\n\u003cp\u003e3\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eToccata. Preludio - Fantasia - Ciaccona\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 287 (1920) Quasi Presto, arditamente - Sostenuto, quasi Adagio - Allegro risoluto\u003c\/p\u003e\n\u003cp\u003e4\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBerceuse\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(Andantino calmo) Kind. 252 (1909)\u003c\/p\u003e\n\u003cp\u003e5\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia contrappuntistica\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 256 (1910)\u003c\/p\u003e\n\u003ch5\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/k75fnylllzrrc?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/h5\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\" id=\"content-wrapper\"\u003e\n\u003csection itemtype=\"https:\/\/schema.org\/Product\" itemscope=\"\" id=\"main\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv class=\"tabs\" id=\"product-tab\"\u003e\n\u003cdiv id=\"tab-content\" class=\"tab-content\"\u003e\n\u003cdiv role=\"tabpanel\" id=\"description\" class=\"tab-pane fade in active\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eBusoni's revolutionary 1906 essay, “Entwurf einer neuen Ästhetik der Tonkunst” (Sketch of a New Aesthetic of Music), which caused such a stir in the European musical world of those years, bears in its dedication the name of the poet Rainer Maria Rilke, \"musician of words,\" from whose works the composer had drawn the title and character of the Elegies. Romanticism had already signaled a return to ancient mystical ideas, and with the turn of the century, a period rife with decadent expressions and tragic premonitions, mysticism found enthusiastic proponents like M. Maeterlinck, P. Claudel, and, in the German-speaking world, R. M. Rilke. Sartre wrote: \"...the West was suffocating... Since it had no visible enemies, the bourgeoisie began to feed on the fear of its own shadow... there was talk of spiritualism and ectoplasms, the Beyond seemed so near...\". The arcane disciplines began to exert a considerable influence on Busoni during those years. He attended seances and became interested in occultism, spiritualism, and clairvoyance. He formulated theories about the faculty of seeing ghosts: man would possess the ability to see - for very brief instants - into the future or the past. \"...It would be nothing more than a momentary and uncertain glance cast - into the present or the past. Everything proceeds in the form of a circle, and so it must be for clairvoyance. It is a phenomenon analogous to what occurs in a radiotelegraphic station, which transmits to the same distance in all directions...\". In a similar way, he explained his convictions regarding extrasensory perceptions: we can therefore reasonably deduce that Busoni believed in the existence of entities and forces not rationally or empirically explicable, which, however, it would be possible to know and perhaps master, in his case also through musical experience. During his American tours, Busoni came into contact with the theosophical doctrines developed in the United States at the end of the century. These advocated a path of ethical and spiritual evolution which, through the progressive purification of motives and works, leads to the realization of an ideal of mystical perfection rich in all the attributes of wisdom, serenity, beauty, and power: one can easily trace the aesthetic foundations of the \"New Classicism\" (Junge Klassizität), in other words, the return to simple, clear, and beautiful compositional schemes that find full expression in the Sonatina in diem nativitatis Christi MCMXVII. In May 1912, Busoni purchased Umberto Boccioni's large futurist painting \"The City Rises\" in Berlin. The composition of the Sonatina seconda, his most avant-garde piece which contains a quantity of mystical and occult elements, dates back to May-July of the same year. As stated in his Berlin diary, \"at night, Boccioni in the music room, illuminated by the magical light penetrating from the square below, takes on a strange, magical appearance.\" It is not difficult to imagine the composer sitting in the dimly lit room, surrounded by Buddha statues, rare books, and \"The City Rises\" projecting its multicolored reflections. Just as the occult transcends spatial and temporal distinctions, through which the individual orientates himself in the real world, so Busoni often cancels bar lines, accidentals, and, especially, tonality: this realizes the manifestation in musical terms of what unfolds in the dark zones of his personality. This sensitivity to occultism and mysticism enormously enriched Busoni's language through the creation of new concepts and means of expression, and it was an essential ferment of his last creative phase, whose ultimate culmination is reached, in his piano production, by the Fantasia Contrappuntistica. Here are enclosed all the characterizing elements of Busoni's aesthetic thought. The ingenious union of modern musical language with the counterpoint of J. S. Bach's Art of Fugue generates a kind of mystical \"experience\" through which the inner movements of the soul gain predominance over rational thought, will, and consciousness. In a complex of daring harmonies and pure polyphony, the journey proceeds, elevating itself between moments of exaltation and mystery, visionary impulses or pensive episodes, deep meditations, and vague reflections. When music resonates, the human being is capable of acquiring a transcendental capacity that leads him to a new plane of consciousness, where the temporal world is submerged by the resonant universe. The musical work of art exists before and after it has finished resonating; it is simultaneously within and outside of time. It is this \"Omnipresence of Time,\" also present in the Berceuse, that synthesizes the ideal of mystical ecstasy idealized by Busoni: \"...we humans conceive of time as a line that starts from a point behind us and proceeds forward, while it must expand in all directions, like everything in the cosmic system...\". Only with the quietness of spirit, however, can we penetrate the deepest mysteries and aspire to a higher and fuller life, which is proper to human consciousness. \"Only he who looks forward has a joyful gaze,\" says Faust. The esoteric meaning of these principles was precisely expressed for the last time in the unfinished opera Dr. Faust, whose themes and strong colors impregnate the Toccata. The composer's high and lived spirituality made him well aware of embarking on a new path, full of consequences for 20th-century music. \"Still unexhausted are the symbols \/ that the omnipotent genius comprehends within himself; \/ the work will produce a school \/ that for decades will mature fruitfully. \/ May everyone draw their own teaching from it \/ so that Spirit is added to other Spirit: \/ this is the meaning of continuous ascent \/ the dance will then close its circle.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898383954267,"sku":"DSD9607","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898383987035,"sku":"HD9607","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9607sleeve.jpg?v=1777541323"},{"product_id":"gran-gala-2024-fone-records","title":"GRAN GALÀ 2024 | Fonè Records","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eGRAN GALÀ 2024 - Fonè Records\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003e1.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eI WILL WAIT FOR YOU M. Legrand \u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e8’54”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 243 CINERAMA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Hamilton sax, P. Birro piano, A. Zunino bass, A. Kramer drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e 2. \u003cstrong\u003eFOUR STORIES R. Gatto\u003c\/strong\u003e  6’25”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 245 FOUR STORIES\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e A. Presti tromba, M. Bortone contrabbasso, A. Lanzoni piano, R. Gatto Batteria\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  3. \u003cstrong\u003eLINE FOR LYONS J. Mulligan\u003c\/strong\u003e  5’08”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 242 WE CONCENTRATE ON YOU\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e G. Mirabassi clarinetto, F. Sigurtà tromba, E. Pietropaoli contrabbasso, M. Di Leonardo batteria\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  4. \u003cstrong\u003eARIA DI TE F. Mesolella - P. Servillo - M.Tronco - P. D’Argenzio\u003c\/strong\u003e  8’24”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 266 MESOLELLA \u0026amp; SPINETTI live\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e F. Mesolella chitarra, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  5. \u003cstrong\u003eTHE PINK PANTHER H. Mancini\u003c\/strong\u003e  4’08”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 266 MESOLELLA \u0026amp; SPINETTI live\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e F. Mesolella chitarra, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  6. \u003cstrong\u003eNATURE BOY Ahbez\u003c\/strong\u003e  6’06”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 256 MUSICA NUDA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e P. Magoni voce, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  7. \u003cstrong\u003eAIN'T NO SUNSHINE B. Withers\u003c\/strong\u003e  3’10”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 257 LITTLE WONDER\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e P. Magoni voce, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  8. \u003cstrong\u003eFELTRINELLI F. Cusumano\u003c\/strong\u003e 2’51”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 258 LEGGERA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e P. Magoni voce, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  9. \u003cstrong\u003eDISAMISTADE F. De Andrè - I. Fossati\u003c\/strong\u003e  4’24”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 259 VERSO SUD\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e P. Magoni voce, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e10. \u003cstrong\u003eSAMBA E AMORE C. Buarque - S. Bardotti \u003c\/strong\u003e 4’08”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e da SACD 259 VERSO SUD\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e P. Magoni voce, F. Spinetti contrabbasso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/ay2l298gqp5oc?zone=IT-it\" width=\"378\" height=\"100\"\u003e \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIl Master per SACD è stato ottenuto  trasferendo il master analogico originale realizzato con l'AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2 tracce da 1\/2\" 30ips modificato da David Manley su Pyramix utilizzando convertitori dCS A\/D e D\/A.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIl mastering per il SACD è stato realizzato da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare .\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci ha realizzato questo album come riferimento SACD per il Gran Galà dell’Alta Fedeltà.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIl Gran Galà dell’Alta Fedeltà è un evento da lui creato circa 20 anni fa per promuovere al meglio l’Alta Fedeltà e la musica. Contiene brani che fanno parte dei nuovi SACD dell'autunno 2024.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eQuesti brani sono eseguiti da Musica Nuda (Petra Magoni voce e Ferruccio Spinetti contrabbasso, Roberto Gatto Quartet (Alessandro Presti tromba, Matteo Bortone contrabbasso, Alessandro Lanzoni pianoforte, Roberto Gatto batteria), Leaderless Quartet (Gabriele Mirabassi clarinetto, Fulvio Sigurtà tromba, Enzo Pietropaoli contrabbasso, Marcello Di Leonardo batteria) e Scott Hamilton in quartetto insieme a Paolo Birro pianoforte, Aldo Zunino basso, Alfred Kramer batteria.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eUn SACD di riferimento da non perdere.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":53042972721499,"sku":"SACD267","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":53493184430427,"sku":"DSD267","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":53493184463195,"sku":"HD267","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/gran-gala-2024-high-resolution-audio.jpg?v=1779301159"},{"product_id":"gran-gala-2025-fone-records-copia","title":"GRAN GALÀ 2025 | Fonè Records","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eGRAN GALÀ 2025 - Fonè Records\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  1. \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eCONFIRMATION\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e 5’49”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  C. Parker\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  da SACD 238 POINCIANA\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e\u003c\/span\u003e  S. Hamilton sax, P. Birro piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  A. Zunino double bass, A. Kramer drums\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  \u003c\/span\u003e2. \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eCHISCIOTTE\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 3’29”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  G. Mirabassi\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  da SACD 227 GIRASOLI\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  G. Mirabassi clarinet, N. Di Modugno classic guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  P. Balducci acoustic bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  3. \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eADIOS NONINO\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 8’40”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  A. Piazzolla\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  da SACD 236 REVIRADO\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  F. Arlia piano, C. Chiacchiaretta bandoneon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  \u003cspan lang=\"en-us\"\u003eG. Zonno violin, E. Corapi double bass\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  S. Russo electric guitar\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  4. \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eASTRIGNEME\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e 4’02”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  \u003c\/span\u003eG. Della Volpe - P.P. Polcari\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  da SACD 225 ASTRIGNEME\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  Raiz voice, G. de Trizio classic guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  \u003cspan lang=\"es\"\u003eA. La Volpe oud Portuguese guitar electric guitar\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"es\"\u003e  F. De Palma cajon darbuka frame drums\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"es\"\u003e  \u003c\/span\u003e5. \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eMORIRE PER DELLE IDEE\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 6’35”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  F. De Andrè - G. Brassens\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  da SACD 241 GIROTONDO De Andrè\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  P. Magoni voice, F. Spinetti double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  \u003cspan lang=\"en-us\"\u003e6. \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eTHIS IS ALL I ASK\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e 7’09”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  G. Jenkins \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  da SACD 175 BALLADS FOR AUDIOPHILES S. Hamilton sax, P. Birro piano\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  A. Zunino double bass, A. Kramer drums\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  7. \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eANTHROPOLOGY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"en-us\"\u003e 5’23”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  C. Parker\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  da SACD 194 SHADES OF CHET\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  E. Rava trumpet and flugelhorn left channel\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  P. Fresu trumpet and flugelhorn right cannel\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  \u003c\/span\u003eS. Bollani piano, E. Pietropaoli double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  \u003cspan lang=\"en-us\"\u003eR. Gatto drums\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  8. \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eHUNGARIAN DANCE\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e 3’50”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  \u003c\/span\u003eJ. Brahms arr. Fritz Kreisler\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  da SACD 2045 IL CREMONESE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  S. Accardo violin, L. Manzini piano\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  9. \u003c\/span\u003e\u003cb\u003e\u003cspan\u003eGHEMMA’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 5’06”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  S. Benni - F. Mesolella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  da SACD 201 MADAMA TERRA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  S. Benni voice, F. Mesolella piano guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e10. \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eOVER THE RAINBOW\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e 6’18” H. Arlen\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003e  \u003c\/span\u003eda SACD 216 REFLECTIONS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e  J. Mazzariello piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan lang=\"en-us\"\u003eTotal Time 56'21\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/t0kr7hr8scwhc?zone=IT-it\" width=\"378\" height=\"100\"\u003e \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-us\"\u003e\u003cspan\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-us\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eIl Master per SACD è stato ottenuto trasferendo il master analogico originale realizzato con l'AMPEX ATR 102 (Electronic Tube Ampex Model 351-1965) 2 tracce da 1\/2\" 30ips modificato da David Manley su Pyramix utilizzando convertitori dCS A\/D e D\/A. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eIl mastering per il SACD è stato realizzato da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci ha realizzato questo album in SACD come riferimento qualitativo per tutti gli audiofili.\u003cbr\u003eQuesto SACD lo ha chiamato \"Gran Galà Audiophile sampler\" dedicato agli eventi che organizza da quasi 20 anni in Italia, eventi nati per promuovere al meglio questo straordinario mondo.\u003cbr\u003eLa presentazione avverrà l'8 e 9 marzo in occasione del Gran Galà dell'Alta Fedeltà di Roma.\u003cbr\u003eContiene una raccolta di brani che spaziano dalla musica classica al jazz, fino al pop.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":53042989138267,"sku":"SACD269","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":53493190885723,"sku":"DSD269","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":53493190918491,"sku":"HD269","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/gran-gala-2025-sacd.jpg?v=1779301901"},{"product_id":"donna-fone-records","title":"DONNA | Fonè Records","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eDONNA - Fonè Records\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e1. DONNA\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 4’04”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Giovannini - P. Garinei - G. Kramer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eda SACD 009 SOMETHING TO REMEMBER\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eA.M. Castelli voice, G. Coscia accordion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eR. Sellani piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e2. CARMELA\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 4’36”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Bruni - S. Palomba\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 225 ASTRIGNEME\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRaiz voice, G. de Trizio classic guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"es\"\u003eA. La Volpe oud Portuguese guitar electric guitar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"es\"\u003eF. De Palma cajon darbuka frame drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"en-us\"\u003e3. THE GIRL FROM IPANEMA\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"en-us\"\u003e 3’55”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eN. Gimbel - C. Jobim\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eda SACD 010 JUST FOR A WHILE\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eG. Cole voice, M. Pezzenati percussion\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e4. LA GITANA\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 3’16”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. Kreisler\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 003 I VIOLINI DI CREMONA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Accardo violin, L. Manzini piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e5. BRAVA\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 3’39”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eB. Canfora\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 158 DOS IN SIGHT\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eE. Pietropaoli double bass, E. Bianchini voice\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"en-us\"\u003e6. CHLOE\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"en-us\"\u003e 8’24”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eC.N. Daniels - G. Kahn\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 238 POINCIANA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Hamilton sax, P. Birro piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eA. Zunino double bass, A. Kramer drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"en-us\"\u003e7. LADIES LULLABY\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"en-us\"\u003e 5’50”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eJ. Green\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eda SACD 146 BEAN AND THE BOYS\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Hamilton sax\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eP. Pirro piano, A. Kramer drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e8. HO VISTO NINA VOLARE\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 3’34”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. De Andrè - I. Fossati\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 215 ALL OF US\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eP. Magoni voice, I. Fantin archlute\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e9. HO VISTO NINA VOLARE\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 3’41”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. De Andrè - I. Fossati\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 241 GIROTONDO De André\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eP. Magoni voice, F. Spinetti double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e10. LA PRINCIPESSA\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 6’07”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. Mesolella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 136 LIVE AD ALCATRAZ\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. Mesolella guitar loop pedal\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e11. GAIA \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e7’02”\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. Mesolella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 266 MESOLELLA \u0026amp; SPINETTI live\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eF. Mesolella guitar loop pedal F. Spinetti double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e12. ROXANNE\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 3’18”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSting\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 256 MUSICA NUDA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eP. Magoni voice, F. Spinetti double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e13. MARI’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 5’00”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Maiore\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 147 ALMA\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eP. Alfonsi guitar, S. Maiore double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e14. DONNA\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e 5’17”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Giovannini - P. Garinei - G. Kramer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eda SACD 194 SHADES OF CHET\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eE. Rava trumpet and flugelhorn left channel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eP. Fresu trumpet and flugelhorn right channel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eS. Bollani piano, E. Pietropaoli double bass\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eR. Gatto drums\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eTotal Time 67'43”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"100\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/mbrt41s3j5lab?zone=IT-it\"\u003e \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003c\/span\u003e\u003cspan lang=\"en-us\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIl Master per SACD è stato ottenuto  trasferendo il master analogico originale realizzato con l'AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2 tracce da 1\/2\" 30ips modificato da David Manley su Pyramix utilizzando convertitori dCS A\/D e D\/A. Il mastering per il SACD è stato realizzato da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eUna raccolta di brani provenienti dal catalogo fonè, che rendono omaggio alla figura femminile. Ogni traccia, che spazia dalla musica classica al jazz, fino al pop, è stata selezionata per raccontare, celebrare e rendere omaggio all’universo delle donne, con la loro forza, bellezza e complessità.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan\u003e“Questo album nasce come un tributo musicale alla forza, alla sensibilità\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003ci\u003e\u003c\/i\u003e\u003ci\u003e\u003cspan\u003ee alla resilienza femminile. Un viaggio tra suoni ed emozioni dedicato a chi sa trasformare ogni sfida in crescita e ogni silenzio in melodia.”\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eGiulio Cesare Ricci\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":53044939161947,"sku":"SACD270","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD","offer_id":53476231348571,"sku":"DSD270","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":53476231381339,"sku":"HD270","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/donna-sacd.jpg?v=1779358855"},{"product_id":"fone-40-years-anniversary-fone-records","title":"FONE 40 YEARS ANNIVERSARY | Fonè Records","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eFONE 40 YEARS ANNIVERSARY - Fonè Records\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: LP, SACD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDisc 1 \/  Side A\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAntonio Vivaldi\u003c\/strong\u003e\u003cbr\u003eConcerto in sol min. per due violoncelli, archi e continuo RV 531\u003cbr\u003eAllegro  3’16” \u003cbr\u003efrom\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eI Musici - Concerts and Follies in Pergolesi's time\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohann Sebastian Bach\u003c\/strong\u003e\u003cbr\u003eSonata I per violino solo in sol minore BWV 1001\u003cbr\u003eAdagio   4’14” \u003cbr\u003efrom\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSalvatore Accardo violin - J.S.Bach Sonate e Partite\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohann Gottfried Walther\u003cbr\u003e\u003c\/strong\u003e\"Concerto del Sig. 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Si tratta di una raccolta dei brani più significativi che Giulio Cesare Ricci ha selezionato dal vastissimo catalogo fonè, brani classici, jazz e pop. Da evidenziare tra gli artisti Salvatore Accardo, Ruggero Raimondi, Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia direttore Myung-whun Chung, Scott Hamilton, Musica Nuda, Fausto Mesolella, Enzo Pietropaoli e .......\u003c\/p\u003e\n\u003cp\u003eIl master è stato realizzato con l'AMPEX ATR 102 (Electronic Tube Ampex Model 351 -1965) 2 tracce da 1\/2 inch 30ips modificato da David Manley. La masterizzazione per il Vinile è stata realizzata da Giulio Cesare Ricci utilizzando il suo sistema interamente analogico e valvolare.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa masterizzazione per il SACD è stata realizzata da Giulio Cesare Ricci utilizzando il suo sistema interamente analogico e valvolare.                                 \u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"2LP 45 rpm","offer_id":53045065744731,"sku":"LP180","price":80.0,"currency_code":"EUR","in_stock":true},{"title":"SACD","offer_id":53045046968667,"sku":"SACD249","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"DSD 64","offer_id":53493198815579,"sku":"DSD249","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":53493198848347,"sku":"HD249","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/fone-40-years-anniversary-1983-2023-sacd.jpg?v=1779360066"},{"product_id":"non-solo-tango-live-arlia-chiacchieretta","title":"NON SOLO TANGO LIVE | Arlia, Chiacchieretta","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNON SOLO TANGO LIVE\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eFilippo Arlia \u0026amp; Cesare Chiacchieretta\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Il Postino Luis Bacalov 5’27”\u003cbr\u003e2. Vuelvo al sur Astor Piazzolla 4’12”\u003cbr\u003e3. Por una cabeza Carlos Gardel 4’46”\u003cbr\u003e4. Milonga del angel Astor Piazzolla 5’47”\u003cbr\u003e5. La muerte del angel Astor Piazzolla 3’15”\u003cbr\u003e6. Ave Maria Astor Piazzolla 5’30”\u003cbr\u003e7. Adios nonino Astor Piazzolla 8’26”\u003cbr\u003e8. Milonga sin palabras Astor Piazzolla 5’49”\u003cbr\u003e9. Escualo Astor Piazzolla 3’45”\u003cbr\u003e10. Oblivion Astor Piazzolla 4’28”\u003cbr\u003e11. Libertango Astor Piazzolla 6’06”\u003cbr\u003e12. The Pink Panther Henry Mancini 3’36”\u003c\/p\u003e\n\u003cp\u003eTotal Time 59’07”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/wkbp97ka76cva?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eFilippo Arlia\u003c\/strong\u003e piano\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eCesare Chiacchiaretta\u003c\/strong\u003e bandoneon\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNo editing. All the tracks on this record are heard as they were performed.\u003cbr\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference \/ Super Audio CD \/ DSD \/ Stereo\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded at Auditorium Museo Piaggio\u003cbr\u003ePontedera 13 Aprile 2019\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48, M49\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Andrea Manno\u003cbr\u003eLa masterizzazione per il SuperAudioCD è stata effettuata da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003c\/p\u003e\n\u003cp\u003eQuesto album fa parte delle registrazioni che Giulio Cesare Ricci ha effettuato in occasione dei concerti della 1° edizione del fonè Music Festival Piaggio 2019 organizzati da lui stesso.\u003cbr\u003eI concerti si sono svolti presso l'Auditorium Piaggio situato all'interno del famoso Museo di Pontedera, il luogo dove la Piaggio è nata e dove ancora oggi continua a produrre.\u003cbr\u003eAll'interno del Museo ogni anno il pubblico di tutto il mondo può ammirare la produzione Piaggio realizzata negli anni, tutti i modelli di Vespe e Ape, tutte le moto Aprilia, Gilera e Moto Guzzi che hanno vinto nel tempo premi nazionali e internazionali.\u003cbr\u003ePer ogni registrazione Giulio Cesare Ricci ha portato tutta la sua attrezzatura sia analogica (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracce, 1\/2 pollice, 30ips modificata da David Manley) che digitale (Pyramix Recorder, dCS A\/D e D \/A convertitori).\u003cbr\u003ePer quanto riguarda i microfoni ha utilizzato la sua collezione originale di Neumann U47, U48, M49 oltre al preamplificatore microfonico e ai cavi Signoricci.\u003cbr\u003eQuesto perché Giulio Cesare Ricci ha sempre realizzato due Master per ogni registrazione: master analogico per il Vinile e master digitale DSD per il SuperAudioCD.\u003cbr\u003eAnche per questa registrazione ha utilizzato una tecnica di registrazione ad \"effetto di campo\", suono naturale, senza l'uso di equalizzatori, senza sistemi di espansione e compressione del suono..... tutto questo per riportare l'ascoltatore a rivivere nel suo impianto hifi casalingo, il effetto live come se fosse presente al concerto.\u003cbr\u003eDopo il successo dell'album Duettango, Filippo Arlia al piano e Cesare Chiacchiaretta al bandoneon tornano nel catalogo fonè con un album registrato dal vivo in occasione del fonè Music Festival Piaggio 2019.\u003cbr\u003eL'album Non Solo Tango live si apre con un pezzo molto emozionante, è la colonna sonora del film Il Postino scritto dal compianto Luis Bacalov.\u003cbr\u003eOltre a brani che fanno parte del grande repertorio di Astor Piazzolla non presenti nel precedente album Duettango in particolare Vuelvo al sur, Ave Maria, Milonga sin palabras e Libertango, da sottolineare anche la bellezza di Por una Cabeza di Carlos Gardel.\u003cbr\u003eL'album si chiude con il bis del concerto con La pantera rosa di Henry Mancini che entra nella raccolta Pink Panther che Giulio Cesare Ricci sta registrando in questi anni.\u003cbr\u003eUn album di grande emozione, grande tecnica, magistrale il duo piano-bandoneon.\u003cbr\u003eGrande realismo, grande dinamica, grande musica... un album da non perdere!!\u003cbr\u003eOgni ascoltatore, chiudendo gli occhi, potrà rivivere l'emozione del live come se fosse presente alla mostra di questo grande artista.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53145760104795,"sku":"DSD214","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2 kHz · 24bit","offer_id":53145760137563,"sku":"HD214","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/coverartsacd214.jpg?v=1779997207"},{"product_id":"reflections-mazzariello","title":"REFLECTIONS | Mazzariello","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eNON SOLO TANGO LIVE\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eFilippo Arlia \u0026amp; Cesare Chiacchieretta\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Il Postino Luis Bacalov 5’27”\u003cbr\u003e2. Vuelvo al sur Astor Piazzolla 4’12”\u003cbr\u003e3. Por una cabeza Carlos Gardel 4’46”\u003cbr\u003e4. Milonga del angel Astor Piazzolla 5’47”\u003cbr\u003e5. La muerte del angel Astor Piazzolla 3’15”\u003cbr\u003e6. Ave Maria Astor Piazzolla 5’30”\u003cbr\u003e7. Adios nonino Astor Piazzolla 8’26”\u003cbr\u003e8. Milonga sin palabras Astor Piazzolla 5’49”\u003cbr\u003e9. Escualo Astor Piazzolla 3’45”\u003cbr\u003e10. Oblivion Astor Piazzolla 4’28”\u003cbr\u003e11. Libertango Astor Piazzolla 6’06”\u003cbr\u003e12. 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All the tracks on this record are heard as they were performed.\u003cbr\u003eTube Processed Digital Master \/ natural sound recording \/ HiFi Reference \/ Super Audio CD \/ DSD \/ Stereo\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded at Auditorium Museo Piaggio\u003cbr\u003ePontedera 13 Aprile 2019\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48, M49\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Andrea Manno\u003cbr\u003eLa masterizzazione per il SuperAudioCD è stata effettuata da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003c\/p\u003e\n\u003cp\u003eQuesto album fa parte delle registrazioni che Giulio Cesare Ricci ha effettuato in occasione dei concerti della 1° edizione del fonè Music Festival Piaggio 2019 organizzati da lui stesso.\u003cbr\u003eI concerti si sono svolti presso l'Auditorium Piaggio situato all'interno del famoso Museo di Pontedera, il luogo dove la Piaggio è nata e dove ancora oggi continua a produrre.\u003cbr\u003eAll'interno del Museo ogni anno il pubblico di tutto il mondo può ammirare la produzione Piaggio realizzata negli anni, tutti i modelli di Vespe e Ape, tutte le moto Aprilia, Gilera e Moto Guzzi che hanno vinto nel tempo premi nazionali e internazionali.\u003cbr\u003ePer ogni registrazione Giulio Cesare Ricci ha portato tutta la sua attrezzatura sia analogica (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracce, 1\/2 pollice, 30ips modificata da David Manley) che digitale (Pyramix Recorder, dCS A\/D e D \/A convertitori).\u003cbr\u003ePer quanto riguarda i microfoni ha utilizzato la sua collezione originale di Neumann U47, U48, M49 oltre al preamplificatore microfonico e ai cavi Signoricci.\u003cbr\u003eQuesto perché Giulio Cesare Ricci ha sempre realizzato due Master per ogni registrazione: master analogico per il Vinile e master digitale DSD per il SuperAudioCD.\u003cbr\u003eAnche per questa registrazione ha utilizzato una tecnica di registrazione ad \"effetto di campo\", suono naturale, senza l'uso di equalizzatori, senza sistemi di espansione e compressione del suono..... tutto questo per riportare l'ascoltatore a rivivere nel suo impianto hifi casalingo, il effetto live come se fosse presente al concerto.\u003cbr\u003eDopo il successo dell'album Duettango, Filippo Arlia al piano e Cesare Chiacchiaretta al bandoneon tornano nel catalogo fonè con un album registrato dal vivo in occasione del fonè Music Festival Piaggio 2019.\u003cbr\u003eL'album Non Solo Tango live si apre con un pezzo molto emozionante, è la colonna sonora del film Il Postino scritto dal compianto Luis Bacalov.\u003cbr\u003eOltre a brani che fanno parte del grande repertorio di Astor Piazzolla non presenti nel precedente album Duettango in particolare Vuelvo al sur, Ave Maria, Milonga sin palabras e Libertango, da sottolineare anche la bellezza di Por una Cabeza di Carlos Gardel.\u003cbr\u003eL'album si chiude con il bis del concerto con La pantera rosa di Henry Mancini che entra nella raccolta Pink Panther che Giulio Cesare Ricci sta registrando in questi anni.\u003cbr\u003eUn album di grande emozione, grande tecnica, magistrale il duo piano-bandoneon.\u003cbr\u003eGrande realismo, grande dinamica, grande musica... un album da non perdere!!\u003cbr\u003eOgni ascoltatore, chiudendo gli occhi, potrà rivivere l'emozione del live come se fosse presente alla mostra di questo grande artista.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53145859227995,"sku":"DSD216","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz · 24bit","offer_id":53145859260763,"sku":"HD216","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd216.jpg?v=1779998654"},{"product_id":"edvard-grieg-sonatas-for-violin-and-piano-no-1-2-3-accardo-redaelli","title":"EDVARD GRIEG: Sonatas for Violin and Piano No. 1, 2, 3 | Accardo, Redaelli","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eEDVARD GRIEG\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eSonatas for Violin and Piano No. 1, 2, 3\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonata No.1 in F major Op. 8\u003cbr\u003e1. 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Allegro animato 8’29”\u003c\/p\u003e\n\u003cp\u003eTotal Time 1h19’48”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/vht2760lu1qka?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSalvatore Accardo \u003c\/strong\u003eviolin\u003cbr\u003e\u003cstrong\u003eStefania Redaelli\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003epiano\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/  natural sound recording \/  HiFi Reference\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded in “Sala dell’Ermellino” Casa della Musica, Milano\u003cbr\u003eRecording date February 12th - 13th, 2020\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Paola Liberato\u003c\/p\u003e\n\u003cp\u003eThe Mastering for SuperAudioCD was made by Giulio Cesare Ricci using\u003cbr\u003eSignoricci’s analog and valve system.\u003c\/p\u003e\n\u003cp\u003eThanks to Micheli Associati for having granted the “Sala dell’Ermellino” Casa della\u003cbr\u003eMusica, Milan for the recording of this album.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eContinua la collaborazione discografica con il grande violinista Salvatore Accardo iniziata 29 anni fa. In questo progetto il Maestro Accardo suona con la pianista Stefania Redaelli. Questo album contiene le Sonatas n. 1 Op. 8, n. 2 Op. 13 e n. 3 Op. 45 del compositore Edvard Grieg dove il violino è protagonista. Grieg scrisse di ritenere le Sonate per Violino tra le sue opere migliori, ognuna delle quali rappresentava una fase del suo sviluppo “la prima un poco ingegnua, ma ricca di idee, la seconda nordica e la terza con un orizzonte più vasto”\u003c\/p\u003e\n\u003cp\u003eHo registrato questo album nella Sala dell'Ermellino - 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CAPRICE BASQUE Op.24 7’42”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e13. NAVARRA Op.33 Duo pour deux Violons * 7’21”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/masjnulqlewsb?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNatural Sound recordings \/ HiFi Reference \/ Super Audio CD \/ DSD \/ Stereoù\u003c\/p\u003e\n\u003cp\u003eSalvatore Accardo Violin\u003cbr\u003eLaura Gorna Violin*\u003cbr\u003eLaura Manzini Piano\u003c\/p\u003e\n\u003cp\u003eUn ritratto di Pablo de Sarasate, celebre virtuoso del violino della seconda metà dell'Ottocento: una raccolta monografica della sua musica per violino e pianoforte. 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Elena Borghi hanno reso questa casa della musica un unicum proprio dove Leonardo Da Vinci teneva bottega, vicino al Duomo, ove il grande Maestro fiammingo Josquin Desprez ammaestrava i giovani coristi.\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded in “Sala dell’Ermellino” Casa della Musica, Milano\u003cbr\u003eRecording date 1-2 November 2019\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Andrea Micheli\u003cbr\u003ePhoto pag.8 by Paola Liberato\u003cbr\u003eLa masterizzazione per il SuperAudioCD è stata effettuata da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003cbr\u003eSi ringrazia la Micheli Associati per aver concesso la “Sala dell’Ermellino” Casa della Musica.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53165656179035,"sku":"DSD218","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2 kHz · 24bit","offer_id":53165656211803,"sku":"HD218","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/COVER_sacd_218.jpg?v=1780066619"},{"product_id":"claude-debussy-maurice-ravel-music-for-violin-piano-accardo-manzini","title":"CLAUDE DEBUSSY \u0026 MAURICE RAVEL: Music for Violin \u0026 Piano | Accardo, Manzini","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eCLAUDE DEBUSSY \u0026amp; MAURICE RAVEL\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eMusic for Violin \u0026amp; Piano\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eC. 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Cartoline da una Spagna esotica, dalle melodie incantevoli e dal fascino francese\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eRegistrazione effettuata a Milano nella Sala dell’Ermellino realizzata di recente accanto alla ’Vigna di Leonardo’, a due passi dal Cenacolo Vinciano.\u003cbr\u003eL’acustica perfetta, curata da Andrea Farnetani, e il progetto dell’Arch. Elena Borghi hanno reso questa casa della musica un unicum proprio dove Leonardo Da Vinci teneva bottega, vicino al Duomo, ove il grande Maestro fiammingo Josquin Desprez ammaestrava i giovani coristi.\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded in “Sala dell’Ermellino” Casa della Musica, Milano\u003cbr\u003eRecording date 1-2 November 2019\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Andrea Micheli\u003cbr\u003ePhoto pag.8 by Paola Liberato\u003cbr\u003eLa masterizzazione per il SuperAudioCD è stata effettuata da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003cbr\u003eSi ringrazia la Micheli Associati per aver concesso la “Sala dell’Ermellino” Casa della Musica.\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53165925073243,"sku":"DSD219","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2 kHz · 24bit","offer_id":53165925106011,"sku":"HD219","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/COVERsacd_219.jpg?v=1780071063"},{"product_id":"sergej-prokofiev-accardo-bellocchio","title":"SERGEJ PROKOFIEV | Accardo, Bellocchio, Gorna","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eSERGEJ PROKOFIEV\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eSalvatore Accardo, Laura Gorna, Maria Grazia Bellocchio\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSalvatore Accardo Violin\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eMaria Grazia Bellocchio Piano\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSonata No.1 in F minor for Violin and Piano Op. 80\u003c\/strong\u003e\u003cbr\u003e1. 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Op.115 per Violino Solo alle 5 Melodies per Violino e Piano etc... .\u003c\/p\u003e\n\u003cp\u003eHo registrato questo album nella Sala dell'Ermellino - Casa della Musica a Milano nel febbraio 2020. Per questa prestigiosa incisione ho utilizzato i leggendari microfoni a valvole originali Neumann U47, U48. Si utilizzano coppie di microfoni a valvole Neumann degli anni 1947 e 1949 (U47, U48 e M49) dalla timbrica naturalissima usando tecniche bimicrofoniche ad effetto di campo.\u003c\/p\u003e\n\u003cp\u003eQuesti microfoni hanno una storia importante: sono infatti i microfoni originali utilizzati per registrare tra gli altri, le esecuzioni dei Beatles nello Studio di Abbey Road e dalla RCA per le registrazioni “Living Stereo”. Il suono che riesco a catturare con questi leggendari microfoni è perfettamente in linea con il mio gusto sonoro. Nessun altro microfono ha una timbrica così vera e la capicità di incidere tutte le nuances di suono e tutta la ricchezza degli armonici.\u003c\/p\u003e\n\u003cp\u003eL'unicità di questi microfoni è legata alla loro capacità di effettuare una perfetta \"fotografia sonora\" e di mettere la musica perfettamente collocata nello spazio sonoro scelto per la registrazione. Per il SACD ho utilizzato il formato DSD, su Pyramix utilizzando i convertitori dCS A\/D e D\/A DSD. Dal 1998 ad oggi incido in DSD 64 x 44.1  bit con workstations Signoricci ex Philips che montano programmi Pyramix, convertitori dCS analogico\/digitale 904 e convertitori dCS digitale\/analogico 954, tutto questo per realizzare al meglio i SACD fonè.\u003c\/p\u003e\n\u003cp\u003eUn sistema allo stato dell'arte senza alcuna manipolazione del suono, né equalizzazione, né riverbero, né compressione ed espansione... ma suono naturale con timbrica vera per esaltare al meglio l'acustica della Sala dell'Ermellino. fonè propone da quasi 40 anni delle incisioni realizzate all’insegna della ricercatezza tecnologica e miranti al recupero delle atmosfere musicali originali. La masterizzazione del sacd è stata da me realizzata utilizzando il sistema Signoricci, interamente analogico e valvolare.\u003c\/p\u003e\n\u003cp\u003eIl risultato di questa registrazione è fantastico. Con questa registrazione ho voluto far vivere all'ascoltatore un'esperienza unica. 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Polcari 3’44”\u003cbr\u003e7.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eNun te scurda’\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eG. Della Volpe - S. Facchielli - P.P. Polcari 5’05”\u003cbr\u003e8.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eIndifferentemente\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eS. Mazzocco - U. Martucci 3’13”\u003cbr\u003e9.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEra de maggio\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eJ. Carreras - M.P. Costa 3’43”\u003cbr\u003e10.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCarmela\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eS. Bruni - S. Palomba 4’35”\u003cbr\u003e11.\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFa ammore cu’mme\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eS.Facchielli - G. 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Piazzolla 3’06”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTotal Time 55’15”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/mf8s6cprl5oab?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRaiz voice\u003cbr\u003eGiuseppe De Trizio classic guitar\u003cbr\u003eAdolfo La Volpe oud, Portuguese guitar, electric guitar\u003cbr\u003eFrancesco De Palma cajon, darbuka, frame drums\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/  natural sound recording \/  HiFi Reference\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded at the Auditorium Museo Piaggio Pontedera July 17th, 2021\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48, M49\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Andrea Manno \u0026amp; Paola Liberato\u003c\/p\u003e\n\u003cp\u003eThe Mastering for SuperAudioCD was made by Giulio Cesare Ricci using Signoricci’s analog and valve system.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eQuesto album fa parte delle registrazioni che ho realizzato in occasione dei concerti del fonè Music Festival Piaggio edizione 2021. Ho realizzato questa registrazione presso l'Auditorium Piaggio situato all'interno del famoso Museo di Pontedera, luogo dove Piaggio è nata e dove ancora oggi continua a produrre. All'interno del Museo ogni anno il pubblico di tutto il mondo può ammirare la produzione Piaggio realizzata negli anni, tutti i modelli della Vespa e dell'Ape, tutte le moto Aprilia, Gilera e Moto Guzzi che nel tempo hanno vinto premi nazionali e internazionali.\u003c\/p\u003e\n\u003cp\u003ePer questa registrazione ho portato tutta la mia attrezzatura sia analogica (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracce, 1\/2 pollice, 30ips modificata da David Manley) che digitale (Pyramix Recorder, dCS A\/D e D\/A convertitori). Per quanto riguarda i microfoni ho utilizzato la mia collezione originale di Neumann U47, U48, M49 oltre al preamplificatore microfonico e ai cavi Signoricci. Si utilizzano coppie di microfoni a valvole Neumann degli anni 1947 e 1949 (U47, U48 e M49) dalla timbrica naturalissima usando tecniche bimicrofoniche ad effetto di campo.\u003c\/p\u003e\n\u003cp\u003eQuesti microfoni hanno una storia importante: sono infatti i microfoni originali utilizzati per registrare tra gli altri, le esecuzioni dei Beatles nello Studio di Abbey Road e dalla RCA per le registrazioni “Living Stereo”. Il suono che riesco a catturare con questi leggendari microfoni è perfettamente in linea con il mio gusto sonoro. Nessun altro microfono ha una timbrica così vera e la capicità di incidere tutte le nuances di suono e tutta la ricchezza degli armonici. L'unicità di questi microfoni è legata alla loro capacità di effettuare una perfetta \"fotografia sonora\" e di mettere la musica perfettamente collocata nello spazio sonoro scelto per la registrazione. Questo perché per ogni registrazione ho sempre realizzato due Master: un master analogico per i vinili e un master digitale DSD per i SuperAudioCD.\u003c\/p\u003e\n\u003cp\u003ePer il SACD ho utilizzato il formato DSD, su Pyramix utilizzando i convertitori dCS A\/D e D\/A DSD. Dal 1998 ad oggi incido in DSD 64 x 44.1  bit con workstations Signoricci ex Philips che montano programmi Pyramix, convertitori dCS analogico\/digitale 904 e convertitori dCS digitale\/analogico 954, tutto questo per realizzare al meglio i SACD fonè. Il mastering del SACD è stato da me realizzato utilizzando il sistema Signoricci interamente analogico e valvolare. Un sistema allo \"stato dell'arte\" senza manipolazione del suono, equalizzazione, riverbero, compressione ed espansione... ma suono naturale e timbrica vero per esaltare al meglio l'acustica dell'Auditorium del Museo Piaggio.\u003c\/p\u003e\n\u003cp\u003efonè propone da quasi 40 anni delle incisioni realizzate all’insegna della ricercatezza tecnologica e miranti al recupero delle atmosfere musicali originali. Anche per questa registrazione ho utilizzato una tecnica di registrazione a \"effetto di campo\"... tutto questo per far riviver all'ascoltatore nel suo impianto hifi di casa, l'effetto live come se fosse stato presente all'esibizione. In questo album i protagonisti sono Raiz voice \u0026amp; Radicanto (chitarra classica G. De Trizio, chitarra portoghese A. La Volpe, chitarra elettrica, oud - percussioni F. De Palma).\u003c\/p\u003e\n\u003cp\u003eIn versione completamente acustica, accompagnato dai suoi storici compagni viaggio i Radicanto, il cantante napoletano attraversa in un recital di canzoni d'autore tutto il Mediterraneo dimostrando che, in musica come in cultura, esistono preziosi ponti tra i vari popoli che si affacciano sul Mare Nostrum che sono un patrimonio da preservare. Il gruppo propone una musica immaginaria mediterranea, meticcia, che nasce dall'incontro di Raiz (storica voce degli Almamegretta) con i Radicanto consolidato negli anni con la realizzazione di tour e lavori discografici, finalisti del Premio Tenco e nella Top Ten dell World Music Chart of Europe.\u003c\/p\u003e\n\u003cp\u003ePotente e raffinato al tempo stesso, l'universo sonoro della voce del cantautore partenopeo che si intreccia ai ritmi cadenziati, agli echi delle corde, delle pelli e dei papiri, dei Radicanto per scivolare come rivoli di un racconto che sembre non avere mai fine. Cantighe sefardite, salmi, canzone napoletana, tango, ritmi nordafricani e mediorientali: lingue e linguaggi che si inseguono, il Mediterraneo come una realtà panregionale, senza frontiere. Tra i brani suonati troviamo Astrigneme (G.Della Volpe, P.P.Polcari) che dà il titolo all'album, Cammina Cammina (P.Daniele) Era de maggio (J.Carreras, M.P.Costa) Jerusalem (Koné Seydou)\u003c\/p\u003e\n\u003cp\u003eUn album da non perdere!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003egiulio cesare ricci\u003c\/em\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53334996975963,"sku":"DSD225","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2 kHz · 24bit","offer_id":53334997008731,"sku":"HD225","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_225.jpg?v=1780849049"},{"product_id":"revirado-piazzolla-duettango-x-5","title":"REVIRADO | Piazzolla, Duettango x 5","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eREVIRADO\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eAstor Piazzolla, Duettango x 5\u003c\/h1\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\n\u003cstrong\u003eMichelangelo 70\u003c\/strong\u003e  3'01\"   \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eConcierto para Quinteto\u003c\/strong\u003e  8'35\" \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDecarisimo\u003c\/strong\u003e  3'01\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCamorra III\u003c\/strong\u003e  10'56\"                                      \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBandoneon dalla Suite Troileana\u003c\/strong\u003e  4'42\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAdios Nonino\u003c\/strong\u003e  8'43\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRevirado\u003c\/strong\u003e  3'41\"  \u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eResurreccion del Angel \u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e6'26\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEscualo \u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e3'22\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVerano Porteno \u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e6'43\" \u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eTotal Time 59’10”\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/fofmty0oxf5kc?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFilippo Arlia piano\u003cbr\u003eCesare Chiacchiaretta bandoneon\u003cbr\u003eGiovanni Zonno violin\u003cbr\u003eEnrico Corapi double-bass\u003cbr\u003eSalvatore Russo electric guitar\u003c\/p\u003e\n\u003cp\u003eTube Processed Digital Master \/  natural sound recording \/  HiFi Reference\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded at the Auditorium Museo Piaggio\u003cbr\u003ePontedera May 14th-15th, 2021\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48, M49\u003cbr\u003eMike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003ePhotos by Andrea Manno\u003c\/p\u003e\n\u003cp\u003eLa masterizzazione per il Hi-Res-Audio è stata effettuata da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eQuesto album fa parte delle registrazioni che ho realizzato in occasione dei concerti del fonè Music Festival Piaggio edizione 2021\u003cbr\u003eHo realizzato questa registrazione presso l'Auditorium Piaggio situato all'interno del famoso Museo di Pontedera, luogo dove Piaggio è nata e dove ancora oggi continua a produrre.\u003cbr\u003eAll'interno del Museo ogni anno il pubblico di tutto il mondo può ammirare la produzione Piaggio realizzata negli anni, tutti i modelli della Vespa e dell'Ape, tutte le moto Aprilia, Gilera e Moto Guzzi che nel tempo hanno vinto premi nazionali e internazionali.\u003cbr\u003ePer questa registrazione ho portato tutta la mia attrezzatura sia analogica (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracce, 1\/2 pollice, 30ips modificata da David Manley) che digitale (Pyramix Recorder, dCS A\/D e D\/A convertitori).\u003cbr\u003ePer quanto riguarda i microfoni ho utilizzato la mia collezione originale di Neumann U47, U48, M49 oltre al preamplificatore microfonico e ai cavi Signoricci.\u003cbr\u003eSi utilizzano coppie di microfoni a valvole Neumann degli anni 1947 e 1949 (U47, U48 e M49) dalla timbrica naturalissima usando tecniche bimicrofoniche ad effetto di campo.\u003cbr\u003eQuesti microfoni hanno una storia importante: sono infatti i microfoni originali utilizzati per registrare tra gli altri, le esecuzioni dei Beatles nello Studio di Abbey Road e dalla RCA per le registrazioni “Living Stereo”.\u003cbr\u003eIl suono che riesco a catturare con questi leggendari microfoni è perfettamente in linea con il mio gusto sonoro.\u003cbr\u003eNessun altro microfono ha una timbrica così vera e la capacità di incidere tutte le nuances di suono e tutta la ricchezza degli armonici.\u003cbr\u003eL'unicità di questi microfoni è legata alla loro capacità di effettuare una perfetta \"fotografia sonora\" e di mettere la musica perfettamente collocata nello spazio sonoro scelto per la registrazione.\u003cbr\u003eQuesto perché per ogni registrazione ho sempre realizzato due Master: un master analogico per i vinili e un master digitale DSD per i SuperAudioCD.\u003cbr\u003ePer il SACD ho utilizzato il formato DSD, su Pyramix utilizzando i convertitori dCS A\/D e D\/A DSD.\u003cbr\u003eDal 1998 ad oggi incido in DSD 64 x 44.1  bit con workstations Signoricci ex Philips che montano programmi Pyramix, convertitori dCS analogico\/digitale 904 e convertitori dCS digitale\/analogico 954, tutto questo per realizzare al meglio i SACD fonè.\u003cbr\u003eIl mastering del SACD è stato da me realizzato utilizzando il sistema Signoricci interamente analogico e valvolare.\u003cbr\u003eUn sistema allo \"stato dell'arte\" senza manipolazione del suono, equalizzazione, riverbero, compressione ed espansione... ma suono naturale e timbrica vero per esaltare al meglio l'acustica dell'Auditorium del Museo Piaggio.\u003cbr\u003efonè propone da quasi 40 anni delle incisioni realizzate all’insegna della ricercatezza tecnologica e miranti al recupero delle atmosfere musicali originali. Anche per questa registrazione ho utilizzato una tecnica di registrazione a \"effetto di campo\"... tutto questo per far riviver all'ascoltatore nel suo impianto hifi di casa, l'effetto live come se fosse stato presente all'esibizione.\u003cbr\u003eProtagonisti di questo album sono Filippo Arlia piano, Cesare Chiacchiaretta bandoneon, Giovanni Zonno violino, Enrico Corapi contrabbasso, Salvatore Russo chitarra elettrica che interpretano tutte musiche del grande Astor Piazzolla.Tra i brani suonati troviamo Michelangelo 70, Adios Nonino, Revirado etc.....\u003c\/p\u003e\n\u003cp\u003eUn album da non perdere!\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiulio Cesare Ricci\u003c\/em\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53335009624411,"sku":"DSD236","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz · 24bit","offer_id":53335009657179,"sku":"HD236","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_236-1.jpg?v=1780850227"},{"product_id":"poinciana-hamilton-birro-zunino-kramer","title":"POINCIANA | Hamilton, Birro, Zunino, Kramer","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003ePOINCIANA\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003e\u003cem\u003eHamilton, Birro, Zunino, Kramer\u003c\/em\u003e\u003c\/h1\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1 Birk's Works 04:52\u003cbr\u003e2 By Myself 05:56\u003cbr\u003e3 You Taught My Heart To Sing 05:31\u003cbr\u003e4 Chloe 08:24\u003cbr\u003e5 Confirmation 05:50\u003cbr\u003e6 I Remember Clifford 05:51\u003cbr\u003e7 Poinciana 05:57\u003cbr\u003e8 Put On A Happy Face 06:24\u003cbr\u003e9 Eu E A Briza 06:27\u003c\/p\u003e\n\u003cp\u003eTotal Runtime 55:12\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/lxtpc2blte9lc?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eScott Hamilton sax\u003cbr\u003ePaolo Birro piano\u003cbr\u003eAldo Zunino bass\u003cbr\u003eAlfred Kramer drums\u003c\/p\u003e\n\u003cp\u003enatural sound recording | HiFi Reference\u003c\/p\u003e\n\u003cp\u003eConceived, recorded and produced by Giulio Cesare Ricci\u003cbr\u003eRecorded at the Auditorium Museo Piaggio\u003cbr\u003ePontedera May 31st - June 1st, 2021\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003eValve microphones: Neumann U47, U48, M49\u003cbr\u003eMike preamplifiers, cables (line, digital, microphone, supply): Signoricci\u003cbr\u003eRecorded in stereo DSD on the Pyramix Recorder using dCS A\/D and D\/A converters\u003cbr\u003ePhotos by Andrea Manno\u003c\/p\u003e\n\u003cp\u003eThe Mastering for Hi-Res-Audio file was made by Giulio Cesare Ricci using Signoriccis analog and valve system.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eQuesto album fa parte delle registrazioni che ho realizzato in occasione dei concerti dell'edizione del fonè Music Festival Piaggio 2021. Ho realizzato questa incisione presso l'Auditorium Piaggio situato all'interno del famosissimo Museo locato in Pontedera, luogo dove è nata la Piaggio e dove ancora oggi continua a produrre. All'interno del Museo ogni anno il pubblico di tutto il mondo può ammirare la produzione Piaggio fatta negli anni, tutti i modelli delle Vespe e degli Ape, tutte le moto Aprilia, Gilera e Moto Guzzi vincitrici nel tempo di premi nazionali e internazionali.\u003c\/p\u003e\n\u003cp\u003ePer questa incisione ho portato tutta la mia attrezzatura sia analogica (Ampex ATR 102 Electronic Tube Ampex Model 351-1965 2 tracks, 1\/2 inch, 30ips modificato da David Manley) che digitale (Pyramix Recorder, dCS A\/D and D\/A converters). Per quanto riguarda i microfoni ho utilizzato la mia collezione originale di Neumann U47, U48, M49 oltre ai mike pre-amplifier e cavi Signoricci. Si utilizzano coppie di microfoni a valvole Neumann degli anni 1947 e 1949 (U47, U48 e M49) dalla timbrica naturalissima usando tecniche bimicrofoniche ad effetto di campo.\u003c\/p\u003e\n\u003cp\u003eQuesti microfoni hanno una storia importante: sono infatti i microfoni originali utilizzati per registrare tra gli altri, le esecuzioni dei Beatles nello Studio di Abbey Road e dalla RCA per le registrazioni “Living Stereo”. Il suono che riesco a catturare con questi leggendari microfoni è perfettamente in linea con il mio gusto sonoro. Nessun altro microfono ha una timbrica così vera e la capicità di incidere tutte le nuances di suono e tutta la ricchezza degli armonici.\u003c\/p\u003e\n\u003cp\u003eL'unicità di questi microfoni è legata alla loro capacità di effettuare una perfetta \"fotografia sonora\" e di mettere la musica perfettamente collocata nello spazio sonoro scelto per la registrazione. Questo perchè da sempre per ogni incisione realizzo due Master: un master analogico per i Vinili e un master digitale DSD per i SuperAudioCD. Per il SACD ho utilizzato il formato DSD, su Pyramix utilizzando i convertitori dCS A\/D e D\/A DSD. Dal 1998 ad oggi incido in DSD 64 x 44.1  bit con workstations Signoricci ex Philips che montano programmi Pyramix, convertitori dCS analogico\/digitale 904 e convertitori dCS digitale\/analogico 954, tutto questo per realizzare al meglio i SACD fonè.\u003c\/p\u003e\n\u003cp\u003eLa masterizzazione del SACD è stata da me realizzata utilizzando il sistema Signoricci, interamente analogico e valvolare. Un sistema allo stato dell'arte senza alcuna manipolazione del suono, né equalizzazione, né riverbero, né compressione ed espansione... ma suono naturale con timbrica vera per esaltare al meglio l'acustica dell'Auditorium del Museo Piaggio. fonè propone da quasi 40 anni delle incisioni realizzate all’insegna della ricercatezza tecnologica e miranti al recupero delle atmosfere musicali originali.\u003c\/p\u003e\n\u003cp\u003eAnche per questa incisione ho utilizzato una tecnica di registrazione \"ad effetto campo\"...tutto questo per far rivivere all'ascoltatore nel proprio impianto hifi domestico l'effetto live come se fosse  presente alla performance. In questo album i protagonisti sono Scott Hamilton, uno dei più grandi mainstream al mondo, al saxophone in compagnia di tre grandi jazzisti Paolo Birro, Aldo Zunino e Alfred Kramer suoi abituali partners quando si esibisce in Italia. Tra i brani suonati da evidenziare Poinciana (Nat Simon) che da il titolo all'album, Birk's Works (Dizzy Gillespie) e Put On A Happy Face (Charles Strouse).\u003c\/p\u003e\n\u003cp\u003eUn album da non perdere\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003egiulio cesare ricci\u003c\/em\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53335036002651,"sku":"DSD238","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2 kHz · 24bit","offer_id":53335036035419,"sku":"HD238","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/sleeve_sacd_238-1.jpg?v=1780852397"},{"product_id":"musica-nuda-girotondo-de-andre-magoni-spinetti","title":"MUSICA NUDA - GIROTONDO DE ANDRÉ| Magoni, Spinetti","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMUSICA NUDA - GIROTONDO DE ANDRÉ\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003ePetra Magoni, Ferruccio Spinetti\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Ho visto Nina volare 03:40\u003cbr\u003e2. Disamistade 04:57\u003cbr\u003e3. Canzone dell'amore perduto 03:11\u003cbr\u003e4. Il gorilla 03:26\u003cbr\u003e5. Morire per delle idee 06:46\u003cbr\u003e6. Primo Intermezzo \u0026amp; Secondo Intermezzo 03:01\u003cbr\u003e7. La nova gelosia 03:50\u003cbr\u003e8. Girotondo 03:08\u003cbr\u003e9. Preghiera in gennaio \/ Inverno 09:00\u003c\/p\u003e\n\u003cp\u003eTotal Runtime 40:59\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/gi2b94fsuq94b?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePetra Magoni Vioce\u003cbr\u003eFerruccio Spinetti double bass, guitar\u003cbr\u003eArtistic Production Petra Magoni e Ferruccio Spinetti\u003cbr\u003eExecutive Production Antonella Bubba\u003cbr\u003eRecorder and Mixer by Alessio Lotti at the Museo Piaggio in Pontedera 10th september 2021\u003cbr\u003eRecording supervisor Giulio Cesare Ricci\u003cbr\u003ePhoto De Andrè by Reinhold Kohl – Nuvole Production Srl\u003cbr\u003ePhoto Musica Nuda by Angelo Trani\u003c\/p\u003e\n\u003cp\u003eWith sincere gratitude to Dori Ghezzi\u003c\/p\u003e\n\u003cp\u003eThe Mastering for SuperAudioCD was made by Giulio Cesare Ricci using Signoricci’s analog and valve system\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eQuesto live fa parte delle registrazioni che ho realizzato in occasione dei concerti dell'edizione del fonè Music Festival Piaggio 2021. Con questo album continua la straordinaria collaborazione artistica tra Musica Nuda (Petra Magoni voce, Ferruccio Spinetti contrabbasso) e fonè Records che si è concretizzata in questi anni con la pubblicazione di numerosi Vinili molto apprezzati in tutto il mondo. Musica Nuda in questo SACD presenta brani del grande cantautore italiano De André, un'interpretazione da non perdere!\u003c\/p\u003e\n\u003cp\u003eHo realizzato questa incisione presso il Museo Piaggio situato in Pontedera, luogo dove è nata la Piaggio e dove ancora oggi continua a produrre. All'interno del Museo ogni anno il pubblico di tutto il mondo può ammirare la produzione Piaggio fatta negli anni, tutti i modelli delle Vespe e degli Ape, tutte le moto Aprilia, Gilera e Moto Guzzi vincitrici nel tempo di premi nazionali e internazionali. Per questa incisione ho portato tutta la mia attrezzatura sia analogica (Ampex ATR 102 Electronic Tube Ampex Model 351-1965 2 tracks, 1\/2 inch, 30ips modificato da David Manley) che digitale (Pyramix Recorder, dCS A\/D and D\/A converters).\u003c\/p\u003e\n\u003cp\u003eQuesto perchè da sempre per ogni incisione realizzo due Master: un master analogico per i Vinili e un master digitale DSD per i SuperAudioCD. Per il SACD ho utilizzato il formato DSD, su Pyramix utilizzando i convertitori dCS A\/D e D\/A DSD. Dal 1998 ad oggi incido in DSD 64 x 44.1  bit con workstations Signoricci ex Philips che montano programmi Pyramix, convertitori dCS analogico\/digitale 904 e convertitori dCS digitale\/analogico 954, tutto questo per realizzare al meglio i SACD fonè.\u003c\/p\u003e\n\u003cp\u003eLa masterizzazione del SACD è stata da me realizzata utilizzando il sistema Signoricci, interamente analogico e valvolare. Un sistema allo \"stato dell'arte\" senza manipolazione del suono, equalizzazione, riverbero, compressione ed espansione... ma suono naturale e timbrica vera per esaltare al meglio l'acustica dell'Auditorium del Museo Piaggio. fonè propone da quasi 40 anni delle incisioni realizzate all’insegna della ricercatezza tecnologica e miranti al recupero delle atmosfere musicali originali.\u003c\/p\u003e\n\u003cp\u003eUn album da non perdere\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003egiulio cesare ricci\u003c\/em\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53335049535835,"sku":"DSD241","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":53335049568603,"sku":"HD241","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cover_sacd_241.jpg?v=1780853419"},{"product_id":"o-porto-di-livorno-traditore-andrey","title":"O Porto di Livorno Traditore | Andrey","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eO PORTO DI LIVORNO TRADITORE\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003e\u003cem\u003eChe cosa cantavano le donne livornesi\u003c\/em\u003e\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAlta è la notte…                                           03.43  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eStornelli                                                        12.04\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSvégliati                                                        02.45\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eStoria di Beppino e di Poldina                  04.04\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003ePinottola                                                       03.47\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eFagioli ‘olle ‘otenne                                     02.52  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eÈ un gran peccato…                                    01.57\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eNoi siamo livornesi                                     01.26\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAddio, Livorno, addio paterne mura       01.48\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSignor furier maggior…                              01.40\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eÈ finita la cuccagna…                                  01.56  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eAl mio palazzo…                                          04.30\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eCamelò…                                                      04.31 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/w78d943wzzhho?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIdeato, registrato e prodotto da Giulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eRegistrato a Livorno, Teatro Goldoni\u003c\/p\u003e\n\u003cp\u003eData di registrazione ottobre 1984\u003c\/p\u003e\n\u003cp\u003eLo spettacolo “O porto dl Livorno traditore…” andò in scena per la prima volta alTeatro Solvay di Rosignano, la sera del 30 aprile 1975, col patrocinio dell’Assessoratoalla Cultura del Comune di Livorno, retto allora daVittorio Marchi. La regia era Beppe Ranucci; la scenografia diEmidio Bosco. Nella “foto ricordo” scattata pochi giorni dopo al Teatro “4 Mori” di Livorno (da sinistra a destra e dall’alto in basso): Sandro Signorini, Elbano Scotto, Sandro Andreini, Mario Casini, Mauro Puccinelli, Aldo Bagnoli, Ugo Benetti. Giorgio Fontanelli, Beppe Ranucci, Tina Andrey, SimonaDel Cittadino, Beppe Danese, AttilioFantolini, Rita Ranucci, Emidio Bosco e lo scenotecnico Messerini. Seminascosto da Sandro Andreini, Ezio Ranucci.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"O PORTO DI LIVORNO TRADITORE...\" ovvero che cosa cantavano le donne livornesi\u003c\/p\u003e\n\u003cp\u003eSintesi dello spettacolo omonimo (1975) di Giorgio Fontanelli con TINA ANDREY, Sandro Andreini, Beppe Danese, Attilio Fantolini.\u003c\/p\u003e\n\u003cp\u003eÈ probabile che sia, nel 1975, lo spettacolo \"O porto di Livorno traditore...\" sia, ora, il disco omonimo nascano da una sfida e una scommessa: magari con gli amici Caterina Bueno e Riccardo Marasco i quali, pur così attenti e rispettosi per tutto ciò che è cultura popolare e pur con rammarico, avevano dovuto saltare a piè pari questa città, in quanto - come dice Beppe Danese, |'indimenticabile Puce dello spettacolo - sospetta di essere o afona o becera senza vie intermedie possibili. E invece, ribatte Puce, anche Livorno canta: la guerra, la fame, la beffa, l'amore..., come ogni altra città. Certo, di là da un comprensibile senso di risarcimento e di riappropriazione, si dovrà anche aggiungere che non si tratta in ogni caso di recuperi straordinari. Per di più, anche questi reperti vanno letti con l'ovvia cautela che già Giovanni Giannini consigliava nella sua raccolta di Canti popolari toscani. E cioè, che \"sbaglierebbe all'ingrosso chi credesse che tutti o anche la maggior parte di essi appartengano alla Toscana soltanto, perché i prodotti della poesia popolare trasmigrano con grande facilità da un luogo all'altro, e spesso lo stesso canto che abbiamo udito risuonare sulla bocca dei nostri cittadini si ripete con poche variazioni in quasi tutte le regioni d'Italia, talora anche di là dalle Alpi...\"Ma, di là da taluni apporti realmente originali, c'è sembrato di rilevare come questi canti, che già nascono condizionati da una base singolarmente urbana e da ceti prevalentemente operai, si caratterizzino per un'oscillazione veramente sismica fra i due poli della estrema tenerezza e d'un realismo feroce, al punto da far pensare incredibile non solo una matrice unica, ma un'unica utenza. Ma se si ipotizza nel canto popolare una dimensione prevalentemente femminile, un dato si aggiungerà complementarmente a chiarire questa contraddizione - certo – peculiare dell’intera città. Se si va ai canti del lavoro, non troviamo qui né il lamento, né la nenia di accompagnamento, né una reazione genericamente definibile politica, sia essa reazionaria o protestataria.\u003c\/p\u003e\n\u003cp\u003eAccanto a TINA ANDREY, personalità notevolissima, unica e irripetibile, sia per mezzi vocaliche per temperamento e serietà professionale nel mondo canoro della città (e non soltanto di questa), SANDRO ANDREINI, figlio di lei, che alterna esperienze \"minori\" di teatro popolare a quelle colte della Compagnia di prosa “Il grattacielo\"; BEPPE DANESE, non dimenticato attore pirandelliano e tuttavia non meno elogiato quale Capitan Drea in Gente di mare di Pegolotti; fino ad ATTILIO FANTOLINI, unico superstite del quartetto dei suonatori dello spettacolo dei 1975, che dalla chitarra sa trarre quanto basta per non far rimpiangere nessuno. Se qualcosa o qualcuno è mancato davvero, questo è stato il pubblico-ingrediente e, più ancora, protagonista esso stesso di questo genere di spettacoli. Ma alla freschezza, al ritmo, alla tensione di una registrazione “dal vivo”, si è preferita quella \"in studio\", certo più asettica ma più fedele come fonte e testimonianza; anche se, in questo caso, non si può parlare di “registrazioni in studio\" in senso classico, in quanto è stato usato il Teatro Goldoni come sede che meglio di ogni altra poteva arricchire la naturalezza di questo particolare repertorio.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e“O PORTO DI LIVORNO TRADITORE…” - TINA ANDREY \u003c\/p\u003e\n\u003cp\u003eQuesta seconda edizione esce nel grato ricordo di Giorgio Fontanelli, Beppe Danese e Attilio Fantolini, di cose popolari cultori attenti e sensibili. \u003c\/p\u003e\n\u003cp\u003eVorrei rinnovare il ringraziamento a Giovanni Lippi, Roberto Foresi e Guglielmo Ciacci per aver creduto e sostenuto questo progetto fin dalla sua nascita. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiulio Cesare Ricci\u003c\/em\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53471170691419,"sku":"DSD8403","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53471170724187,"sku":"HD8403","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8403sleeve.jpg?v=1782811731"},{"product_id":"roberto-michelucci-violino-j-s-bach-michelucci","title":"ROBERTO MICHELUCCI - violino - J. S. BACH | Michelucci","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eROBERTO MICHELUCCI, violino\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eJ. S. BACH\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonata I per violino solo in sol minore BWV 1001\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAdagio                                  (4’35”)\u003c\/p\u003e\n\u003cp\u003eFuga allegro                         (5’39”)\u003c\/p\u003e\n\u003cp\u003eSiciliana                                (3’15”)\u003c\/p\u003e\n\u003cp\u003ePresto                                   (3’42”)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePartita I per violino solo in si minore BWV 1002\u003c\/p\u003e\n\u003cp\u003eAllemanda                           (6’24”)\u003c\/p\u003e\n\u003cp\u003eDouble                                 (2’36”)\u003c\/p\u003e\n\u003cp\u003eCorrente                              (3’25”)\u003c\/p\u003e\n\u003cp\u003eDouble presto                    (3’40”)\u003c\/p\u003e\n\u003cp\u003eSarabande                          (4’03”)\u003c\/p\u003e\n\u003cp\u003eDouble                                (2’05”)\u003c\/p\u003e\n\u003cp\u003eTempo di borea                 (3’44”)\u003c\/p\u003e\n\u003cp\u003eDouble                                (3’11”)\u003c\/p\u003e\n\u003cp\u003eDurata: 47’00”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/v88pkic3igzui?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eQuesto progetto è stato realizzato in località Massa Pisana, comune di Lucca, presso la villa \"Lazzareschi\" nel luglio del 1988. Le registrazioni sono state effettuate da Giulio Cesare Ricci; in tutte le sessioni di registrazione è stata utilizzata una coppia di microfoni Neumann M 49 a valvole (1947), usata in configurazione bi-microfonica ad effetto di campo. Il segnale senza manipolazioni passa contemporaneamente su un master tape Studer, due tracce modello C.37 a valvole e su un PCM digital 1630, due tracce. Sono stati usati cavi microfonici e di segnale linea Van Den Hul.\u003c\/p\u003e\n\u003cp\u003eSi ringrazia Mauro Carnicelli per l'impegno dimostrato in ogni momento, sotto il profilo umano e per la preziosa consulenza tecnico-storica, l'Assessore del Comune di Capannori Giovanni Cordoni e l’ing. Renzo Bessi per la sensibilità dimostrata. Un grazie sentito al notaio Renzo Lazzareschi per aver aperto la propria \"casa\" con sincera ospitalità.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003eRoberto Michelucci è conosciuto ovunque nel mondo. Molte delle sue interpretazioni più prestigiose restano nella intensa produzione discografica con la Philips che gli ha valso i premi più ambiti. Frequente ospite di Festivals Internazionali fu il primo violinista italiano invitato a quello di Salisburgo eseguendo con la Camerata Accademica del Mozarteum i concerti di Mozart K. 219 e K. 211 nell'agosto degli anni 1967 e 1968. Il Matinée del 1967 fu ripetuto la sera dello stesso giorno per la televisione austriaca e successivamente ripreso da tutte le televisioni europee eccetto la televisioneitaliana. Il suo vasto repertorio comprende musiche che vanno dai compositori barocchi ai contemporanei. Presentò per la prima volta in Israele le due \"Tartiniane\"per vl. ed orchestra (sinfonica di Haifa) di L. Dallapiccola, a Ginevra fece conoscere il concerto di F. Busoni con l'orchestra della Suisse Romande, al Maggio Musicale Fiorentino presentò le prime per Firenze dei concerti op. 19 di S. Prokofieff, re min. di R. Schumann, re min. di F. Mendelssohn. Critici del livello di F. Abbiati (Milano), M. Mila (Torino), B. Gavoty (Parigi), E. Moser (Lausanne), E. Muller-Moore (Ginevra), J. Hawranek (Salisburgo), H. Boehm (Gerusalemme), C. Wilson (Edinburgo) hanno avuto per lui parole di elogio e di ammirazione. Fra i Premi della sua discografia Philips ricordiamo: Il \"Grand Prix du Disque\" di Parigi Il \"Premio della Critica Francese\" (Parigi) Il \"Disco d'Oro\" a Tokio. Fa parte sovente di Giurie di concorsi internazionali. Oggi incide per la casa discografica \"Fonè\" con la quale sta terminando l'integrale delle sonate e partite di J.S. Bach.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJohann Sebastian Bach (Eisenach 1685 - Lipsia 1750)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCon questo disco la Fonè-Ricci inizia la pubblicazione delle Sonate e Partite per Violino Solo di J. S. Bach interpretate da Roberto Michelucci. Anche se molta della musica da camera di Bach è andata irrimediabilmente perduta, cosicché non è possibile seguire tutto l'arco evolutivo dello stile bachiano, tuttavia le opere che ci sono rimaste, ci danno l'esatta misura della perfezione che Bach aveva raggiunto in questo genere musicale. Come le composizioni destinate ad altri strumenti solisti, anche le Sonate e le Partite per violino solo pervengono a vertici difficilmente superabili. Alla fine del Seicento la polifonia sul violino era ormai giunta in Germania ad uno stadio di alta perfezione. Stando alle testimonianze dei contemporanei, tra cui Mattheson che era un valido musicista, la maggior parte dei violinisti tedeschi si distingueva ovunque per il carattere polifonico delle loro esecuzioni. Nikolaus Bruhns sedeva all'organo realizzando col pedale i passaggi armonici che otteneva simultaneamente col violino. Un altro apprezzato violinista, Nikolaus Struck, durante il suo soggiorno a Roma avvenuto nel 1686, stupì Corelli eseguendo sul violino doppie corde. Corelli, sorpreso e divertito, avrebbe esclamato: \"Io mi chiamo Arcangelo, voi dovreste chiamarvi Arcidiavolo\". Non c'è da meravigliarsi se Bach, dati questi precedenti, abbia conquistato nelle opere per violino solo quella compiutezza formale che ancora oggi ammiriamo. Bach aveva studiato il violino fin da giovane. Quando lasciò il collegio di Lüneburg era già in grado di farsi apprezzare come violinista nell'orchestra di Weimar. Conoscendo perfettamente la tecnica degli strumenti ad arco, preferì la viola perché, come egli diceva, gli pareva di essere quasi al centro dell'esecuzione e, sentendo tutte le altre parti sopra e sotto la sua, gustava meglio il fascino della polifonia. Le tre Sonatee le tre Partiteper violino solo,BWV 1001 – 1006, ci sono pervenute in un autografo, datato 1720, che è un capolavoro di grafia. Non abbiamo certezza sulla data di composizione. Le Sonate corrispondono nella forma alle sonate da chiesa in quattro movimenti, due lenti alternati da due Presto. I primi due movimenti stanno nel rapporto dialettico di un Preludio e di una Fuga, il terzo è sempre in stile arioso, mentre quello finale è caratterizzato da un vivace stile toccatistico. Strutturalmente le Sonate sono espressione della più pura polifonia, talora a quattro voci. Il Preludio della prima Sonata per violino soloin sol minore è un Adagio contabile che liberamente, con ricche figurazioni, introduce la Fuga basata su un tema di un'unica battuta, contrappuntisticamente elaborato sfruttando le possibilità polifoniche del violino solista. Il terzo movimento Siciliana è costruito su una semplice melodia e si svolge con leggeri risvolti ritmici e con morbide armonie, che conferiscono al brano un carattere pastorale. Molto melodico è anche il Finale, ricco di tensioni, nel quale prevale l’idea di un rapsodico vagare della fantasia. Le tre Partite ricalcano l'antica forma della suite di danze stilizzate e sono sostanzialmente diverse l'una dall'altra. La prima Partita per violino solo in si minore è uno splendido esempio della maestria bachiana nella variazione. Ad ogni movimento segue una variazione dal carattere contrastante chiamata da Bach \"double\". Vario è anche l'impiego dei ritmi all'interno degli otto brani. \u003c\/p\u003e\n\u003cp\u003eAntonio Mazzoni\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53475973693787,"sku":"DSD8801","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53475973726555,"sku":"HD8801","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8801sleeve.jpg?v=1782851528"},{"product_id":"marco-fornaciari-daniele-roi-violino-pianoforte","title":"MARCO FORNACIARI, DANIELE ROI - violino, pianoforte","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMARCO FORNACIARI, DANIELE ROI\u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003e\u003cem\u003eviolino, pianoforte\u003c\/em\u003e\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eANTONIO BAZZINI (1818-1897) \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eTre pezzi in forma di sonata op. 44 per violino e pianoforte\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eAllegro\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eRomanza \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eFinale \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eGIUSEPPE MARTUCCI (1856-1909) \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eSonata op. 22 per violino e pianoforte \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eAllegro passionato\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eAndante con moto\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eAllegro molto \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eOTTORINO RESPIGHI (1897-1936) \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eSonata in si minore per violino e pianoforte \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eModerato \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eAndante espressivo \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003ePassacaglia: allegro moderato ma energico \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eDurata: 53\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e'48''\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/xmtetb92ocz0a?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eLA MAGIA DEI LUOGHI\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eMusica al Teatro Goldoni\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eQuesto progetto è stato realizzato a Livorno presso il Teatro Goldoni nel maggio del 1988. Le registrazioni sono state effettuate da \u003ci\u003eGiulio Cesare Ricci\u003c\/i\u003e; in tutte le sessioni di registrazione è stata utilizzata una coppia di \u003ci\u003emicrofoni Neumann M 49 \u003c\/i\u003ea valvole (1947), usata in configurazione bimicrofonica ad effetto di campo. Il segnale senza manipolazioni passa contemporaneamente su un \u003ci\u003emaster tape Studer\u003c\/i\u003e, due tracce modello C.37 a valvole e su un \u003ci\u003ePCM digitai 1630,\u003c\/i\u003e due tracce. Sono stati usati cavi microfonici e di segnale linea \u003ci\u003eVan Den Hul\u003c\/i\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eMARCO FORNACIARI\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eHa studiato presso l’Istituto “P. Mascagni” a Livorno col M° C. Chiti diplomandosi con distinzione nella classe di “Virtuosità” del M° Corrado Romano presso il Conservatorio di Ginevra. Vincitore del concorso biennale di Vittorio Veneto. Svolge attività solistica in Italia e all’ estero. Attivo anche nel campo della musica da camera, ha collaborato con alcuni complessi italiani fra i più importanti, suonando come solista nelle principali sale e teatri, e registrando per numerose Radiotelevisioni europee ed extraeuropee. Attualmente, è il 1 ° violino solista del Complesso “I Solisti Veneti”. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eDANIELE ROI \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eDaniele Roi ha studiato con Micaela Mingardo Angeleri e successivamente anche con Paul Badura-Skoda, Franco Gulli ed Enrica Cavallo, Huguette Dreyfus. Attivo in Italia ed all’estero, ha registrato per vari enti radio-televisivi collaborando tra l’altro con Riccardo Chailly, Uto Ughi, Bruno Giuranna, Peter Lukas Graf, Kenneth Gilbert e stabilmente con Alain Marion e Jean Pierre Rampai. Svolge anche attività di clavicembalista con diverse orchestre da camera tenendo concerti in Europa, sud America, Australia, ed effettuando incisioni discografiche comprendenti musiche strumentali ed operistiche. Di \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003erilievo, inoltre,\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e la partecipazione all’opera di Vivaldi “Orlando Furioso” al Theatre du Chatelet di Parigi nel 1981 con Marilyn Horne. Daniele Roi è nato a Padova dove è titolare della cattedra di pianoforte principale.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eAntonio Bazzini \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eAntonio Bazzini nacque a Brescia nel 1818 e morì \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003ea Milano\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e nel 1897. Fu violinista ammirato anche da Paganini, Schumann e Mendelssohn e visse lungamente all’estero, soprattutto in Germania e a Parigi. Rientrato in Italia si dedicò alla composizione e si adoperò anche alla rinascita della musica strumentale. Insegnò al Conservatorio di Milano divenendone anche direttore nel 1882 e dove ebbe tra gli allievi Catalani e Puccini. Compose l’opera Turanda, musica sinfonica e sinfonico-corale, cameristica (fra cui 6 quartetti e 1 quintetto), per violino (4 concerti fra cui il Concerto militare, e molti pezzi virtuosistici, fra i quali la famosa “Ridda dei folletti”), liriche e romanze. I tre pezzi in forma di sonata op. 44 per violino e pianoforte che qui vengono presentati, si inseriscono nello scarso panorama delle sonate italiane per violino e pianoforte dell’800 come una delle più interessanti, nonostante sia pressoché ignorata dagli interpreti forse a causa del notevole impegno richiesto al violinista, in contrasto con la tranquilla partecipazione del pianoforte, lasciato dal compositore; già insigne violinista, ad un ruolo non certo paritetico col partner, quasi un sostegno armonico o ritmico. Se nell’ambito della composizione echeggiano momenti che possono avvicinare la memoria ad altri autori, sia operisti italiani che sinfonisti di area mitteleuropea, non si può negare una notevole efficacia ed abilità nel porgere le proprie idee, che ben al di là del \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003emero compito\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e del compositore di maniera, ottiene risultati di grande raffinatezza artistica, vedi il 2° tema del 1° tempo, e la dolcissima Romanza, grazie ad una notevole ricchezza armonica che mantiene il discorso ad un costante interesse d’ascolto, in contrasto con le notevoli impennate virtuosistiche, in virtù delle quali, il 3° tempo soprattutto ci riporta con la fantasia ad un tempo perduto in cui il violinista che, come si è visto, era compositore oltre che virtuoso ed impegnato didatta, non disdegnava di accedere con gusto e successo alla categoria dello spirito in cui è sovrano il senso del fantastico e del bizzarro, in cui la fantasia sembra non avere limiti. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eGiuseppe Martucci \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eGiuseppe Martucci nacque a Capua nel 1856 e morì a Napoli nel 1909. Studiò a Napoli e fu insegnante e direttore del Conservatorio. Fu direttore d’orchestra e pianista apprezzato, fra gli altri, da Liszt e Rubinstein e si adoperò per la diffusione in Italia della conoscenza dei sinfonisti tedeschi e di Wagner, tanto che a Bologna diresse per la prima volta Tristano e Isotta. Del resto in tutta la sua opera è evidente l’influsso dei romantici tedeschi e di Wagner in particolare. Tra le sue composizioni meritano di essere ricordate l’oratorio Samuel per soli coro e orchestra (1881), il poemetto romantico per voce e orchestra “La canzone dei ricordi” (1886-87), le due sinfonie in re minore (1895) e in fa maggiore (1904), il concerto in si bemolle minore per pianoforte e orchestra (1885), molte pagine pianistiche tra le quali il Notturno dell’opera 76 e la Novelletta dell’op. 82,  nonché la famosa Trantella dell’op.44, varie composizioni da camera, tra le quali il Quintetto in do per archi e pianoforte. La sua sonata per violino e pianoforte op.22 che qui si ascolta registrata, vede predominante la scrittura pianistica sia per complessità di materiale tematico e ricchezza di scrittura, che per la minuziosa elaborazione che l’autore, che fu, come si è già detto, grande pianista, ha riservato al proprio strumento, lasciando relativamente in secondo piano l’elaborazione della parte violinistica. In questo va ricercato il motivo dell’oblio totale al quale la sonata è stata destinata, non essendo gradito a molti violinisti essere non più prim’attore, ma “solo” un intelligente valorizzatore musicale. Ed è questo un vero peccato perché, ricercando un equilibrio sonoro della partitura, curando gli aspetti esecutivi più materiali per quanto riguarda la sonorità, il fraseggio e lo slancio tematico, sono molti i momenti di autentica ispirazione, prodighi di larghe soddisfazioni per il musicista raffinato.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cb\u003e\u003cspan\u003eOttorino Respighi\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eIl compositore Ottorino Respighi nacque a Bologna nel 1879 e morì a Roma molte pagine pianistiche tra le quali il nel 1936. Già appartenente ad una famiglia di musicisti fu allievo a Bologna di Torchi e Martucc1 e da quest'ultimo gli derivò l’interesse per le forme sinfoniche elaborate dai tedeschi che sino ad allora erano state così poco praticate in Italia.\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eStudiò in Germania ed in Russia ed ebbe contatti a Pietroburgo con Rimskiy Korsakov. Più tardi iniziò il suo insegnamento al Conservatorio di Santa Cecilia in Roma e si dedicò alla composizione dei poemi sinfonici che più di tutti gli procurarono la fama: Le fontane di Roma, (1916), I pini di Roma (1924), Vetrate di chiesa (1926), Trittico botticelliano (1927), Feste Romane (1928).Oltre a queste composizioni ve ne sono altre importanti degne di nota in \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003ecui Respighi\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e profuse la sua grande esperienza di studioso di musiche antiche tradotte però in uno stile di tradizione più chiaramente italiana: Concerto gregoriano per violino e orchestra (1921), Concerto in modo misolidio per pianoforte e orchestra (1924), la suite “Gli uccelli” per piccola orchestra (1927), Antiche arie e danze per liuto, tre suites per orchestra d’archi (1917-31). Nel periodo successivo, cioè dal 1922 al 1934, Respighi ritornò al teatro musicale e compose Belfagor (1922). \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eLa campana\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e sommersa (1927), Maria Egiziaca (1932), La fiamma (1934) e L’incompiuta Lucrezia. Poi ancora ricordiamo 7 balletti fra\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003ecui la Boutique fantasque su musiche di Rossini (1919), Belkis, regina di Saba (1932), Gli uccelli (1933), Passacaglia su musica di Bach (1948), e varie altre liriche e musiche vocali, Impressioni brasiliane (1927), una sonata per violino e pianoforte (1917) presentata in questo disco, 2 quartetti ed altre composizioni. A proposito della sua Sonata in si minore, non si sa se Respighi abbia avuto modo di sentirla classificare tra i grandi capolavori del repertorio sonatistico del ‘900, ma gli illustrissimi \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003eprecedenti discografici\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"MsoHyperlink\"\u003e\u003cspan\u003e fanno presumere un eccezionale interesse sin dall’apparizione del pezzo. La sovrabbondanza di idee, colori e risorse musicali e strumentali permetterebbero una strumentazione per grande orchestra, tale è la ricchezza della partitura. In questo grande impegno richiesto ai due interpreti è da ricercare la scarsa frequenza con la quale viene inserita nei programmi da concerto.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53476035756379,"sku":"DSD8802","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53476035789147,"sku":"HD8802","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8802sleeveokBelieve.jpg?v=1782851984"},{"product_id":"w-a-mozart-f-j-haydn-magaloff-lonquich-orizio-orchestra-da-camera-del-festival-internazionale-di-brescia-e-bergamo","title":"W. A. MOZART, F. J. HAYDN - MAGALOFF, LONQUICH, ORIZIO, Orchestra da Camera del Festival Internazionale di Brescia e Bergamo","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eW. A. MOZART, F. J. HAYDN \u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNIKITA MAGALOFF, ALEXANDER LONQUICH\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWOLFGANG AMADEUS MOZART (1756 -1791) \u003c\/p\u003e\n\u003cp\u003eConcerto in mi bemolle maggiore per due pianoforti e orchestra K 365 \u003c\/p\u003e\n\u003cp\u003eAllegro (10’)\u003c\/p\u003e\n\u003cp\u003eAndante (7’)\u003c\/p\u003e\n\u003cp\u003eRondò. Allegro (7’)\u003c\/p\u003e\n\u003cp\u003eConcerto in la maggiore per pianoforte e orchestra K 488 \u003c\/p\u003e\n\u003cp\u003eAllegro (8’) \u003c\/p\u003e\n\u003cp\u003eAndante (6’)\u003c\/p\u003e\n\u003cp\u003ePresto (4’)\u003c\/p\u003e\n\u003cp\u003ePianista Alexander Lonquich \u003c\/p\u003e\n\u003cp\u003eFRANZ JOSEPH HA YDN (1732 -1809)\u003c\/p\u003e\n\u003cp\u003eConcerto in re maggiore per pianoforte orchestra Hob. XVIII n.11\u003c\/p\u003e\n\u003cp\u003eVivace (8’)\u003c\/p\u003e\n\u003cp\u003eUn poco adagio (7’)\u003c\/p\u003e\n\u003cp\u003eRondò all’ungherese Allegro assai (8’)\u003c\/p\u003e\n\u003cp\u003ePianista Nikita Magaloff\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/kff76xwaoyvfb?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecording data\u003c\/p\u003e\n\u003cp\u003eRecorded at“Sala Verdi” del Conservatorio di Milano\u003c\/p\u003e\n\u003cp\u003eRecording date Feb. 21th 1988 “Serate musicali di Milano”\u003c\/p\u003e\n\u003cp\u003eRecording supervisor Giulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eSound engineer Alessandro Orizio\u003c\/p\u003e\n\u003cp\u003eAudio designer engineer Bê Yamamura\u003c\/p\u003e\n\u003cp\u003eTube microphone Numann U-47, Neumann U-49\u003c\/p\u003e\n\u003cp\u003eMixing console Bê Yamamura4.o\u003c\/p\u003e\n\u003cp\u003eAnalogue tape recorder Studer J37 two tracks\u003c\/p\u003e\n\u003cp\u003eDigital tape recorder Sony PCM\u003c\/p\u003e\n\u003cp\u003eCables Van Den Hul\u003c\/p\u003e\n\u003cp\u003eGeneral producer Giulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eText Anna Bergonzelli\u003c\/p\u003e\n\u003cp\u003eORCHESTRA DA CAMERA DEL FESTIVAL DI BRESCIA E BERGAMO \u003c\/p\u003e\n\u003cp\u003eNata nel 1963 con il nome di “Gasparo da Salò”, per iniziativa di Agostino Orizio e con la collaborazione della signora Esterina Comini Bozzi, della contessa Maria Bettoni Cazzago, del M° Ferruccio Francescani e di altri amici, è divenuta, nel 1964, il complesso da camera ufficiale del Festival Pianistico Internazionale “Arturo Benedetti Michelangeli”. Successivamente, senza abbandonare il suo compito per così dire, istituzionale, di collaborare con i solisti partecipanti al Festival, l’Orchestra diretta da Agostino Orizio e composta da strumentisti di chiara fama, ha svolto una propria attività in campo internazionale, dedicandosi particolarmente al repertorio cameristico settecentesco e proponendo all' attenzione del pubblico e della critica, accanto alle pagine celebri, musiche inedite o di rarissima esecuzione. È stata ospite, raccogliendo critiche e successi entusiastici, delle sale più prestigiose e più volte sugli schermi della Televisione italiana, rumena, americana, sovietica e polacca. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eNIKITA MAGALOFF \u003c\/p\u003e\n\u003cp\u003eNato a Pietroburgo nel 1912, iniziò gli studi in Finlandia (dove si era rifugiato con la famiglia dopo la rivoluzione del 1917) sotto la guida di Alessandro Siloti, allievo di Liszt e cugino e professore di Rachmaninoff. Trasferitosi in seguito a Parigi, studiò con Isidor Philipp diplomandosi all'età di 17 anni con un Primo Gran Premio. Fu in questa occasione che Maurice Ravel ebbe a dire di lui: «È nato un grande musicista, veramente straordinario». Conseguì i primi successi internazionali con il violinista Joseph Szigeti e, dopo l’interruzione degli anni della guerra, fu uno dei primi artisti a suonare a Parigi e poi, nel 1947, a dare concerti negli Stati Uniti. Innumerevoli gli avvenimenti rilevanti della sua carriera, fra cui si ricordano la prima esecuzione della «VII Sonata» di Prokofiev, l'esecuzione del «Capriccio» di Strawinsky sotto la direzione dell'autore, «tournées» in Europa, USA, Giappone e Israele, frequenti e regolari presenze nelle giurie dei più prestigiosi concerti internazionali (Leeds, Varsavia, Bruxelles, Lucerna), attento com’è al manifestarsi di talenti nuovi fra le giovani generazioni. Ha inciso musiche di Liszt, Tchaikowsky, Weber, Strawinsky, Brahms, Granados e, ultimamente, per la Philips, tutta l'opera di Chopin, autore di cui Nikita Magaloff è tra gli interpreti insuperabili, opera che egli ha anche presentato; in cicli di cinque récitals, in tutte le più importanti città europee.\u003c\/p\u003e\n\u003cp\u003eALEXANDER LONQUICH \u003c\/p\u003e\n\u003cp\u003eNato nel 1960 a Trier (Germania), Alexander Lonquich ha studiato a Colonia con Astrid Schmidt, Neuhaus al Conservatorio e dal 1972 presso l’Accademia di Musica. Fra il 1976 ed il 1980 ha proseguito gli studi ad Essen con Paul Badura Skoda, perfezionandosi in seguito con A. Jasinski a Stoccarda e con Ilonka Deckers a Milano. Dopo alcune lusinghiere affermazioni in Germania, nel 1977 ha vinto il I° premio al Concorso internazionale «A. Casagrande» di Terni, e da allora è ospite ogni anno delle più prestigiose società concertistiche italiane e svolge regolarmente «tournées» all'estero. Si dedica anche con passione alla musica da camera, suonando frequentement~ in Duo con Nikita Magaloff. Paul Badura Skoda, Dino Ascio, Pietro Borgonovo e Michael Faust.\u003c\/p\u003e\n\u003cp\u003eWolfgang Amadeus Mozart\u003c\/p\u003e\n\u003cp\u003ePer la raffinatezza di molti episodi strumentali, l’originalità e la perfezione della forma, l’intensità del suo universo espressivo, questo Concerto in la maggiore, in una pausa alla stesura delle Nozze, appartiene all’aristocrazia dei concerti di Wolfgang Amadeus Mozart e si pone quindi a uno dei vertici della sua creatività. La delicatezza con cui fin dall’esordio si definisce il carattere raccolto del primo movimento, la dolorosa solitudine con cui si dà voce nell’Adagio mirabile, il ritorno alla vita, con un sentore di nostalgia per il gioco, nel finale, caleidoscopico di temi e di ritmi, estraniano questo capolavoro dal genere d’intrattenimento brillante e mondano, per trasferirlo in uno spazio privato, in un ambito ove Mozart si direbbe colloquiare di sé con la musica. Da pochi altri luoghi come da questo Concerto, impariamo che se la sua musica ci appare estranea ai moti dell’abbandono o della confessione romantica, non è per una sorta di pudore dei sentimenti. ma perché in essa vive un’identificazione assoluta fra le parole della soggettività e il linguaggio musicale. Così quella dote ammirevole che è in lui l’assenza di forzature anche quando sfiora luoghi estremi dell’espressione, non è semplice senso della misura, ma epifania di quella identità, che si realizza con una adesione ad altri sconosciuta. Di qui nasce quella ideale autenticità della musica mozartiana che, negandosi a qualsiasi eccesso, trova la via per restituire senz’ombra di meditazione anche le apparizioni più personali e segrete degli stati d’animo. Già anticipavamo come il Concerto prenda avvio sottovoce, in un tono sommesso d’intimità: il tema cantabile proposto all’inizio dagli archi, per una di quelle trasmutazioni strumentali di cui Mozart possiede la chiave, trova subito nei fiati una insospettata, trasparente luminosità. L’esposizione orchestrale si completa con il secondo tema, dal caratteristico rintocco di una nota puntata, e quindi il solista ne ripete fedelmente il percorso, conservandone nella sobrietà di passaggi virtuosistici il tono di delicato lirismo. Al termine dell’esposizione, segnalato -dal tradizionale trillo pianistico, ha inizio uno sviluppo di straordinaria originalità. L’orchestra s’interrompe e propone agli archi un tema completamente nuovo, sognante e meditativo, trattato per imitazione. Per tre volte i legni, intrecciandosi in canone su un’area ripresa di quel motivo, tenteranno il solista, fin quando, finalmente persuasa dai loro nostalgici richiami, il piano unirà la sua voce alla loro. Sembrerebbe un idillio, ma sull’emergere al basso di una nota ribattuta, si apre, breve e improvviso, uno squarcio sulle regioni più oscure della sensibilità mozartiana, sul suo demonismo. Tutto questo se ne va in pochi minuti: ma la musica contrasta il tempo degli orologi ed è capace di concentrare in pochi attimi lunghe durate inferiori. L’Adagio, unica pagina composta da Mozart nella tonalità inconsueta di fa diesis minore, è uno dei luoghi memorabili della sua espressività dolorosa. La melodia iniziale del pianoforte, su di un cullante tempo di siciliana, trae da irregolarità del ritmo e preziosismi armonici, una meravigliosa intensità. É come una meditazione sul commiato, cui l’orchestra replica, scoprendo una sonorità di luce particolarissima, con un non meno struggente canto di consolazione. Il piano, ora si abbandona ai delicati melismi della mano destra, ora indugia su un passo di recitativo, per chiudere, dopo un misterioso intervento degli archi in pizzicato, attardandosi su un'unica nota ripetuta: quasi a voler ritardare l'attimo del distacco. Tipico dell’universo espressivo mozartiano, è che a una pagina così desolata segue un finale esuberante di vitalità e di gioia. Ma sbaglieremo se pensassimo a una volontà di conciliazione, al solo desiderio di ristabilire un equilibrio. Di fronte all’immanenza del dolore, la sua musica non si rassegna e ritrova, sul filo diun’aspirazione connaturata al Settecento, il gusto per riaffermare un sacrosanto diritto alla felicità. Così questo Rondò è un vero fuoco d’artificio d'inventiva tematica, capriccioso e quasi protervo intreccio di danza e di festa. Al suo interno si riserva uno straordinario ingranaggio strumentale: una fase di sei battute, scandita sul moto pendolare della mano sinistra e sostenuta da un pedale dei corni e un’armonia sul pizzicato degli archi. Quasi un immaginario giocattolo musicale, in cui si è cristallizzata l'idea di un universale tempo metronomico. Ben poco sappiamo del Concerto inmi bemolle maggiore per due pianoforti e orchestra K. 365, ultimo fra quelli composti da Mozart prima di abbandonare l’assai poco amata Salisburgo non la data di composizione, da collocare fra il gennaio 1779, subito dopo il ritorno dal disastroso viaggio a Parigi, e la fine dell'anno successivo; né l’occasione per cui è stato scritto. In assenza di dati precisi, taluni tratti stilistici e una qualche allure francese del Rondò conclusivo, inducono ad anticiparne la stesura ai mesi immediatamente seguenti il rimpatrio salisburghese, mentre l’impegno non indifferente richiesto ai solisti, suggerisce l’ipotesi che i destinatari fossero Wolfgang stesso e la sorella. Il rapporto che intercorre fra i due pianoforti, di studiata parità e senza che il primo abbia mai il sopravvento sull’altro, rende suggestiva la congettura di una festosa collaborazione fraterna. Mai, infatti, che uno dei due si arroghi il diritto esclusivo di condurre il discorso: la voce passa fra loro con spontanea naturalezza, ora per completare un tema o per riprenderlo in eco, ora per sostenere uno spunto con un disegno di accompagnamento o per prolungarne una rapida scala nel registro più acuto; quando si appaiano, come nel solennissimo trillo che ne annuncia l’ingresso nell’Allegro iniziale, è alla ricerca di una sonorità più piena e brillante. Così il dialogo, in completa comunanza d’intenti e senz’ombra di sconfinamenti severi nel contrappunto, si svolge di preferenza tra loro e lascia in sottordine gli interventi orchestrali. É una delle ragioni se questo Concerto, gratificato da una gioia di vivere e da una gaiezza un tantino esteriori, si mantiene un buon gradino al di sotto di quel suo parente prossimo che è la Sinfonia concertante per violino e viola K. 364. Il bagaglio di esperienze maturate a Mannheim e Parigi si sente nella sontuosità dell’inizio e nello spessore del primo «tutti», come in qualche efficace sottolineatura dinamica dell’orchestra; ma l’ampiezza della tessitura sinfonica, che Mozart conquisterà proprio in quel torno ditempo, è ancora alle porte. Quasi nessun rilievo ha, in questo primo movimento, l’idea di una elaborazione tematica: il discorso procede grazie al continuo proliferare di nuove idee, non certo per effetto di laboriosi sviluppi. Anche la nota dominante di genuina serenità non ammette intromissioni e si consente solo qualche chiaroscuro: appena un’ombra è, nello sviluppo, una minacciosa incursione a do minore del secondo piano, o l’insolito, repentino passaggio al minore immediatamente dopo la ripresa. Il movimento lento centrale traduce in toni più meditativi e affettuosi, con qualche venatura di malinconia, il clima dell’Allegro. Anche qui la ricchezza d’idee melodiche ne compensa la levità, mentre l’orchestra riserva presenze più rilevate: una deliziosa figura di trilli e note ripetute, o certi lunghi filamenti degli oboi come unico sfondo ai disegni pianistici. Un franco buon umore invade, infine, il Rondò, decisamente il più elaborato dei tre movimenti, con una sostanziosa partecipazione orchestrale in dialogo coi solisti, e una scrittura pianistica propensa alle figurazioni brillanti. Vi si annunciano certi spunti melodici alla Papageno, che dovranno attendere più di dieci anni per rifare la loro comparsa nel variopinto teatro del Flauto magico.\u003c\/p\u003e\n\u003cp\u003eFranz Joseph Haydn \u003c\/p\u003e\n\u003cp\u003eArtefice paziente e tenace di pure costruzioni musicali, nonché autentico fondatore di quei generi strumentali cui tradizionalmente associamo la straordinaria vitalità del Classicismo viennese, Franz Joseph Haydn fu al contrario assai poco attratto dalla forma del concerto solistico. Mentre le sue inesauribili facoltà creative conducono a piena maturazione, e secondo una insospettabile varietà di soluzioni formali, quegli splendidi frutti della seconda metà del Settecento che sono la sonata, il quartetto e la sinfonia, il concerto dovrà attendere Mozart perché le sue linee fondamentali conoscano una prima, e, ben inteso, già superba sistemazione. Basti pensare alle appena trentacomposizioni che consegna a questo ambito, confinandole peraltro, in gran parte, nei primi anni del servizio presso il principe Esterházy, e confrontarne il numero esiguo con gli altri, ben più cospicui, che la sua instancabile avventura artigianaleriservò ai generi prediletti. Al di là dell'assenza di suggestioni esteriori, possiamo azzardare alcune ragioni di questa scarsa congenialità: intanto, è noto come non praticasse da virtuoso alcuno strumento, né possedeva quel gusto per l’esibizione strumentale che una parte non trascurabile gioca negli intrecci fra strumento solista e orchestra. Gli faceva difetto, in fondo, come le sue opere non mancano di ricordarci, quel genio per la strategia teatrale che anche nel concerto tende a regolare l’avvicendarsi del dialogo, e ne configura le diverse dinamiche espressive come per una sorta di commedia strumentale. Ma, soprattutto, diremmo che la nascente forma-sonata, insistentemente esplorata dal suo talento chiarificatore, non era forse ancora matura per esporsi a quelle disgressioni strutturali, a quel proliferare d'idee tematiche che faranno del concerto mozartiano un organismo così poco propenso ad ogni codificazione. Il Concerto in re maggiore per pianoforte (ma all’origine per clavicembalo o fortepiano) e orchestra, scritto intorno al 1783, rappresenta dunque un’eccezione nell’itinerario compositivo haydniano, da collocarsi, insieme all’altro per violoncello nella stessa tonalità, in un periodo in cui egli trascura completamente questo genere di composizioni. Come in altri lavori di quegli anni, la sua naturale propensione per un far musica estroverso e pieno di vivacità, scavalca i riferimenti più diretti a uno stile dotto, in favore di un gusto popolare, di un gesto carico di semplicità e di immediatezza. Una gran fretta anima il Vivaceiniziale mentre il gioco degli sforzando, le successioni dinamiche di piano e forte, o l’intercalare di lunghe sincopi, contribuiscono alla flessibilità delle sue linee elementari. Prevale, su ogni impegno sonatistico, un’aria di schietto divertimento e appena fa capolino, durante lo sviluppo, nel rimbalzare tra la mano sinistra del pianoforte e gli archi delle ultime tre note del tema principale, uno dei principi più saldi del suo procedimento compositivo, quello della elaborazione tematica. Del Poco Adagio centrale si ammirano, più che il tema d’esordio, un po’ convenzionale, un ritmo di sestine suggerito dagli archi e di cui il solista s’impadronisce nelle sue fioriture, e ancor più la suggestiva sezione centrale in minore, dagli inconfondibili accenti mozartiani. E tuttavia, le carte migliori sono tenute in serbo per il finale, un Rondò all’Ungarese, pervaso di figure danzanti irresistibile di scatti e accelerazioni, e crepitante di gustose acciaccature, frutto di quella curiosa commistione fra spezie turchesche e melodie ziganeggianti, che tanto attiravaun esotismo settecentesco ancora non toccato da moderne preoccupazioni filologiche. \u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53476101259611,"sku":"DSD8907","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53476101292379,"sku":"HD8907","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8907sleeve.jpg?v=1782854216"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/collections\/download_2f122782-ba38-41b7-8787-6201a2e14dd7.jpg?v=1782977350","url":"https:\/\/www.referencemusicstore.com\/collections\/fone.oembed?page=2","provider":"Reference Music Store","version":"1.0","type":"link"}