{"title":"Franz Schubert","description":"\u003cp\u003eThe collection dedicated to \u003cstrong\u003eFranz Schubert\u003c\/strong\u003e brings together selected recordings from the symphonic, chamber, piano and vocal repertoire.\u003c\/p\u003e\u003ch3\u003eSchubert at Reference Music Store\u003c\/h3\u003e\u003cp\u003eDiscover historical and modern interpretations in the formats available in the catalogue.\u003c\/p\u003e","products":[{"product_id":"liszt-piano-transcriptions-eliana-grasso","title":"Liszt Piano Transcriptions - Eliana Grasso","description":"\u003cp\u003eIn \u003cstrong\u003eLiszt Piano Transcriptions\u003c\/strong\u003e, Eliana Grasso performs Liszt’s transcriptions of Beethoven, Schubert, Verdi, Chopin and Schumann. The programme concludes with Mephisto Waltz No. 1 in the composer’s piano version.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD339CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD339\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eEliana Grasso — piano\u003c\/p\u003e\u003cp\u003eSteinway \u0026amp; Sons D274, prepared and tuned by Silvano Zanta.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal 88.2 kHz · 24-bit recording at Laboratorio Zanta, Camponogara, Italy, in November and December 2021.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna\u003cbr\u003eExecutive producer: Marco Lincetto\u003cbr\u003eRecording, mix and mastering: Marco Lincetto\u003cbr\u003eMusical production: Eliana Grasso\u003cbr\u003eEditing: Mattia Zanatta\u003cbr\u003eCover photograph: Marco Lincetto\u003cbr\u003eDesign and layout: L’Image\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cstrong\u003eL. van Beethoven - F. Liszt\u003c\/strong\u003e\u003cbr\u003e1 - Allegretto dalla Sinfonia n. 7 in la maggiore Op. 92 (S. 464), 10:10\u003cbr\u003e\u003cstrong\u003eF. Schubert - F. Lis\u003ca name=\"_GoBack\"\u003e\u003c\/a\u003ezt \u003c\/strong\u003e\u003cbr\u003e2 - Gretchen am Spinnrade (S. 558), 4:39\u003cbr\u003e3 - Serenade (S. 560), 6:15\u003cbr\u003e\u003cstrong\u003eG. Verdi\/F. Liszt\u003c\/strong\u003e\u003cbr\u003e4 - Danza Sacra e duetto finale da Aida (S. 436), 11:13\u003cbr\u003e\u003cstrong\u003eF. Chopin - F. Liszt\u003c\/strong\u003e\u003cbr\u003e5 - Mädchens Wunsch, da “Six chants polonais”( S. 480), 4:19\u003cbr\u003e6 - Frühling, da “Six chants polonais” (S. 480), 2:40\u003cbr\u003e\u003cstrong\u003eR. Schumann - F. Liszt\u003c\/strong\u003e\u003cbr\u003e7 - Widmung (S 566), 4:33\u003cbr\u003e\u003cstrong\u003eF. Liszt\u003c\/strong\u003e\u003cbr\u003e8 - Mephisto Waltz n. 1, versione per pianoforte dell’autore (S. 514), 12:35\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003eTotal Time: 56:31\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003ch3\u003eCritical notes\u003c\/h3\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u003cu\u003e\u003c\/u\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eGiven the vast catalogue of compositions written by Franz Liszt intended to enrich the 19th-century piano repertoire, one finds a greater number of works based on the creations of other composers compared to genuinely original pieces. The various arrangements, written throughout the composer's career, fall into two categories according to Liszt's own precise wishes, who made the initial terminological distinction: on the one hand, transcriptions, which are piano adaptations where the original score remains largely unaltered; on the other hand, paraphrases, true exercises in style where the composer takes the liberty of varying the source text, bending it to his own creative whim. Although they have often been subjected to harsh criticism by some exponents of early 20th-century musicology (see Humphrey Searle's comment, responsible for the systematic cataloguing of Liszt's works: «he may have wasted much time on some of these transcriptions, but at least they provided an outlet for his overflowing energy,» The Music of Liszt, London 1954), the arrangements produced by the Hungarian composer contributed to the dissemination and promotion of the music of numerous authors.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eBiography\u003c\/h3\u003e\u003cp\u003e\u003cem\u003e\u003cu\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/u\u003e\u003cbr\u003eEliana Grasso, pianist, performs in concerts throughout Europe and the United States in renowned venues such as Carnegie Hall in New York, Wigmore Hall in London, Sala Verdi in Milan, the Royal Academy of Music in London, the Hermitage in St. Petersburg, Theatre La Filature in Mulhouse, Sala Maffeiana of the Teatro Filarmonico in Verona, Teatro Sociale in Bellinzona, Cappella Paolina of the Quirinale in Rome, Bloomsbury Theatre in London, Salon Chopin (Société Historique Polonaise) in Paris, Palazzo Ducale in Mantua, Teatro Piccolo Regio in Turin, and many others.\u003cbr\u003eShe debuted in 1994 performing Haydn's Concerto in D major, conducted by Luca Pfaff with the Mulhouse Symphony Orchestra, receiving great public and critical acclaim (\"Eliana Grasso: encore petite et déjà si grande\", l'Alsace, March 1994) with numerous orchestras such as the Orchestra Magister Harmoniae, the Orchestra Piccolo Auditorium Paradisi, the Orchestra of the Teatro Filarmonico of Verona, conducted among others by Piero Bellugi. She regularly performs as a soloist and in chamber ensembles for the most important Italian music seasons such as: MITO Settembremusica (Turin), Società dei Concerti (Milan), Società del Quartetto (Milan), Unione Musicale (Turin), Trame Sonore (Mantua), I Concerti del Quirinale (Rome), Polincontri (Turin), Rivolimusica, I Concerti dell’Università della Tuscia (Viterbo), Milano Classica, I Concerti del Pomeriggio del Teatro Alfieri (Turin), Fondazione William Walton (Naples), Settembre Musicale Orta (Novara), Ravello Concert Society (Naples), Concerti a Palazzo Labia (Venice), Teatro Torti (Bevagna). She has also performed in Norway, Russia, the United States, France, Switzerland, Spain, England, and Romania.\u003cbr\u003eShe has collaborated in a duo with flutist Romano Pucci (first flute, Teatro alla Scala in Milan), in four hands and two pianos with pianist Irene Veneziano, and explores the lieder repertoire with soprano Susanna Rigacci. She has won numerous competitions: at 13, she placed third overall in the International Competition of St. Petersburg, and since then has won first prize in countless Italian competitions: Stresa, Premio J.S. Bach, Premio Kawai, Premio Clementi, and many others. In 2014, she was the overall winner of the International Bellagio Festival Competition.\u003cbr\u003eHer concerts have been broadcast live by radio stations such as Rai Radiotre; she was a guest on the program \"Il Pianista\" on Radio Classica. For the Velut Luna label, she has already recorded \"Sortilèges\" with music by Ravel and Saint-Saëns in a duo with I. Veneziano (\"the two musicians become a single organism and express all the charm of this music\" Suonare, 2015).\u003cbr\u003eShe graduated with highest honors from the \"G. Verdi\" Conservatory in Turin, and was awarded the \"Lascito Piacenza\" scholarship for the best final examination. She continued her studies at the \"Incontri con il Maestro di Imola\" Academy, where she studied with F. Scala, R. Risaliti, P. Masi. She also specialized with K. Bogino, E. Arciuli, P. Badura-Skoda, M. Damerini, A. Lucchesini, S. Gadžijev, J. Swann, P. De Maria, L. Pogorelich. Alongside her concert activity, she worked as a teacher and stable collaborative pianist at the Accademia del Teatro alla Scala in Milan from 2010 to January 2021. She has taught Piano Practice and Reading and Piano at the \"Franco Vittadini\" Conservatory in Pavia.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/LisztPianoTranscriptions\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":49988793467227,"sku":"CVLD339CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":41086770020404,"sku":"CVLD339","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/products\/liszt-piano-transcriptions-eliana-grasso-cover.jpg?v=1793653105"},{"product_id":"franz-schubert-piano-sonatas-alessandro-cesaro","title":"Schubert Piano Sonatas | Alessandro Cesaro","description":"\u003cp\u003eAlessandro Cesaro performs twelve of \u003cstrong\u003eFranz Schubert’s Piano Sonatas\u003c\/strong\u003e in a five-volume edition. The programme ranges from Sonata D 537 to the late Sonatas D 958–960.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003e5-CD box — CVLD340CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 176.4kHz · 24bit Complete edition — 5 volumes — CVLD340HD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 176.4kHz · 24bit Volume 1 — CVLD340HD-1\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 176.4kHz · 24bit Volume 2 — CVLD340HD-2\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 176.4kHz · 24bit Volume 3 — CVLD340HD-3\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 176.4kHz · 24bit Volume 4 — CVLD340HD-4\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 176.4kHz · 24bit Volume 5 — CVLD340HD-5\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlessandro Cesaro — piano\u003c\/p\u003e\u003cp\u003eSteinway \u0026amp; Sons Model O, built in New York in 1909, tuned and prepared by Franco Angeleri. Formerly owned by Adriano Lincetto, it joined the collection of the Museo di Pianoforti Antichi of Fondazione Musicale Centanin e Masiero, which restored it.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal 176.4 kHz · 24-bit recording in the main hall of Fondazione Masiero e Centanin, Arquà Petrarca, Italy, on 30 March, 13 April, 18 May, 9 and 10 July 2021. Marco Lincetto used his “one point recording” technique with Sennheiser MKH 8020 and Schoeps MK 4 microphones and Millennia Media HV-3B preamplifiers.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna\u003cbr\u003eExecutive producer: Marco Lincetto\u003cbr\u003eMusical production: Alessandro Cesaro\u003cbr\u003eRecording, mix, editing and mastering: Marco Lincetto\u003cbr\u003eCover photograph: Marco Lincetto\u003cbr\u003eDesign and layout: L’Image\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cstrong\u003e\u003cu\u003eVolume 1\u003c\/u\u003e\u003c\/strong\u003e \u003cstrong\u003e- 74:42\u003c\/strong\u003e\u003cbr\u003e1 - 3 \u003cstrong\u003eSonata D 537 Op. post. 164 in A minor\u003c\/strong\u003e, 22:19\u003cbr\u003e4 - 7 \u003cstrong\u003eSonata D 568 Op. post. 122 in E flat major\u003c\/strong\u003e, 29:10\u003cbr\u003e8 - 11 \u003cstrong\u003eSonata D 575 Op. post. 147 in B major\u003c\/strong\u003e, 23:05\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cu\u003eVolume 2\u003c\/u\u003e\u003c\/strong\u003e \u003cstrong\u003e- 72:21\u003c\/strong\u003e\u003cbr\u003e1 - 3 \u003cstrong\u003eSonata D 664 Op. post. 120 in A major\u003c\/strong\u003e, 23:06\u003cbr\u003e4 - 6 \u003cstrong\u003eSonata D 784 Op. post. 143 in A minor\u003c\/strong\u003e, 22:35\u003cbr\u003e7 - 8 \u003cstrong\u003eSonata D 840 in C major “Reliquie”,\u003c\/strong\u003e 26:34\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cu\u003eVolume 3\u003c\/u\u003e\u003c\/strong\u003e \u003cstrong\u003e- 76:11\u003c\/strong\u003e\u003cbr\u003e1 - 4 \u003cstrong\u003eSonata D 845 Op. 42 in A minor\u003c\/strong\u003e, 35:58\u003cbr\u003e5 - 8 \u003cstrong\u003eSonata D 894 Op. 78 in G major\u003c\/strong\u003e, 40:07\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cu\u003eVolume 4\u003c\/u\u003e\u003c\/strong\u003e \u003cstrong\u003e- 79:10\u003c\/strong\u003e\u003cbr\u003e1 - 4 \u003cstrong\u003eSonata D 850 Op. 53 in D major\u003c\/strong\u003e, 39:25\u003cbr\u003e5 - 8 \u003cstrong\u003eSonata D 959 in A major\u003c\/strong\u003e, 39:39\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cu\u003eVolume 5\u003c\/u\u003e\u003c\/strong\u003e \u003cstrong\u003e- 77:10\u003c\/strong\u003e\u003cbr\u003e1 - 4 \u003cstrong\u003eSonata D 958 in C minor\u003c\/strong\u003e, 32:35\u003cbr\u003e5 - 8 \u003cstrong\u003eSonata D 960 in B flat major\u003c\/strong\u003e, 44:31\u003c\/p\u003e\u003ch3\u003eCritical notes\u003c\/h3\u003e\u003cp\u003ePerformed by the composer himself in private settings for the Viennese bourgeoisie and circle of acquaintances, known as Schubertiads, Franz Schubert's Piano Sonatas remained largely unexplored territory for a long time. The first public performance of a \"complete\" cycle of Schubert's sonatas dates back to 1868, thanks to Charles Halle's interpretation at St. James Hall in London. The program included the performance of the seven Sonatas that had been assigned an opus number and the last three sonatas composed in 1828. In November 1938, Webster Aitkin presented twelve of the sonatas in a series of four public concerts. For the occasion, the Daily Telegraph published an article by Richard Capell titled \"Revaluation of a Neglected Heritage,\" in which the author urged contemporary pianists and future generations to rediscover Schubert's Sonatas, ushering in a true \"Schubert Renaissance\" dedicated to the valorization of a forgotten heritage.\u003cbr\u003e\u003cem\u003eMyriam Guglielmo\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eBiographies\u003c\/h3\u003e\u003cp\u003e\u003cem\u003e\u003cstrong\u003eAlessandro Cesaro\u003c\/strong\u003e showed a strong grasp of musical language and a deep interest in composition since he was a child. He studied piano with Franco Angeleri at the Conservatory of Padua and graduated with highest honors at 16 years of age; he continued his studies with Paul Badura-Skoda and Aldo Ciccolini. Prizes in prestigious competitions such as the “Premio Venezia”, the “Amadeus Giovani” of Palermo, the “Yamaha Prize” in Stresa, and especially the 48th CIEM in Geneva brought him to international attention as an outstanding 18-year-old interpreter. He regularly performs in Italy for such presenters as Serate Musicali di Milano, Amici della Musica of Padua, Vicenza, Verona, Trieste, and Udine, Unione Musicale in Turin, and Alessandro Scarlatti Society in Naples. He has played in Germany (Bochum, Paderborn), Switzerland (Geneva, Bienne, Basilea), Belgium (Bruxelles) and Argentina, where he toured eight times, playing in Buenos Aires, Cordoba, Tucumàn and Salta. In May 2008 he completed a tour of Mexico (Federal Capital and Michoacan), where he played for the National Autonomous University (UNAM) and for the Teatro de la Ciudad, inaugurating a new Steinway piano. Especially well received were his performances of the complete works of Chopin and Schubert and of the 32 Beethoven sonatas on period instruments for the Festival Euganeo. In 2009 he collaborated in the Italian premiere of the recently discovered Cant de les estrelles by Granados. In 2011 he completed a three-year cycle of all the 32 Beethoven’s Sonatas in Adria and Feltre (Italy) and in 2014 he was invited to the 54° Septiembre Musical Tucumano, one of the most important festivals in South America. He performs regularly with such orchestras as I Solisti Veneti, the Orchestra di Padova e del Veneto, the Orchestra of the Suisse Romande, the Collegium Musicum Basel, the Chamber Orchestra of Bienne, the Orchestra of the Theater of Cordoba, the Orchestra of the Province of Tucumàn, and the Sicilian Symphonic Orchestra, collaborating with such musicians as Claudio Scimone, Paul Badura-Skoda, Anton Nanut, Pedro Ignacio Calderòn, and Sergio Balestracci. The Music Critics Association of Argentina awarded him the “Premio Revelaciòn 2015” for a recital organized by ALAPP (Latin American Association of Teaching Pianists) at the Art Museum “Isaac Fernández Blanco”. He presented the program “Chopin at Palma de Mallorca” on a tour in the United States, and he has realized in Padua for the first time in the history of the Friends of Music the full performance in consecutive evenings of the ten Sonatas for piano by Alexander Scriabin. A distinct characteristic of his personality is his extraordinary versatility, which allows him to have in his repertory the complete works of major composers for piano, including Mozart, Beethoven, Schubert, and Chopin. He has recorded with Rivo Alto and Azzurra Music (Beethoven) and he released an album of Rondos, Variations, and Fantasies by Jan Ladislav Dussek. He is equally active as a composer and his works, published by Swirly Music, are regularly performed.\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/FranzSchubert-PianoSonatas\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"BOX 5 CD","offer_id":49993835872603,"sku":"CVLD340CD","price":50.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 176.4kHz · 24bit OPERA COMPLETA WAV","offer_id":49993800581467,"sku":"CVLD340HD","price":50.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 176.4kHz · 24bit VOLUME 1 WAV","offer_id":46748045672795,"sku":"CVLD340HD-1","price":10.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 176.4kHz · 24bit VOLUME 2 WAV","offer_id":49993800614235,"sku":"CVLD340HD-2","price":10.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 176.4kHz · 24bit VOLUME 3 WAV","offer_id":49993800647003,"sku":"CVLD340HD-3","price":10.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 176.4kHz · 24bit VOLUME 4 WAV","offer_id":49993800679771,"sku":"CVLD340HD-4","price":10.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 176.4kHz · 24bit VOLUME 5 WAV","offer_id":49993800712539,"sku":"CVLD340HD-5","price":10.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/franz-schubert-piano-sonatas-alessandro-cesaro-cover.jpg?v=1793653122"},{"product_id":"schubert-beethoven-orchestra-darchi-italiana","title":"Schubert — Beethoven | Orchestra d’Archi Italiana, Franco Rossi","description":"\u003cp\u003e\u003cstrong\u003eSchubert – Beethoven\u003c\/strong\u003e. 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\u003c\/b\u003e(CVLD264)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracks\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e01 - Fly Me To The Moon - Bart Howard 5:00\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02 - Love Is A Losing Game - Amy Winehouse 3:22\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03 - If You Go Before Me - Terence Trent D'Arby 4:20\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLive at San Giacomo Spazio d'Arte, November 23rd, 2013\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePaola Casula, voice, Alessandro Mozzi, piano, Marco Strano, sax\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e04 - Empty Promises - Guido Marzorati 4:15\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05 - Petrolkiller - Guido Marzorati 3:45\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06 - Force Of Habit - Guido Marzorati 3:48\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLive at San Giacomo Spazio d'Arte, June 7th, 2014\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGuido Marzorati, voice, guitar and harmonica, Elisa Marzorati, electric piano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e07 - Sonata in la magg. op. posth. D959: Andantino - Franz Schubert 8:05\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLive at San Giacomo Spazio d'Arte, November 29th, 2014\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eChiara Bertoglio, grandpiano\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e08 - Smells Like Teen Spirit - Kurt Cobain \u0026amp; Nirvana 5:43\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e09 - I Heard It Through The Grapevine - Marvin Gaye 4:55\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10 - Libertango - Astor Piazzolla 3:45\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/RecLive\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLive at Hotel Crystal, Preganziol, December 15th, 2012\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBarbara Belloni, voice, Ivan Prevedello, Roland Electric Piano.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was the year 2009, and partly by chance and partly not... I had the idea of creating a kind of \"record format,\" aimed at showcasing \"chamber music\" live and in recordings, understood in a broad sense.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUsually, this definition unequivocally identifies a certain type of \"classical music\": but I, on the other hand, consider any type of music designed for a few performers (2, 3, perhaps 4 at most) who perform it in front of a small audience in an intimate setting, different from the large spaces of theaters or auditoriums, to be chamber music. So, not only classical music, but also jazz, rock, ethnic... without limits to imagination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSo what is \"Velut Luna Rec Live\"? It's a small event where a limited number of people (20 - 25 or a little more) gather in a small space characterized by excellent acoustics, literally sit right next to the performers and enjoy a concert in a position very close to the performers - a meter or so - absolutely unusual for any other environment specifically dedicated to live music. Thus creating a truly unique feeling with the musicians performing in front of them.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis magic is also captured by a few carefully positioned microphones to transfer the \"overall magic\" of these happenings onto a recording. Naturally, to do this, it is essential to avoid any tampering or alteration of the original sound: therefore, a Rec Live understood in this way can also be considered the quintessence of recording purity, ensuring that the few lucky attendees can take home the emotions experienced live almost intact.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn this CD, I wanted to select some of these moments, created and recorded during 20 encounters over 6 years, to allow a wider audience to \"taste\" these unique and unrepeatable atmospheres.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eI chose not by chance events that represent me particularly effectively: hence, ample space for two great female vocal performers, space for rock, my first love, and space for classical piano, an instrument that literally belongs to my DNA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFinally, a brief technical note: all recordings are made in an absolutely minimalist way, often with a simple pair of microphones in a stereophonic configuration, directly to high-resolution digital stereo master (24bit\/88.2kHz) and simultaneously to analog 1\/4\" 38cm\/sec master.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTo avoid altering the purity of the recording in any way, and therefore the original dynamics of the individual events, no normalization has been performed between the various tracks on this CD, and therefore it will be necessary to adjust the volume several times during the listening of this disc.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEnjoy listening!\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMarco Lincetto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"HD FILE 88.2kHz · 24bit","offer_id":48063153013083,"sku":"CVLD264","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_bee76b08-aba2-4b49-97ce-53cdbdd9c4de.jpg?v=1713028636"},{"product_id":"schubert-symphony-no-9-bruno-walter-columbia-symphony-orchestra","title":"Walter: Schubert — Symphony No. 9 in C major, D. 944 “The Great”","description":"\u003cp\u003eBruno Walter conducts the Columbia Symphony Orchestra in Franz Schubert’s \u003cstrong\u003eSymphony No. 9 in C major, D. 944 “The Great”\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eThe recording was made at American Legion Hall in Hollywood between January 31 and February 6, 1959.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e01 — I. Andante — Allegro ma non troppo (14’40)\u003cbr\u003e02 — II. Andante con moto (15’04)\u003cbr\u003e03 — III. Scherzo. Allegro vivace (09’54)\u003cbr\u003e04 — IV. Allegro vivace (12’38)\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eComposer:\u003c\/strong\u003e Franz Schubert\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e Bruno Walter\u003cbr\u003e\u003cstrong\u003eOrchestra:\u003c\/strong\u003e Columbia Symphony Orchestra\u003cbr\u003e\u003cstrong\u003eRecording:\u003c\/strong\u003e American Legion Hall, Hollywood, January 31–February 6, 1959\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Capsa Symphōnĭa\u003cbr\u003e\u003cstrong\u003eCode:\u003c\/strong\u003e CS222\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFile Hi-Res 96kHz • 24bit\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFile Hi-Res 192kHz • 24bit\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFile DSD64\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFile DSD128\u003c\/strong\u003e\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e is a 1-bit digital encoding system based on pulse-density modulation. DSD64 operates at approximately \u003cstrong\u003e2.8 MHz\u003c\/strong\u003e, DSD128 at approximately \u003cstrong\u003e5.6 MHz\u003c\/strong\u003e and DSD256 at approximately \u003cstrong\u003e11.2 MHz\u003c\/strong\u003e. Playback requires a DAC or player compatible with the selected DSD rate.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e is a very high-resolution PCM format; in the version offered here it operates at \u003cstrong\u003e352.8kHz\u003c\/strong\u003e. Developed also as a professional editing and post-production environment for very high-resolution workflows, it requires a compatible DAC or player.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"File PCM 44.1kHz • 16bit — CD Resolution","offer_id":48538029719899,"sku":"CS222-44","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 96kHz • 24bit","offer_id":48538029752667,"sku":"CS222-96","price":15.0,"currency_code":"EUR","in_stock":false},{"title":"File Hi-Res 192kHz • 24bit","offer_id":48538029785435,"sku":"CS222-192","price":18.0,"currency_code":"EUR","in_stock":false},{"title":"File DSD64","offer_id":48538029818203,"sku":"CS222-64","price":18.0,"currency_code":"EUR","in_stock":false},{"title":"File DSD128","offer_id":48538029850971,"sku":"CS222-128","price":22.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs222-schubert-symphony-no-9-great-bruno-walter-capsa-symphonia-cover.jpg?v=1789150898"},{"product_id":"impromptus-bertoglio","title":"Schubert: Impromptus | Chiara Bertoglio","description":"\u003cp\u003eChiara Bertoglio plays Schubert’s eight Impromptus op. 90 and op. 142, alongside Liszt’s two reworkings S.565b.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD233CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD233\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eChiara Bertoglio — piano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; Velut Luna Studio, Preganziol; 2012-08-07.\u003c\/p\u003e\u003cp\u003eRecorded live in the studio.\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cspan\u003eProduction: Velut Luna \u0026amp; Chiara Bertoglio\u003cbr\u003eExecutive \u0026amp; Recording Producer: Marco Lincetto\u003cbr\u003eRecording, Mix \u0026amp; Mastering Engineer: Marco Lincetto\u003cbr\u003eEditing: Mattia Zanatta\u003cbr\u003ePhotos: Marco Lincetto\u003cbr\u003eDesign: l’image\u003cbr\u003eMarketing: Francesco Pesavento\u003cbr\u003eSales Managers: Moreno Danieli \u0026amp; Patrizia Pagiaro\u003cbr\u003ePress Agent: Emanuela Dalla Valle\u003cbr\u003eWorld Wide Contacts: Cristiana Dalla Valle\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003e01 - F. Schubert: Vier Impromptus op.90 D.899 - n.1 in do minore\u003cbr\u003e02 - F. Schubert: Vier Impromptus op.90 D.899 - n.2 in mi bemolle maggiore\u003cbr\u003e03 - F. Schubert: Vier Impromptus op.90 D.899 - n.3 in sol bemolle maggiore\u003cbr\u003e04 - F. Schubert: Vier Impromptus op.90 D.899 - n.4 in la bemolle maggiore\u003cbr\u003e05 - F. Schubert \/ F. Liszt: Impromptu S.565b - n.1 in mi bemolle maggiore\u003cbr\u003e06 - F. Schubert \/ F. Liszt: Impromptu S.565b - n.2 in sol maggiore\u003cbr\u003e07 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.1 in fa minore\u003cbr\u003e08 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.2 in la bemolle maggiore\u003cbr\u003e09 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.3 in si bemolle maggiore\u003cbr\u003e10 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.4 in fa minore\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e \u003cspan\u003eAmong Franz Schubert's piano works, the eight Impromptus, Op. 90 and Op. 142, are perhaps among the best-known and most frequently performed, and are certainly performed and listened to far more often than many of the enchanting Sonatas. It therefore seems pointless to reiterate here, in the inevitable brevity imposed by the size of a booklet, the analyses and studies that have been conducted on them; perhaps it is more useful to limit myself to offering the reader a \"presentation\" of these pieces, a guide that integrates with the key to understanding them that I propose with my interpretation.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eI've had a very long relationship with the Improvvisi, some of whom have been around for over twenty years; and I can say they are true musical \"friends,\" whose discreet and constant presence has shaped my journey as a musician and as a person.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThose of Op. 90 have more defined characteristics and clearer, more limpid structures. Schubert's extraordinary imagination and emotional richness are still channeled into \"clean\" forms, with the alternation and juxtaposition of different levels of compositional articulation. No. 1 plays entirely on the contrast between the martial rhythm of the incipit and the softness of a melody accompanied by a murmur of triplets. No. 2 is simple only in its macrostructure, which alternates sections of uninterrupted scales, almost waves of notes, with a Trio and a Coda of almost barbaric aggression; however, the dance rhythm that runs through it is the same in both sections, with the accent falling askew on the second beat of the measure.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eNo. 3 is justly celebrated, a sort of wordless Lied that would be reductive to define as a simple accompanied melody. The richness of its pervasive and omnipresent harmonic texture makes it much more akin to a polyphonic piece, in which the fluidity of the harmony allows its contrapuntal richness to emerge, veiled by the enchantment of melodic contemplation. No. 4 weaves together a series of garlands of arpeggios that alternate with the absorbed stasis of the chords and an ascending progression on the left hand's voice that admirably builds to the climax that concludes both the first part and the entire impromptu. Nestled between the final sections is a Trio of infinite beauty, almost a prayer in which, once again, the inner voices of the chorale are made vibrant by repetitions and repetitions.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eOp. 142, on the other hand, is more compact, so much so that Schumann hypothesized a sonata-like conception of it (an approach I personally share), but on the other hand, more indecipherable. Each of its four Impromptus (which were renamed as such by the first editor) displays a kaleidoscope richer in emotion and more difficult to interpret than those of Op. 90.\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eNo. 1, in particular, presents a highly complex series of unforgettable moments: the solemn and tragic opening, which inaugurates not only this piece but the entire series; the changing reverberations of a subject hidden among the tremolos; the “duet” in which the left hand responds to itself, continually overriding the circular and hypnotic movement of the right.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe stylistic signature of No. 2 is more homogeneous, unique in its reconciliation of choral, Lied, and dance forms: it is perhaps the mystical pinnacle of the Impromptus, with a serene, composed, and absorbed beauty. No. 3, composed of variations on a theme from Rosamunde, leads us on a journey that revisits, in miniature, all the great themes of Schubert's Romanticism: the circular rhythm of the first variation, the joy of life of the second, the hopeless darkness of the third, which opens to dance in the fourth and dissolves into a shower of scales in the last.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe cycle concludes with No. 4, rich in Hungarian folk movements, with a theme brimming with energy and vivacity, once again not without deliberate barbarism. And once again, Schubert demonstrates the melodic and narrative potential of scales, which here are presented in an almost obsessive manner and colored by the harmonies of the left hand, becoming a musical resource of unimaginable charm.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eCompleting the CD are Franz Liszt's versions of the Impromptus, Op. 90, Nos. 2 and 3. In Liszt's interpretation, No. 2 increases its virtuosic connotation (for example, with the addition of \"filler\" notes) and accentuates the \"Hungarian\" character of the Trio and Coda. Liszt instead transposes No. 3 into the more comfortable and – above all – less problematic, mysterious, and obscure key of G major (from the original in G flat); in the reprise of the main theme, Liszt offers a highly personal rewriting, reminiscent of the atmosphere of the celebrated Liebestraum.\u003c\/span\u003e\u003cbr\u003e \u003cem\u003eChiara Bertoglio\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Schubert-Impromptus\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50002901696859,"sku":"CVLD233CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49872085385563,"sku":"CVLD233","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/233-cover.jpg?v=1736555111"},{"product_id":"audiophile-musical-journey","title":"Audiophile Musical Journey","description":"\u003cp\u003e17 tracks spanning classical music, jazz and song in the Velut Luna sampler. CD and 88.2 kHz · 24bit file; programme and performers.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and Hi-Res WAV file, 88.2 kHz · 24bit. Velut Luna CVLD306.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003eBenjamin Britten \u003cbr\u003eSimple Symphony op.4\u003cbr\u003e01 - Boisterous Bouree, 3:10\u003cbr\u003e02 - Playful Pizzicato, 3:11\u003cbr\u003eI Solisti dell'Olimpico, Giovanni Battista Rigon, conductor\u003cbr\u003eLive recording: Teatro Olimpico, Vicenza, June 7th, 2003\u003cbr\u003eVelut Luna CVLD090 - ITW310409002  -03\u003c\/p\u003e\u003cp\u003eFelix Mendelssohn-Bartholdy\u003cbr\u003e03 - A Midsummer Night’s Dream, Op.21, Overture, finale, 3:15\u003cbr\u003eOrchestra di Padova e del Veneto, Zsolt Hamar, conductor\u003cbr\u003eLive recording: Auditorium Pollini, Padova, April 19th, 2007\u003cbr\u003eITW311799901\u003c\/p\u003e\u003cp\u003eWolfgang Amadeus Mozart\u003cbr\u003eConcert in A Major K622 for Clarinet and Orchestra\u003cbr\u003e04 - Allegro [fragment], 4:08\u003cbr\u003eLuca Lucchetta, clarinet, Orchestra di Padova e del Veneto, Zsolt Hamar, conductor\u003cbr\u003eLive recording: Teatro Verdi, Padova, October 4th, 2004\u003cbr\u003eVelut Luna CVLD292 - ITW311729201  \u003c\/p\u003e\u003cp\u003e05 - Era de' Maggio (M.Costa - S.Di Giacomo) 5:30\u003cbr\u003eRosella Caporale, voice\u003cbr\u003eOrchestra C.Pollini del Conservatorio di Padova, Giuliano Medeossi, conductor\u003cbr\u003eStudio recording: Auditorium Pollini, Padova, May, 2015\u003cbr\u003eVelut Luna CVLD265 - ITW311526508\u003c\/p\u003e\u003cp\u003eFranz Schubert\u003cbr\u003e06 - Sonata in A major D959: Andantino, 8:05\u003cbr\u003eChiara Bertoglio, grand piano\u003cbr\u003eLive-in-studio recording: Spazio d'Arte, San Giacomo, November 29th, 2014\u003cbr\u003eITW311526407\u003c\/p\u003e\u003cp\u003e07 - Albori (S.Tasca) 5:44\u003cbr\u003eSaverio Tasca \u0026amp; AlterArco\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, July, 2015\u003cbr\u003eVelut Luna CVLD269 - ITW311526901\u003c\/p\u003e\u003cp\u003e08 - At The Jazz Band Ball (L.Shields) 3:38\u003cbr\u003eStoryville Jazz Band\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, July, 26th, 2006\u003cbr\u003eVelut Luna CVLD145 - ITW310614501\u003c\/p\u003e\u003cp\u003e09 - Vertigo (M.Salvagnini) 4:34\u003cbr\u003eMassimo Salvagnini Quartet\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, November, 11th, 2006\u003cbr\u003eVelut Luna CVLD153 - ITW310715305\u003c\/p\u003e\u003cp\u003e10 - Birdland (J.Zawinul) 5:19\u003cbr\u003eArt Percussion Ensemble, Massimo Pastore conductor\u003cbr\u003eStudio recording: Auditorium Pollini, Padova, October 2010\u003cbr\u003eVelut Luna CVLD196 - ITW311119604\u003c\/p\u003e\u003cp\u003e11 - Toni Nokia (D.B.Soto Chero) 6:31\u003cbr\u003eDavid Beltran Soto Chero Ensemble\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, March, 19th, 2013\u003cbr\u003eITW311323908\u003c\/p\u003e\u003cp\u003e12 - Tears (M.Strano - P.Casula) 5:17\u003cbr\u003ePaola Casula\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, March, 16th, 2006\u003cbr\u003eVelut Luna CVLD139 - ITW310613910\u003c\/p\u003e\u003cp\u003e13 - So in love (C.Porter) 4:06\u003cbr\u003eLucia Minetti, Pietro Ballestrero \u0026amp; Stefano Profeta\u003cbr\u003eLive-in-studio recording: MagisterArea Studios, Preganziol, September, 23rd, 2017\u003cbr\u003eVelut Luna CVLD294 - ITW311729404\u003c\/p\u003e\u003cp\u003e14 - Contigo en la distancia (Cesar Portillo de la Luz) 3:57\u003cbr\u003eAlejandro Martinez y Nina y Villa el Salvador\u003cbr\u003eStudio recording: Studio A, Padova, June 2015\u003cbr\u003eVelut Luna CVLD266 - ITW311526601\u003c\/p\u003e\u003cp\u003e15 - Vedrai, Vedrai (L.Tenco) 4:36\u003cbr\u003eNinni Arini\u003cbr\u003eStudio recording: Cantina Martinez, Marsala, January 27th, 2017\u003cbr\u003eVelut Luna CVLD286 - ITW311728604\u003c\/p\u003e\u003cp\u003e16 - Nia, nia, nia \/ Rodrigo Martines (Anonymous XVI sec.) 4:34\u003cbr\u003eEnsemble Terra d'Otranto\u003cbr\u003eStudio recording: Masseria Torcito, Lecce, october, 3rd, 2003\u003cbr\u003eITW311799902\u003c\/p\u003e\u003cp\u003e17 - Reso (D.B.Soto Chero) 3:08\u003cbr\u003eDavid Beltran Soto Chero Ensemble\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, March, 19th, 2013\u003cbr\u003eITW311323913\u003cbr\u003eTotal time: 78:55\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eThe sampler compares genres, ensembles and recording spaces. The edition’s listening guide describes the reference used in production: differences heard at home do not by themselves amount to a negative judgement on a system. These observations offer a comparison that remains subject to the listener’s own preferences.\u003c\/p\u003e\u003ch3\u003eReference system\u003c\/h3\u003e\u003cp\u003eNORTH STAR DESIGN Meccanica 192 + DAC SUPREMO; NORMA SC-2; GENELEC 1037C (L\/R) + GENELEC 7070; WHITE GOLD I2S (Meccanica → DAC); VELUT LUNA WIRE (DAC → pre → speakers), balanced cables built to Velut Luna specifications.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49923124658523,"sku":"CVLD306","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":49995392450907,"sku":"CVLD306CD","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_d664fb59-e487-4c9d-a58c-c42d66b4203d.jpg?v=1737330742"},{"product_id":"the-ultimate-sound","title":"THE ULTIMATE SOUND","description":"\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cspan face=\"Arial Narrow, sans-serif\" style=\"font-family: 'Arial Narrow', sans-serif;\"\u003e\u003cspan size=\"4\" style=\"font-size: large;\"\u003e\u003cstrong\u003eTHE ULTIMATE SOUND\u003c\/strong\u003e ( \u003cspan\u003eCVLD348\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan face=\"Arial Narrow, sans-serif\" style=\"font-family: 'Arial Narrow', sans-serif;\"\u003e\u003cspan size=\"4\" style=\"font-size: large;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eAuthor\u003c\/strong\u003e : Marco Lincetto (production, mixing and mastering)\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003ePerformers\u003c\/strong\u003e : Various, including Maria Vicentini, Salvatore Maiore, Roberto Loreggian, Symphony Orchestra of the C. Pollini Conservatory, Chiara Pastò, Valentina Fin, Eugenio Finardi, and many others.\u003c\/p\u003e\n\n\u003ch2\u003e \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eTraces\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h2\u003e\n\n\u003cp\u003e \u003cstrong\u003e\u003cu\u003eBASS\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e01 - Fables Of Faubus, 2:41\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Charles Mingus)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eMaria Vicentini, viola; Salvatore Maiore, double bass\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive recording, 2019\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eSOUND IMAGE\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e02 - Concert For Harpsichord and Orchestra in G min, BWV1056a, Adagio, 2:41\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e(Johann Sebastian Bach)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eRoberto Loreggian, harpsichord; The Art of the Bow, Federico Guglielmo\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2019\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eSYMPHONIC ORCHESTRA\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e03 - Symphony N.1 in D major, \"Titan\", Sturmisch bewegt, 3:22\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Gustav Mahler)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eSymphony Orchestra of the C. Pollini Conservatory, Giuliano Medeossi, conductor\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive recording, 2018\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eFLOOR\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e04 - Sonata D959 in A major, Scherzo, 4:58\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Franz Schubert)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eAlessandro Cesaro, Steinway \u0026amp; Sons Mod.O piano, NY, 1909\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2021\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eGRAND PIANO\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e05 - Uranus, The Magician, 4:32\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Gustav Holst)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eAlberto Nosè \u0026amp; Valentina Fornari, 2x Fazioli F278 Concert Grand\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2021\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eSTRING ORCHESTRA\u003c\/u\u003e\u003c\/strong\u003e \u003cbr\u003e\u003cspan\u003e06 - Suite for Paer, for string orchestra, Waltz Time, 2:29\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Adriano Lincetto)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eThe Italian Philharmonic Soloists, Giovanni Guglielmo, conductor\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2004\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eBIG BAND: BRASS AND PERCUSSIONS - DYNAMIC TEST\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e07 - El Cumbanchero, 4:25\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Rafael Hernandez)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eLatin Jazz Band, Renzo De Rossi, conductor\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2004\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eFEMALE VOICE\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e08 - Cry Me A River, 4:57\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Arthur Hamilton)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eChiara Pastò, Ensemble\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003estudio recording, 2020\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e09 - My Ship, 4:38\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Kurt Weill, Ira Gershwin)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eValentina Fin, Ensemble\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2021\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10 - Coquerais, 3:25\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Lara Cavalli Monteiro, David Beltran Soto Chero)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eLara Cavalli Monteiro \u0026amp; David Beltran Soto Chero\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003elive in studio recording, 2019\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eMALE VOICE\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e11 - Polka Dots And Moonbeans, 4:03\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(J. Van Heusen, J. Burke)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eStefano Riva \u0026amp; Massimo Salvagnini Quartet\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2011\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12 - Since I Fell For You, 6:10\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(C. Johnsonn)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eFrancesco Michielin \u0026amp; The Metronomes\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2011\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e13 - The Sentimental Boxer, 3:27\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Vladimir Vysotsky, Sergio Secondiano Sacchi)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEugenio Finardi \u0026amp; Wild Paths\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2007\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003ePOLYPHONIC CHORUS\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e14 - A Round Of Three Country Dances In One, 2:56\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(Thomas Ravenscroft)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEnsemble Juveniliter\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 1997\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eCHAMBER JAZZ: STRING QUARTET AND CLARINET\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e15 - Balance, 4:43\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e(Oscar Del Barba)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eOscar Del Barba Ensemble, featuring Mauro Negri\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2000\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eDIXIELAND JAZZ BAND\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e16 - At The Jazz Band Ball, 3:21\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(D. La Rocca, L. Shields)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eTiger Dixie Band\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2003\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003eSYMPHONIC ORGAN\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan\u003e17 - The Throne Room \u0026amp; End Title, 6:46\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e(John Williams)\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eRaymond Mazzon\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003elive in studio recording, 2019\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eTotal Time: 69:45\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003ch2\u003e \u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h2\u003e\n\n\u003cp\u003e \u003cspan\u003eThis is a carefully curated selection of Marco Lincetto's finest recordings, each distinguished by their exceptional artistic and technical quality. Each recording highlights the instrumental detail it highlights.\u003c\/span\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"HD FILE 88.2kHz · 24bit","offer_id":49935476916571,"sku":"CVLD348","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cover_ee016b43-dfbc-416c-a392-ccb0288e7ff6.jpg?v=1740684378"},{"product_id":"flute-for-schubert-caroli-di-cristofano","title":"Flute for Schubert | Enzo Caroli, Antonio Di Cristofano","description":"\u003cp\u003eEnzo Caroli and Antonio Di Cristofano pair Schubert’s flute work Trockne Blumen with transcriptions of Sonatina D. 384 and the Arpeggione Sonata D. 821.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and digital file, 44.1 kHz · 16bit. Velut Luna CVLD114.\u003c\/p\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eEnzo Caroli — flute; Antonio Di Cristofano — piano.\u003c\/p\u003e\u003ch3\u003eRecording\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 96 kHz · 24bit; Teatro Comunale, Grosseto — 2004-05-10.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003e01 - Sonata No. 1 in D Major, Op. 137, D. 384: I. Allegro molto - Arranged for Flute and Piano\u003cbr\u003e02 - Sonata No. 1 in D Major, Op. 137, D. 384: II. Andante - Arranged for Flute and Piano\u003cbr\u003e03 - Sonata No. 1 in D Major, Op. 137, D. 384: III. Allegro vivace - Arranged for Flute and Piano\u003cbr\u003e04 - Introduzione, tema e variazioni sul Lied Trockne Blumen, Op. 160, D. 802\u003cbr\u003e05 - Sonata in A Minor, D. 821 \"Arpeggione\": I. Allegro moderato - Arranged for Flute and Piano\u003cbr\u003e06 - Sonata in A Minor, D. 821 \"Arpeggione\": II. Adagio - Arranged for Flute and Piano\u003cbr\u003e07 - Sonata in A Minor, D. 821 \"Arpeggione\": III. Allegretto - Arranged for Flute and Piano\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eEnzo Caroli and Antonio Di Cristofano pair Schubert’s flute work Trockne Blumen with transcriptions of Sonatina D. 384 and the Arpeggione Sonata D. 821. Marco Lincetto recorded the performance live in the studio at Teatro Comunale, Grosseto; Fabio Framba handled editing and mastering.\u003c\/p\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Flute-for-Schubert\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50030425997659,"sku":"CVLD114CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File PCM 44.1 kHz · 16 bit WAV — CD Resolution","offer_id":50888151597403,"sku":"CVLD114","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/60d97215e39ee12b06565e38.jpg?v=1738942834"},{"product_id":"schubert-schumann-roccato-tezza","title":"Schubert, Schumann | Daniele Roccato, Marco Tezza","description":"\u003cp\u003eDaniele Roccato and Marco Tezza perform Schubert’s Arpeggione and Schumann’s Fantasiestücke, Romanzen and Abendlied on double bass and piano.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and digital file, 44.1 kHz · 16bit. Velut Luna CVLD054.\u003c\/p\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eDaniele Roccato — double bass; Marco Tezza — piano.\u003c\/p\u003e\u003ch3\u003eRecording\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 96 kHz · 24bit; Auditorium Sandro Pertini, Adria — 2001-05.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003e01 - Sonata in A Minor, D. 821 \"Arpeggione\": I. Allegro moderato - Arranged for Double Bass and Piano\u003cbr\u003e02 - Sonata in A Minor, D. 821 \"Arpeggione\": II. Adagio - Arranged for Double Bass and Piano\u003cbr\u003e03 - Sonata in A Minor, D. 821 \"Arpeggione\": III. Allegretto - Arranged for Double Bass and Piano\u003cbr\u003e04 - Fantasiestücke, Op. 73: No. 1, Zart und mit Ausdruck - Arranged for Double Bass and Piano\u003cbr\u003e05 - Fantasiestücke, Op. 73: No. 2, Lebhaft, leicht - Arranged for Double Bass and Piano\u003cbr\u003e06 - Fantasiestücke, Op. 73: No. 3, Rasch und mit Feuer - Arranged for Double Bass and Piano\u003cbr\u003e07 - Romances, Op. 94: No. 1, Nicht schnell - Arranged for Double Bass and Piano\u003cbr\u003e08 - Romances, Op. 94: No. 2, Einfach, innig - Arranged for Double Bass and Piano\u003cbr\u003e09 - Romances, Op. 94: No. 3, Nicht schnell - Arranged for Double Bass and Piano\u003cbr\u003e10 - 12 Klavierstücke für kleine und große Kinder, Op. 85: No. 12, Abendlied - Arranged for Double Bass and Piano\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eDaniele Roccato and Marco Tezza perform Schubert’s Arpeggione and Schumann’s Fantasiestücke, Romanzen and Abendlied on double bass and piano. Roccato’s transcriptions explore new timbral balances in Romantic repertoire. The edition cites reviews by Marco Cicogna in AudioReview (March 2002), Paola Raschi in Suono (April 2002) and a notice in Amadeus (March 2002).\u003c\/p\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Roccato-e-Tezza-Play-Schubert-Schumann\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50035108872539,"sku":"CVLD054CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File PCM 44.1 kHz · 16 bit WAV — CD Resolution","offer_id":50513673257307,"sku":"CVLD054","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/60d97107e39ee10905565e58.jpg?v=1739024464"},{"product_id":"fanny-mendelssohn-hensel-leider-simone-tenaglia","title":"Fanny Hensel: Lieder — Bianca Simone, Alessandro Tenaglia","description":"\u003cp\u003eBianca Simone and Alessandro Tenaglia pair nine songs by Fanny Hensel with four by Mozart and four by Schubert.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and digital file, 44.1 kHz · 16bit. Velut Luna CVLD023.\u003c\/p\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eBianca Simone — vocals; Alessandro Tenaglia — piano.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003e01 - 6 Lieder, Op. 9: No. 4, Die Frühen Gräber\u003cbr\u003e02 - Wandrers Nachtlied\u003cbr\u003e03 - 6 Lieder, Op. 9: No. 6, Die Mainacht\u003cbr\u003e04 - Harfners Lied\u003cbr\u003e05 - 3 Songs: No. 1, Das Heimweh\u003cbr\u003e06 - Traurige Wege\u003cbr\u003e07 - Der Eichwald Brauset\u003cbr\u003e08 - Fichtenbaum und Palme\u003cbr\u003e09 - Die Nonne\u003cbr\u003e10 - Komm, liebe Zither komm, K. 351\u003cbr\u003e11 - Als Luise die Briefe, K. 520\u003cbr\u003e12 - Das Lied der Trennung, K. 519\u003cbr\u003e13 - Der Zauberer, K. 472\u003cbr\u003e14 - Erlkönig, Op. 1, D. 328\u003cbr\u003e15 - Der Wanderer, D. 489\u003cbr\u003e16 - Gretchen am Spinnrade, Op. 2, D. 118\u003cbr\u003e17 - Die Forelle, Op. 32, D. 550\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eBianca Simone and Alessandro Tenaglia pair nine songs by Fanny Hensel with four by Mozart and four by Schubert. Die frühen Gräber, Die Mainacht and Die Nonne meet Der Zauberer, Erlkönig, Gretchen am Spinnrade and Die Forelle, among others. The programme comprises seventeen tracks.\u003c\/p\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Fanny-Hensel-Lieder\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File PCM 44.1 kHz · 16 bit WAV — CD Resolution","offer_id":50492210053467,"sku":"CVLD023","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"CD (out of stock)","offer_id":50492210086235,"sku":"CVLD023CD","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/Folder_93aba5bb-1b3c-4074-ac51-5e2fbf3ec989.jpg?v=1745746982"},{"product_id":"valses-tenaglia","title":"Valses | Alessandro Tenaglia","description":"\u003cp\u003eAlessandro Tenaglia plays Schubert’s Valses nobles D. 969 and Valses sentimentales D. 779 on square piano, and Ravel’s Valses nobles et sentimentales on grand piano.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and digital file, 44.1 kHz · 16bit. Velut Luna CVLD041.\u003c\/p\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eAlessandro Tenaglia — piano.\u003c\/p\u003e\u003ch3\u003eRecording\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 96 kHz · 24bit; private hall, A. Tenaglia, Vicenza — 2000-04 \/ 2000-10.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003e01 - 12 Valses nobles, Op. 77, D. 969: Nos. 1, 2 \u0026amp; 3\u003cbr\u003e02 - 12 Valses nobles, Op. 77, D. 969: Nos. 4, 5 \u0026amp; 6\u003cbr\u003e03 - 12 Valses nobles, Op. 77, D. 969: Nos. 7, 8 \u0026amp; 9\u003cbr\u003e04 - 12 Valses nobles, Op. 77, D. 969: Nos. 10, 11 \u0026amp; 12\u003cbr\u003e05 - Valses nobles et sentimentales, M. 61: Nos 1, 2, 3, 4, 5, 6 \u0026amp; 7\u003cbr\u003e06 - Valses nobles et sentimentales, M. 61: No. 8, Épilogue. Lent\u003cbr\u003e07 - Valses sentimentales, Op. 50, D. 779: Nos. 1, 2, 3 \u0026amp; 4\u003cbr\u003e08 - Valses sentimentales, Op. 50, D. 779: Nos. 5, 6 \u0026amp; 7\u003cbr\u003e09 - Valses sentimentales, Op. 50, D. 779: Nos. 8, 9, 10 \u0026amp; 11\u003cbr\u003e10 - Valses sentimentales, Op. 50, D. 779: Nos. 12, 13 \u0026amp; 14\u003cbr\u003e11 - Valses sentimentales, Op. 50, D. 779: Nos. 15, 16 \u0026amp; 17\u003cbr\u003e12 - Valses sentimentales, Op. 50, D. 779: Nos. 18, 19 \u0026amp; 20\u003cbr\u003e13 - Valses sentimentales, Op. 50, D. 779: Nos. 21, 22, 23 \u0026amp; 24\u003cbr\u003e14 - Valses sentimentales, Op. 50, D. 779: Nos. 25 \u0026amp; 26\u003cbr\u003e15 - Valses sentimentales, Op. 50, D. 779: Nos. 27, 28 \u0026amp; 29\u003cbr\u003e16 - Valses sentimentales, Op. 50, D. 779: Nos. 30, 31 \u0026amp; 32\u003cbr\u003e17 - Valses sentimentales, Op. 50, D. 779: Nos. 33 \u0026amp; 34\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eAlessandro Tenaglia plays Schubert’s Valses nobles D. 969 and Valses sentimentales D. 779 on square piano, and Ravel’s Valses nobles et sentimentales on grand piano. The instrumental choices connect two perspectives on dance across the nineteenth and twentieth centuries.\u003c\/p\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Schubert-Ravel-Valses\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File PCM 44.1 kHz · 16 bit WAV — CD Resolution","offer_id":50510580154715,"sku":"CVLD041","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"CD (out of stock)","offer_id":50510580187483,"sku":"CVLD041CD","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_51463bac-a0d1-4dbe-b962-a3085ac9bf61.jpg?v=1746093696"},{"product_id":"schubert-symphonies-nos-1-9-overture-in-the-italian-style-d-591","title":"Schubert: Symphonies Nos. 1-9 \u0026amp; Overture in the Italian Style, D. 591","description":"\u003cp\u003eFranz Schubert’s symphonies performed by the Staatskapelle Dresden under Wolfgang Sawallisch, presented as four files corresponding to the four discs of the programme.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eComposer:\u003c\/strong\u003e Franz Schubert\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e Wolfgang Sawallisch\u003cbr\u003e\u003cstrong\u003eOrchestra:\u003c\/strong\u003e Staatskapelle Dresden\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eCD \/ File 1\u003c\/strong\u003e\u003c\/p\u003e\u003col\u003e\u003cli\u003eSymphony No. 1 in D major, D. 82 — I. Adagio – Allegro vivace — 11:38\u003c\/li\u003e\u003cli\u003eSymphony No. 1 in D major, D. 82 — II. Andante — 08:31\u003c\/li\u003e\u003cli\u003eSymphony No. 1 in D major, D. 82 — III. Menuetto. Allegro — 03:44\u003c\/li\u003e\u003cli\u003eSymphony No. 1 in D major, D. 82 — IV. Allegro vivace — 06:10\u003c\/li\u003e\u003cli\u003eSymphony No. 2 in B-flat major, D. 125 — I. Largo – Allegro vivace — 10:28\u003c\/li\u003e\u003cli\u003eSymphony No. 2 in B-flat major, D. 125 — II. Andante — 08:17\u003c\/li\u003e\u003cli\u003eSymphony No. 2 in B-flat major, D. 125 — III. Menuetto. Allegro vivace — 02:54\u003c\/li\u003e\u003cli\u003eSymphony No. 2 in B-flat major, D. 125 — IV. Presto vivace — 06:00\u003c\/li\u003e\u003cli\u003eOverture in the Italian Style in C major, D. 591 — 08:15\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003eCD \/ File 2\u003c\/strong\u003e\u003c\/p\u003e\u003col start=\"10\"\u003e\u003cli\u003eSymphony No. 3 in D major, D. 200 — I. Adagio maestoso – Allegro con brio — 10:06\u003c\/li\u003e\u003cli\u003eSymphony No. 3 in D major, D. 200 — II. Allegretto — 04:03\u003c\/li\u003e\u003cli\u003eSymphony No. 3 in D major, D. 200 — III. Menuetto. Vivace — 03:36\u003c\/li\u003e\u003cli\u003eSymphony No. 3 in D major, D. 200 — IV. Presto vivace — 05:11\u003c\/li\u003e\u003cli\u003eSymphony No. 4 in C minor, D. 417 “Tragic” — I. Adagio molto – Allegro vivace — 09:16\u003c\/li\u003e\u003cli\u003eSymphony No. 4 in C minor, D. 417 “Tragic” — II. Andante — 10:13\u003c\/li\u003e\u003cli\u003eSymphony No. 4 in C minor, D. 417 “Tragic” — III. Menuetto. Allegro vivace — 03:13\u003c\/li\u003e\u003cli\u003eSymphony No. 4 in C minor, D. 417 “Tragic” — IV. Allegro — 07:40\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003eCD \/ File 3\u003c\/strong\u003e\u003c\/p\u003e\u003col start=\"18\"\u003e\u003cli\u003eSymphony No. 5 in B-flat major, D. 485 — I. Allegro — 06:44\u003c\/li\u003e\u003cli\u003eSymphony No. 5 in B-flat major, D. 485 — II. Andante con moto — 11:45\u003c\/li\u003e\u003cli\u003eSymphony No. 5 in B-flat major, D. 485 — III. Menuetto. Allegro molto — 05:01\u003c\/li\u003e\u003cli\u003eSymphony No. 5 in B-flat major, D. 485 — IV. Allegro vivace — 05:35\u003c\/li\u003e\u003cli\u003eSymphony No. 6 in C major, D. 589 — I. Adagio – Allegretto — 08:01\u003c\/li\u003e\u003cli\u003eSymphony No. 6 in C major, D. 589 — II. Andante — 06:40\u003c\/li\u003e\u003cli\u003eSymphony No. 6 in C major, D. 589 — III. Scherzo. Presto – Più lento — 06:24\u003c\/li\u003e\u003cli\u003eSymphony No. 6 in C major, D. 589 — IV. Allegro moderato — 09:41\u003c\/li\u003e\u003c\/ol\u003e\u003cp\u003e\u003cstrong\u003eCD \/ File 4\u003c\/strong\u003e\u003c\/p\u003e\u003col start=\"26\"\u003e\u003cli\u003eSymphony No. 8 in B minor, D. 759 “Unfinished” — I. Allegro moderato — 14:54\u003c\/li\u003e\u003cli\u003eSymphony No. 8 in B minor, D. 759 “Unfinished” — II. Andante con moto — 13:32\u003c\/li\u003e\u003cli\u003eSymphony No. 9 in C major, D. 944 “The Great” — I. Andante – Allegro ma non troppo — 14:23\u003c\/li\u003e\u003cli\u003eSymphony No. 9 in C major, D. 944 “The Great” — II. Andante con moto — 16:48\u003c\/li\u003e\u003cli\u003eSymphony No. 9 in C major, D. 944 “The Great” — III. Scherzo. Allegro vivace — 12:14\u003c\/li\u003e\u003cli\u003eSymphony No. 9 in C major, D. 944 “The Great” — IV. Allegro vivace — 12:36\u003c\/li\u003e\u003c\/ol\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eFranz Schubert\u003c\/strong\u003e — composer\u003cbr\u003e\u003cstrong\u003eWolfgang Sawallisch\u003c\/strong\u003e — conductor\u003cbr\u003e\u003cstrong\u003eStaatskapelle Dresden\u003c\/strong\u003e — orchestra\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003eFour PCM 44.1kHz • 16bit — CD Resolution files, one for each disc in the programme.\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e is a 1-bit digital encoding system based on pulse-density modulation. DSD64 operates at approximately 2.8 MHz, DSD128 at approximately 5.6 MHz and DSD256 at approximately 11.2 MHz. Playback requires compatible equipment.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e is a very high-resolution PCM format operating at 352.8kHz in the version offered here and requires compatible equipment.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"CD 1 - CD FILE 44.1kHz • 16bit","offer_id":51009932231003,"sku":"CS513-44-1","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"CD 2 - CD FILE 44.1kHz • 16bit","offer_id":51009932263771,"sku":"CS513-44-2","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"CD 3 - CD FILE 44.1kHz • 16bit","offer_id":51009946485083,"sku":"CS513-44-3","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"CD 4 - CD FILE 44.1kHz • 16bit","offer_id":51009946517851,"sku":"CS513-44-4","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs513-schubert-symphonies-wolfgang-sawallisch-capsa-symphonia-cover.png?v=1789157104"},{"product_id":"schubert-rosamunde-furstin-von-zypern-d-797-live","title":"Schubert: Rosamunde, Princess of Cyprus, D. 797 (Live)","description":"\u003cp\u003e\u003cstrong\u003eFranz Schubert — Rosamunde, Fürstin von Zypern, D. 797\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThe incidental music for \u003cem\u003eRosamunde, Fürstin von Zypern\u003c\/em\u003e, D. 797 brings together some of Franz Schubert’s best-known orchestral, choral and vocal pages. This live performance is conducted by Mario Rossi with the Orchestra Sinfonica Nazionale della RAI di Torino and Coro di Torino della RAI, with Luisella Ciaffi Ricagno.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eLive recording. Franz Schubert: \u003cem\u003eRosamunde, Fürstin von Zypern\u003c\/em\u003e, D. 797.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e01 — Rosamunde, D. 797: Entr'acte — Allegro molto moderato\u003cbr\u003e02 — Rosamunde, D. 797: Ballett — Allegro moderato\u003cbr\u003e03 — Rosamunde, D. 797: Entr'acte — Andante\u003cbr\u003e04 — Rosamunde, D. 797: Der Vollmond strahlt auf Bergeshöh’n\u003cbr\u003e05 — Rosamunde, D. 797: In der Tiefe wohnt das Licht\u003cbr\u003e06 — Rosamunde, D. 797: Entr'acte — Andantino\u003cbr\u003e07 — Rosamunde, D. 797: Hirtenmelodien — Andante\u003cbr\u003e08 — Rosamunde, D. 797: Hier auf den Fluren\u003cbr\u003e09 — Rosamunde, D. 797: Wie lebt sich’s so fröhlich im Grünen\u003cbr\u003e10 — Rosamunde, D. 797: Ballett — Andantino\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003eFranz Schubert — composer\u003cbr\u003eMario Rossi — conductor\u003cbr\u003eOrchestra Sinfonica Nazionale della RAI di Torino — orchestra\u003cbr\u003eCoro di Torino della RAI — choir\u003cbr\u003eLuisella Ciaffi Ricagno — voice\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003eDSD (Direct Stream Digital) is a 1-bit digital encoding system. DSD64 operates at about 2.8 MHz, DSD128 at about 5.6 MHz and DSD256 at about 11.2 MHz. Compatible playback equipment is required.\u003c\/p\u003e\u003cp\u003eDXD (Digital eXtreme Definition) is a very high-resolution PCM format operating at 352.8kHz in the version offered here and requires compatible equipment.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"CD FILE 44.1kHz • 16bit","offer_id":51014666223963,"sku":"CS517-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs517-schubert-rosamunde-mario-rossi-capsa-symphonia-cover.png?v=1789157141"},{"product_id":"schubert-symphony-no-3-d-200-mendelssohn-symphony-no-4-op-90-mwv-n-16","title":"Rossi: Schubert — Symphony No. 3 \u0026 Mendelssohn — Symphony No. 4 “Italian”","description":"\u003cp\u003eMario Rossi conducts the Turin Symphony Orchestra in a programme pairing Franz Schubert’s \u003cstrong\u003eSymphony No. 3 in D major, D. 200\u003c\/strong\u003e with Felix Mendelssohn’s \u003cstrong\u003eSymphony No. 4 in A major, Op. 90 “Italian”\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eMario Rossi conducts the Turin Symphony Orchestra in Schubert’s Symphony No. 3 and Mendelssohn’s Symphony No. 4 “Italian”.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eFranz Schubert — Symphony No. 3 in D major, D. 200\u003c\/strong\u003e\u003cbr\u003e01 — I. Adagio maestoso — Allegro con brio\u003cbr\u003e02 — II. Allegretto\u003cbr\u003e03 — III. Menuetto: Vivace\u003cbr\u003e04 — IV. Presto: Vivace\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFelix Mendelssohn — Symphony No. 4 in A major, Op. 90 “Italian”\u003c\/strong\u003e\u003cbr\u003e05 — I. Allegro vivace\u003cbr\u003e06 — II. Andante con moto\u003cbr\u003e07 — III. Con modo molto moderato\u003cbr\u003e08 — IV. Saltarello: Presto\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eComposers:\u003c\/strong\u003e Franz Schubert; Felix Mendelssohn\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e Mario Rossi\u003cbr\u003e\u003cstrong\u003eOrchestra:\u003c\/strong\u003e Turin Symphony Orchestra\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Capsa Symphōnĭa\u003cbr\u003e\u003cstrong\u003eCode:\u003c\/strong\u003e CS523\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD\u003c\/strong\u003e is a 1-bit digital encoding system. DSD64 operates at about \u003cstrong\u003e2.8 MHz\u003c\/strong\u003e, DSD128 at \u003cstrong\u003e5.6 MHz\u003c\/strong\u003e and DSD256 at \u003cstrong\u003e11.2 MHz\u003c\/strong\u003e. Compatible playback equipment is required.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD\u003c\/strong\u003e is a very high-resolution PCM format; in the version offered here it operates at \u003cstrong\u003e352.8kHz\u003c\/strong\u003e and requires compatible equipment.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"CD FILE 44.1kHz • 16bit","offer_id":51022505083227,"sku":"CS523-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs523-schubert-symphony-no-3-mendelssohn-symphony-no-4-mario-rossi-capsa-symphonia-cover.png?v=1789157141"},{"product_id":"karajan-conducts-mozart-beethoven-schubert-symphonies","title":"Karajan: Mozart, Schubert \u0026 Beethoven — Symphonies","description":"\u003cp\u003e\u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e moves through Mozart, Schubert and Beethoven in a programme bringing together Mozart’s Symphonies No. 35 “Haffner” and No. 39, Schubert’s Symphony No. 8 “Unfinished” and Beethoven’s Symphonies No. 5 and No. 7, with the Los Angeles Philharmonic Orchestra, Wiener Philharmoniker and Berliner Philharmoniker.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eThe programme places three different symphonic worlds in sequence, from Mozart’s formal clarity to the suspended lyricism of the “Unfinished”, and finally the rhythmic and structural tension of Beethoven’s two symphonies.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003ePart 1\u003c\/strong\u003e\u003cbr\u003e01 — Wolfgang Amadeus Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”\u003cbr\u003e02 — Wolfgang Amadeus Mozart: Symphony No. 39 in E-Flat Major, K. 543\u003cbr\u003e03 — Franz Schubert: Symphony No. 8 in B Minor, D. 759 “Unfinished”\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 2\u003c\/strong\u003e\u003cbr\u003e04 — Ludwig van Beethoven: Symphony No. 5 in C Minor, Op. 67\u003cbr\u003e05 — Ludwig van Beethoven: Symphony No. 7 in A Major, Op. 92\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eComposers:\u003c\/strong\u003e Wolfgang Amadeus Mozart; Franz Schubert; Ludwig van Beethoven\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e Herbert von Karajan\u003cbr\u003e\u003cstrong\u003eOrchestras:\u003c\/strong\u003e Los Angeles Philharmonic Orchestra; Wiener Philharmoniker; Berliner Philharmoniker\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Capsa Symphōnĭa\u003cbr\u003e\u003cstrong\u003eCode:\u003c\/strong\u003e CS536\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003ePart 1 — File PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePart 2 — File PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e is a 1-bit digital encoding system based on pulse-density modulation. DSD64 operates at approximately \u003cstrong\u003e2.8 MHz\u003c\/strong\u003e, DSD128 at approximately \u003cstrong\u003e5.6 MHz\u003c\/strong\u003e and DSD256 at approximately \u003cstrong\u003e11.2 MHz\u003c\/strong\u003e. Playback requires a DAC or player compatible with the selected DSD rate.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e is a very high-resolution PCM format; in the version presented here it operates at \u003cstrong\u003e352.8kHz\u003c\/strong\u003e. Developed also as a professional editing and post-production environment for very high-resolution workflows, it requires a compatible DAC or player.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"CD 1 - CD FILE 44.1kHz • 16bit","offer_id":51034096566619,"sku":"CS536-44-1","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"CD 2 - CD FILE 44.1kHz • 16bit","offer_id":51034096599387,"sku":"CS536-44-2","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs536-mozart-schubert-beethoven-herbert-von-karajan-capsa-symphonia-cover.png?v=1789153718"},{"product_id":"a-portrait-vol-6-jascha-horenstein-remastered-2022","title":"Horenstein: Schubert — Symphony No. 9 “The Great”","description":"\u003cp\u003e\u003cstrong\u003eJascha Horenstein\u003c\/strong\u003e conducts the \u003cstrong\u003eGothenburg Symphony Orchestra\u003c\/strong\u003e in Franz Schubert’s \u003cstrong\u003eSymphony No. 9 in C major, D 944 “The Great”\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eThe recording comes from the \u003cstrong\u003e9 October 1969 concert at Gothenburg Concert Hall\u003c\/strong\u003e and is a live recording.\u003c\/p\u003e\u003cp\u003eThe interpretation highlights breadth of form, rhythmic continuity and the progression of the large finale.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e01 — I. Andante – Allegro ma non troppo\u003cbr\u003e02 — II. Andante con moto\u003cbr\u003e03 — III. Scherzo. Allegro vivace\u003cbr\u003e04 — IV. Finale. Allegro vivace\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eComposer:\u003c\/strong\u003e Franz Schubert\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e Jascha Horenstein\u003cbr\u003e\u003cstrong\u003eOrchestra:\u003c\/strong\u003e Gothenburg Symphony Orchestra\u003cbr\u003e\u003cstrong\u003eRecording:\u003c\/strong\u003e Gothenburg Concert Hall, 9 October 1969 — live\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Capsa Symphōnĭa — CS586\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003eAvailable as \u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e is a 1-bit digital encoding system based on pulse-density modulation. DSD64 operates at approximately \u003cstrong\u003e2.8 MHz\u003c\/strong\u003e, DSD128 at approximately \u003cstrong\u003e5.6 MHz\u003c\/strong\u003e and DSD256 at approximately \u003cstrong\u003e11.2 MHz\u003c\/strong\u003e. Playback requires a compatible DAC or player.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e is a very high-resolution PCM format; in the version presented here it operates at \u003cstrong\u003e352.8kHz\u003c\/strong\u003e and requires a compatible DAC or player.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"CD FILE 44.1kHz • 16bit","offer_id":51164317548891,"sku":"CS586-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs586-schubert-symphony-no-9-jascha-horenstein-capsa-symphonia-cover.png?v=1789153687"},{"product_id":"the-symphonies-iii","title":"Fricsay: Beethoven \u0026 Schubert — Symphony No. 7 \u0026 Symphony No. 8 “Unfinished”","description":"\u003cp\u003e\u003cstrong\u003eFerenc Fricsay\u003c\/strong\u003e pairs two landmarks of the Viennese symphonic repertoire: Beethoven’s \u003cstrong\u003eSymphony No. 7 in A major, Op. 92\u003c\/strong\u003e and Schubert’s \u003cstrong\u003eSymphony No. 8 in B minor, D. 759 “Unfinished”\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eBeethoven’s Seventh was recorded at the \u003cstrong\u003eJesus-Christus-Kirche in Berlin from 3 to 5 October 1960\u003c\/strong\u003e with the Berliner Philharmoniker. Schubert’s \u003cem\u003eUnfinished\u003c\/em\u003e with the Radio-Symphonie-Orchester Berlin dates from \u003cstrong\u003e1958\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eFerenc Fricsay\u003c\/h2\u003e\u003cp\u003eIn Beethoven and Schubert, Fricsay balances rhythmic impulse and formal clarity.\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003eAvailable as \u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eBeethoven — Symphony No. 7 in A Major, Op. 92\u003c\/strong\u003e\u003cbr\u003e1. I. Poco sostenuto – Vivace\u003cbr\u003e2. II. Allegretto\u003cbr\u003e3. III. Presto\u003cbr\u003e4. IV. Allegro con brio\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSchubert — Symphony No. 8 in B Minor, D. 759 “Unfinished”\u003c\/strong\u003e\u003cbr\u003e5. I. Allegro moderato\u003cbr\u003e6. II. Andante con moto\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e Ferenc Fricsay\u003cbr\u003e\u003cstrong\u003eOrchestras:\u003c\/strong\u003e Berliner Philharmoniker; Radio-Symphonie-Orchester Berlin\u003cbr\u003e\u003cstrong\u003eComposers:\u003c\/strong\u003e Ludwig van Beethoven; Franz Schubert\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Capsa Symphōnĭa — CS617\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e is a 1-bit digital encoding system based on pulse-density modulation. DSD64 operates at approximately \u003cstrong\u003e2.8 MHz\u003c\/strong\u003e, DSD128 at approximately \u003cstrong\u003e5.6 MHz\u003c\/strong\u003e, and DSD256 at approximately \u003cstrong\u003e11.2 MHz\u003c\/strong\u003e. Playback requires a DAC or player compatible with the selected DSD rate.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e is a very high-resolution PCM format; in the version offered here it operates at \u003cstrong\u003e352.8kHz\u003c\/strong\u003e. Originally developed also as a professional editing and post-production environment for very high-resolution workflows, it requires a compatible DAC or player.\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"File PCM 44.1kHz • 16bit — CD Resolution","offer_id":51192818860379,"sku":"CS617-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/ferenc-fricsay-beethoven-7-schubert-8-incompiuta-capsa-CS617-cover.png?v=1788257154"},{"product_id":"beethoven-piano-concerto-no-3-in-c-minor-op-37-schubert-symphony-no-8-in-b-minor-d-759-unfinished-live","title":"Kertész: Beethoven \u0026 Schubert — Piano Concerto No. 3 \u0026 Symphony No. 8 “Unfinished”","description":"\u003cp\u003eLudwig van Beethoven’s \u003cstrong\u003ePiano Concerto No. 3 in C minor, Op. 37\u003c\/strong\u003e features \u003cstrong\u003eConrad Hansen\u003c\/strong\u003e at the piano with the \u003cstrong\u003eBamberger Symphoniker\u003c\/strong\u003e conducted by \u003cstrong\u003eIstván Kertész\u003c\/strong\u003e; Franz Schubert’s \u003cstrong\u003eSymphony No. 8 in B minor, D. 759 “Unfinished”\u003c\/strong\u003e is performed by Kertész with the \u003cstrong\u003eLondon Symphony Orchestra\u003c\/strong\u003e. The two live performances are brought together in this Capsa Symphōnĭa edition.\u003c\/p\u003e\u003ch2\u003eRecordings\u003c\/h2\u003e\u003cp\u003eBeethoven’s Third Piano Concerto combines concertante tension with symphonic momentum; Schubert’s “Unfinished” opens toward a more suspended lyricism and a stronger exploration of orchestral colour. Kertész maintains formal continuity and clarity of line across both works.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eLudwig van Beethoven — Piano Concerto No. 3 in C Minor, Op. 37\u003c\/strong\u003e\u003cbr\u003e01 — I. Allegro con brio\u003cbr\u003e02 — II. Largo\u003cbr\u003e03 — III. Rondo. Allegro – Presto\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFranz Schubert — Symphony No. 8 in B Minor, D. 759 “Unfinished”\u003c\/strong\u003e\u003cbr\u003e04 — I. Allegro moderato\u003cbr\u003e05 — II. Andante con moto\u003c\/p\u003e\u003ch2\u003eCredits\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eLudwig van Beethoven — Piano Concerto No. 3:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePiano:\u003c\/strong\u003e Conrad Hansen\u003cbr\u003e\u003cstrong\u003eOrchestra:\u003c\/strong\u003e Bamberger Symphoniker\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e István Kertész\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFranz Schubert — Symphony No. 8 “Unfinished”:\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOrchestra:\u003c\/strong\u003e London Symphony Orchestra\u003cbr\u003e\u003cstrong\u003eConductor:\u003c\/strong\u003e István Kertész\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRecordings:\u003c\/strong\u003e Live\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Capsa Symphōnĭa\u003cbr\u003e\u003cstrong\u003eCode:\u003c\/strong\u003e CS657\u003c\/p\u003e\u003ch2\u003eAvailable formats\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e\u003c\/p\u003e\u003ch2\u003eWhat are DSD and DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e is a 1-bit digital encoding system based on pulse-density modulation. DSD64 operates at approximately \u003cstrong\u003e2.8 MHz\u003c\/strong\u003e, DSD128 at approximately \u003cstrong\u003e5.6 MHz\u003c\/strong\u003e and DSD256 at approximately \u003cstrong\u003e11.2 MHz\u003c\/strong\u003e. Playback requires a DAC or player compatible with the selected DSD rate.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e is a very high-resolution PCM format; in the version presented here it operates at \u003cstrong\u003e352.8kHz\u003c\/strong\u003e. Developed also as a professional editing and post-production environment for very high-resolution workflows, it requires a compatible DAC or player.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/capsa-symphonia\"\u003eExplore the Capsa Symphōnĭa collection\u003c\/a\u003e\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"File PCM 44.1kHz • 16bit — CD Resolution","offer_id":51216347136347,"sku":"CS657-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/cs657-beethoven-piano-concerto-no-3-schubert-symphony-no-8-kertesz-conrad-hansen-capsa-symphonia-cover.png?v=1789039931"},{"product_id":"audiophile-album-test-ahf01","title":"AUDIOPHILE ALBUM TEST - AHF01 | Velut Luna","description":"\u003cp lang=\"en-US\" class=\"western\"\u003e \u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003cb\u003eAUDIOPHILE ALBUM TEST - AHF01 | Velut Luna\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cul\u003e\u003c\/ul\u003e\n\n \u003cp\u003eTracks:\u003c\/p\u003e\n\n\u003col\u003e\n\n\u003cli\u003e Audiophile Musical Journey - Franz Schubert 06 - Sonata in A major D959: Andantino, 8:05\u003c\/li\u003e\n\n\u003cli\u003e Audiophile Musical Journey - 10 - Birdland (J. Zawinul) 5:19\u003c\/li\u003e\n\n\u003cli\u003e Audiophile Musical Journey - Wolfgang Amadeus Mozart Concert in A Major K622 for Clarinet and Orchestra 04 - Allegro [fragment], 4:08\u003c\/li\u003e\n\n\u003cli\u003e Audiophile Musical Journey - 15 - You'll See, You'll See (L. Tenco) 4:36\u003c\/li\u003e\n\n\u003cli\u003e Rec Live! - 03 If You Go Before Me - Terence Trent D'Arby 4:20\u003c\/li\u003e\n\n\u003cli\u003e Rec Live! - 04 Empty Promises - Guido Marzorati 4:15\u003c\/li\u003e\n\n\u003cli\u003e Rec Live! - 08 Smells Like Teen Spirit - Kurt Cobain \u0026amp; Nirvana 5:43\u003c\/li\u003e\n\n\n\u003c\/ol\u003e\n\n\u003cp\u003e ℗ 2026 Velut Luna®_Released 2026-02-15\u003c\/p\u003e\n\n\u003cp\u003e This is the first album included with AUDIOPHILE HI-FI magazine, created in collaboration with Velut Luna, a historic audiophile label that celebrated its first thirty years of activity in 2025 and which inaugurates with us this prestigious series of test records included with the magazine.\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Audiophile Hi-Fi","offers":[{"title":"HD FILE 88.2kHz · 24bit","offer_id":52397386957147,"sku":"AHF01-WAV","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/digitalalbumtestaudhiophile.png?v=1775331609"},{"product_id":"marco-fornaciari-violino","title":"MARCO FORNACIARI - Violino","description":"\u003ch2 class=\"h1 namne_details\" itemprop=\"name\"\u003eFORNACIARI\u003c\/h2\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":"\u003ch2 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF'S ENCORES\u003c\/h2\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-schubert-magaloff","title":"NIKITA MAGALOFF: SCHUBERT PIANO | Magaloff","description":"\u003ch2 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF\u003c\/h2\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":"i-violini-di-cremona-omaggio-a-kreisler-accardo-manzini","title":"I VIOLINI DI CREMONA, OMAGGIO A KREISLER | Accardo, Manzini","description":"\u003ch2 class=\"h1 namne_details\" itemprop=\"name\"\u003eI VIOLINI DI CREMONA \u003c\/h2\u003e\n\u003ch2 class=\"h1 namne_details\" itemprop=\"name\"\u003eOmaggio a Kreisler\u003c\/h2\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio, SACD\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Carlo IX\" di A. Amati (1566)\u003c\/p\u003e\n\u003cp\u003e1. Praeludium und Allegro nello stile di \/ in the style of Pugnani 5'10\"\u003cbr\u003e2. Menuett nello stile di \/ in the style of Porpora 4'05\"\u003cbr\u003e3. Tambourin nello stile di \/ in the style of Leclair 2'25\"\u003c\/p\u003e\n\u003cp\u003e\"Hammerle\" di N. Amati (1658)\u003c\/p\u003e\n\u003cp\u003e4. Rondino su un tema di \/ based on a theme by Beethoven 2'33\"\u003cbr\u003e5. Melodie  Gluck arr. Kreisler  3'14\"\u003cbr\u003e6. Allegretto nello stile di \/ in the style of Boccherini  3'21\"\u003c\/p\u003e\n\u003cp\u003e\"Quarestani\" di G. Guarneri (1689)\u003c\/p\u003e\n\u003cp\u003e7. Hindu - Lied Rimskij Korsakov da \/ from \"Sadko\"  3'26\"\u003cbr\u003e8. Mazurka La minore - A minor  Chopin Op.67, n. 4 arr. Kreisler  3'32\"\u003c\/p\u003e\n\u003cp\u003e\"G. Guarneri detto del Gesù\" (1734)\u003c\/p\u003e\n\u003cp\u003e9. La Gitana  3'17\"\u003cbr\u003e10. Impromptu Schubert Op. 90 n. 3 arr. Kreisler 5'29\"\u003cbr\u003e11. Liebesfreud \"Cremonese\" di A. Stradivari (1715) 3'19\"\u003c\/p\u003e\n\u003cp\u003e\"Cremonese\" di A. Stradivari (1715)\u003c\/p\u003e\n\u003cp\u003e12. Tambourin Chinois  3'45\"\u003cbr\u003e13. Cavatina  4'01\"\u003cbr\u003e14. Schon Rosmarin  1'51\"\u003cbr\u003e15. Songs my mother taught me Dvorak Op. 55 n.4 da \/ from \"Gipsy Melodies\" 3'02\"\u003cbr\u003e16. Hungarian Dance Brahms arr. Kreisler 3'48\"\u003cbr\u003e17. Hymne an die Sonne Rimskij Korsakov da \/ from \"Le coq d'or\" 5'08\"     \u003cbr\u003e18. Malaguena Albeniz Op. 165 n. 3 arr. Kreisler 3'55\"\u003cbr\u003e19. Liebesleid  3'33\"\u003c\/p\u003e\n\u003cp\u003eTotal Time 1h08'00\"\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/8012871000357?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\u003eIl progetto I VIOLINI DI CREMONA Salvatore Accardo è ascoltabile in due SACD diversi: SACD 003 e SACD 030. Questo album è il SACD 003 ideato, registrato e prodotto da Giulio Cesare Ricci presso la \"Sala Musica - Palazzo Cavalcabò\" di Cremona il 6, 7, 8 novembre 1993. Con questa registrazione Giulio Cesare Ricci inizia la collaborazione con il grande violinista Salvatore Accardo, collaborazione che dura da 30 anni. Ne \"I violini di Cremona\" Salvatore Accardo dà nuova vita e voce a cinque gioielli della liuteria storica cremonese: \"Carlo IX\" di Andrea Amati, \"Hammerle\" di Niccolò Amati,  \"Quarestani\" di Giuseppe Guarneri,  \"Cremonese\" di Antonio Stradivari,  \"Giuseppe Guarneri detto del Gesù\". Musiche di Fritz Kreisler per violino e pianoforte: il Maestro Salvatore Accardo è accompagnato al piano dalla pianista Laura Manzini. La scelta di questa location è stata dettata dalla sua meravigliosa acustica che ha permesso di ottenere un risultato eccezionale. Per questa registrazione Giulio Cesare Ricci ha utilizzato i microfoni valvolari originali Neumann U47 e M49 e tutta la sua attrezzatura: preamplificatori microfonici avanzati Nagra, registratori analogici a nastro Nagra 4s, cavi di linea, microfonici e di alimentazione Signoricci. Il master analogico originale è stato trasferito da Nagra 4s direttamente a DSD. Con questa registrazione, Giulio Cesare Ricci ha voluto che l'ascoltatore vivesse un'esperienza unica. E' come se fosse seduto in una poltrona, nella posizione ideale della \"Sala Musica - Palazzo Cavalcabò\" . In questa posizione si apprezzano profondità, ampiezza e altezza del suono. Un album da non perdere!\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"SACD","offer_id":54045148447067,"sku":"SACD003","price":20.0,"currency_code":"EUR","in_stock":false},{"title":"DSD 64","offer_id":54045088973147,"sku":"DSD003","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96 kHz · 24bit","offer_id":54045089005915,"sku":"HD003","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/8012871000357.jpg?v=1789310790"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/franz-schubert.oembed?page=2","provider":"Reference Music Store","version":"1.0","type":"link"}