{"title":"Giovanni Mareggini","description":"\u003cp\u003eBrowse albums and recordings associated with Giovanni Mareggini in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"mozart-gabler-fattschek-heyse-kohler-mareggini-burani-gli-archi-italiani","title":"Mozart, Gabler, Fattschek, Heyse, Köhler | Giovanni Mareggini, Davide Burani","description":"\u003cp\u003eFlutist Giovanni Mareggini and harpist Davide Burani, with Gli Archi Italiani, perform music by Mozart, Gabler, Fattschek, Heyse and Köhler.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD211CD\u003c\/li\u003e\u003cli\u003eFile Hi-Res WAV 88.2kHz · 24bit — CVLD211\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eGiovanni Mareggini — flute; Davide Burani — harp Salvi Diana; Gli Archi Italiani.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 24 bit. Mozart: Chiesa della Madonna dell’Uliveto, Montericco di Albinea (Reggio Emilia), 2011-01-04; Gabler, Fattschek, Heyse, Köhler: Magister Area Studios, Preganziol, 2011-03-29.\u003c\/p\u003e\u003cp\u003eProduction: Velut Luna | Executive producer: Marco Lincetto |\u003cbr\u003eArtistic direction: Anna Pasetti | Recording \u0026amp; Mastering engineer: Marco Lincetto |\u003cbr\u003eEditing engineer: Michele Sartor | Design: l’image | Photo: Benito Vanicelli |\u003cbr\u003eEnglish text: Guido Mariani | Marketing: Francesco Pesavento |\u003cbr\u003eSales Manager: Moreno Danieli \u0026amp; Patrizia Pagiaro |\u003cbr\u003ePress Agent: Emanuela Dalla Valle | World Wide Contacts: Cristiana Dalla Valle\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e01 - Mozart - KV299 - Allegro\u003cbr\u003e02 - Mozart - KV299 - Andantino\u003cbr\u003e03 - Mozart - KV299 - Allegro\u003cbr\u003e04 - Gabler - Andante con var op34\u003cbr\u003e05 - Fattschek - Sonatina op3 - Allegro\u003cbr\u003e06 - Fattschek - Sonatina op3 - Adagio\u003cbr\u003e07 - Fattschek - Sonatina op3 - Allegretto con var\u003cbr\u003e08 - Heyse - Sonata op4 - Allegro moderato\u003cbr\u003e09 - Heyse - Sonata op4 - Tempo di minuetto\u003cbr\u003e10 - Heyse - Sonata op4 - Presto\u003cbr\u003e11 - Kohler - Sonata op59 - Allegro con spirito\u003cbr\u003e12 - Kohler - Sonata op59 - Romanza, Andantino\u003cbr\u003e13 - Kohler - Sonata op59 - Andante con var\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003ch4\u003eEdition notes\u003c\/h4\u003e\u003cp\u003eWolfgang Amadeus Mozart (Salzburg, 1756-Vienna, 1791) composed his Concerto for Flute, Harp and Orchestra K299 during his second stay in Paris in 1778, commissioned by Adrien-Louis de Bounières, Duke of Guines. Very close to Queen Marie Antoinette, Guines was French ambassador to London for several years, but was forced to return to Paris after a major financial scandal in which he was involved due to his secretary (the title of duke was granted to him as compensation, thanks to the queen's intercession). Composed in three movements (Allegro, Andantino and Allegro), the Concerto is characterized by a wealth of thematic elements. The first movement, in C major, opens with a joyful arpeggio\u003cbr\u003ein full orchestra on the fundamental chord, followed by a broken scale that quickly leads to the exposition of strings and oboes. The second theme (still in the tonic key) is introduced by two long notes from the horns and presents a gallant character that elegantly contrasts with the martial and joyful character of the first theme. The entry of the two solo instruments is preceded by a series of fast triplets\u003cbr\u003efrom the strings that recall the beginning of the \"Jupiter\" Symphony K551 (from 1788, exactly ten years after this Concerto). Flute and harp then reprise the first theme, re-elaborating and enriching it with continuous dialogue, until reaching the classical modulation to the dominant key. Here the flute is entrusted with a cantabile and lyrical phrase, while the harp has the task of accompanying, in a truly chamber music dimension; then follows a virtuosic passage by the harp that leads to the reprise of the second theme in G major, which is in turn re-elaborated. A new cantabile motif from the flute in A minor, followed by the re-proposition of the first theme by the harp, marks the beginning of the most evocative (and perhaps most \"French\") part of the first movement, with a moment of very intense dialogue between the two instruments. The reprise of the two main themes, the cadenza of the soloists and a brief coda conclude the movement. The Andantino (in F major) is perhaps the most famous movement of the entire Concerto. Composed in bipartite form, with a streamlined orchestration for strings alone, this movement shines with melodic richness and the flute's expansive cantability, accompanied by the delicate arpeggios and virtuosity of the harp. The concluding Allegro is\u003cbr\u003econstructed in sonata-rondo form. The initial exposition begins with a \"piano\" from the strings alone, followed by the oboes, which is soon contrasted by a sudden and very dynamic \"forte\" from the strings, with repeated notes and fast figurations. The chiaroscuro contrast between \"piano\" and \"forte\" constitutes one of the most important elements of this movement, contributing decisively to its vivacity. Here too, the entry of the soloists marks a thematic re-elaboration in a dialogue form, with the flute once again standing out for the cantability of the phrases entrusted to it, balancing the more decidedly virtuosic musical writing of the harp. It is interesting how Mozart here alternates newly conceived melodic phrases with previously proposed motifs, creating in the listener the impression of being faced with a true Rondo. The twenty-two-year-old Wolfgang arrived in France at the beginning of March 1778, accompanied by his mother, hoping to gain the queen's protection, known for welcoming artists and musicians from all over Europe to her court. However, Marie Antoinette was at that time dealing with her first pregnancy and, despite the support of the Duke of Guines, she never received him. He was nevertheless offered the position of organist at Versailles, which he refused, despite his father's advice who considered it a secure job and a good way to stay in contact with the court and access the queen's entourage.\u003cbr\u003eThose were the years of the harp's greatest splendor in France, which had already become the favorite instrument of the French aristocracy since the 1760s. Meanwhile, important musical pages had already been dedicated to the transverse flute, but these two instruments had rarely met until then. The enlightened commission of the Duke of Guines, an amateur flutist who loved to play with his harpist daughter (who also took composition lessons from Mozart), gave a decisive impulse to the birth of the repertoire for flute and harp which, from then on, progressively began to be enriched with works by French, Italian, but especially German authors.\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Davide-Burani-Giovanni-Mareggini-Plays-Mozart-Gabler-Fattschek-Heyse-kohler\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":51801980043611,"sku":"CVLD211CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49823204802907,"sku":"CVLD211","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/211-cover.jpg?v=1736032870"},{"product_id":"gaslini-sinfonico-3-gaslini","title":"Giorgio Gaslini: Gaslini Sinfonico 3","description":"\u003cp\u003eFrom Sinfonia breve to Adagio Is Beautiful: seven works by Giorgio Gaslini, including Silver Concert and Suite Elisabettiana. CD and file.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and file, 44.1 kHz · 16bit. Velut Luna CVLD197.\u003c\/p\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003e1: Orchestra Filarmonica Nazionale Russa di Tomsk.\u003cbr\u003e2: Icarus Ensemble; G. Gaslini — conductor; G. Mareggini — flute.\u003cbr\u003e3–5: A. Caiello — soprano; A. Braga — violin; J. Imperial — viola; S. Scotto — cello; A. Teora — clarinet; G. Gaslini — conductor.\u003cbr\u003e6: V. Jansons — baritone; G. Ubaldi — choir conductor; Oak Ensemble; R. Bonati — conductor.\u003cbr\u003e7: Orchestra Internazionale d’Italia; L. Jia — conductor; M. Mazzoni — sax baritono.\u003cbr\u003e8–12: C. Cely — flute, vocals; G. Gaslini — piano.\u003cbr\u003e13: Orchestra Sinfonica Internazionale F. Fenaroli; G. Gaslini — conductor.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003e01 - Sinfonia breve\u003cbr\u003e02 - Naturalmente, Beyond the River per flauto e dieci strumenti\u003cbr\u003e03 - Ter per voce di soprano, violino, viola, violoncello e clarinetto: No. 1, Da secoli sopporto\u003cbr\u003e04 - Ter per voce di soprano, violino, viola, violoncello e clarinetto: No. 2, Penso al mio riposo\u003cbr\u003e05 - Ter per voce di soprano, violino, viola, violoncello e clarinetto: No. 3, Ecco che arrivo al bosco\u003cbr\u003e06 - Il bosco di Beuys per voce di baritono, piccolo coro femminile, clarinetto, violoncello, pianoforte...\u003cbr\u003e07 - Silver concert per saxofono baritono e orchestra\u003cbr\u003e08 - Suite Elisabettiana per traversiere, canto e pianoforte: No. 1, Come Again\u003cbr\u003e09 - Suite Elisabettiana per traversiere, canto e pianoforte: No. 2, Sweetkate\u003cbr\u003e10 - Suite Elisabettiana per traversiere, canto e pianoforte: No. 3, Out Have \/ Sighted for him\u003cbr\u003e11 - Suite Elisabettiana per traversiere, canto e pianoforte: No. 4, Sweet Nymph, Come to Thy Lover\u003cbr\u003e12 - Suite Elisabettiana per traversiere, canto e pianoforte: No. 5, When Laura Smiles\u003cbr\u003e13 - Adagio Is Beautiful per 16 archi\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eIn Quirino Principe’s commentary, Sinfonia breve unfolds through twelve sequences, evoking the seasons in sections 3, 7, 10 and 12. The triptych Naturalmente joins Beyond the River (2007), reworking Lamento di Tristano, Ter (2008), setting poems by Daniela Margheriti, and Il bosco di Beuys (2008), using text from Marco Bagnoli’s interview with Joseph Beuys. Silver Concert for baritone saxophone and orchestra meets jazz with the Classical-Romantic tradition; this performance took place at Teatro Rossini, Pesaro, on 6 September 1992. Suite Elisabettiana pays tribute to sixteenth-century English court music. Gaslini conducts Adagio Is Beautiful for sixteen strings live in Lanciano on 22 August 1999. The recordings come from different venues and years; Marco Lincetto remixed and mastered the collection and recorded Il bosco di Beuys.\u003c\/p\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Giorgio-Gaslini-Sinfonico-3\" 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\u003cp\u003eTexts: D. Margheriti; M. Bagnoli; W. Shakespeare.\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50015380111707,"sku":"CVLD197CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File PCM 44.1 kHz · 16 bit WAV — CD Resolution","offer_id":50952311669083,"sku":"CVLD197","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/60d97347e39ee15105565e95.jpg?v=1738747302"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/giovanni-mareggini.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}