{"title":"Niccolò Valerio","description":"\u003cp\u003eBrowse albums and recordings associated with Niccolò Valerio in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"flute-for-dinner-ammendola-benciolini-candiotto-casa-degli-innocenti-di-giorgio-guglielmo-la-malfa-nobile-pavan-sabbadin-valerio-bisi","title":"Flute for Dinner | Adriano Lincetto, Honegger, Poulenc","description":"\u003cp\u003eFlute music by Adriano Lincetto, Arthur Honegger and Francis Poulenc, recorded at Auditorium Pollini in December 2014.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD248\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eGloria Ammendola, Tommaso Benciolini, Simone Candiotto, Giulia Casa, Ludovico Degli Innocenti, Marco Aurelio Di Giorgio, Elia Guglielmo, Veronica La Malfa, Roberta Nobile, Caterina Pavan, Alice Sabbadin, Niccolò Valerio — flute; Maria Bisi — piano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; Auditorium Pollini, Padova; 2014-12-11\/12.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eProduction: Velut Luna\u003c\/strong\u003e\u003cbr\u003eMusical producer and artistic direction: Daniele Ruggieri\u003cbr\u003eRecording and mastering engineer: Marco Lincetto\u003cbr\u003eEditing engineer: Matteo Costa\u003cbr\u003eCover and inside photos: Marco Lincetto\u003cbr\u003eDesign: L’Image\u003cbr\u003eMarketing and Sales Managers: Patrizia Pagiaro\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e   Adriano Lincetto\u003cbr\u003eQuartetto per flauti in do (1977) 12:16\u003cbr\u003e01. Allegro deciso e molto marcato\u003cbr\u003e02. Andante cantabile e sognante\u003cbr\u003e03. Vivacissimo\u003cbr\u003eSonatina per flute e piano (1978) 9:41\u003cbr\u003e04. Allegro spigliato\u003cbr\u003e05. Andante elegiaco\u003cbr\u003e06. Allegro ironico e grottesco\u003cbr\u003e07. Sequenza per flute solo (1979) 3:03\u003cbr\u003eGiochi d’infanzia per tre flauti in do (1979) 4:39\u003cbr\u003e08. Allegro spiritoso\u003cbr\u003e09. Adagio ma non troppo\u003cbr\u003e10. Scorrevole\u003cbr\u003e   Arthur Honegger (bonus track)\u003cbr\u003e11. Dance de la Chèvre (1921) 3:27\u003cbr\u003eFrancis Poulenc (bonus tracks)\u003cbr\u003eSonata for flute and piano (1956) 11:44\u003cbr\u003e12. Allegro Malinconico\u003cbr\u003e13. Cantilena\u003cbr\u003e14. Presto giocoso\u003cbr\u003eAdriano Lincetto\u003cbr\u003e15.Adagio e Allegro per orchestra di flauti (1982) 5:54\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eAdriano Lincetto dedicated a significant part of his life to musical education and the promotion of young talents, in his role as a piano teacher, holding a professorship starting in 1966. This important training and didactic activity saw him as a protagonist at the \"Cesare Pollini\" Conservatory of Music in Padua for over 30 years: a conservatory that he also led with tenacity and stubbornness in the last 10 years of his life, before his premature death on April 24, 1996.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe flute is a very important and highly regarded instrument within the body of Adriano Lincetto's compositions. And a significant reason, perhaps the most important, leads us to refer to the primary inspirational source of the Paduan Master, which underlies all his compositions: his closeness to the performers.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is well known, as the great Radu Lidijenko also highlights in his critical writings on the Master from Padua, that Lincetto undoubtedly wrote because he \"could not not write\": his was a primary need of his being an artist; but then, equally, writing for him also meant \"giving\" his music to his friends, or to his son Francesco, who, as it happens, was an excellent flutist. In this regard, it cannot be forgotten that a significant part of Adriano Lincetto's concert career as a pianist developed in the formation of the chamber duo with flute, with Enzo Caroli, in the 70s and 80s.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTherefore, most of the compositions on this album are written, conceived, and dedicated to these important... friends.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt is always difficult to talk about the compositional style of a distinctly independent author from the second half of the 20th century, free from the dictates of \"schools\" (\"of the regime,\" allow me to add with a deliberate polemical spirit...). It is difficult because a sensitive and deeply cultured person cannot help but be influenced by the layers of a thousand and more years of previous musical literature. And this consciously, but certainly even more unconsciously.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is therefore a daunting task for the \"good critic\" to try to identify and isolate these sources of inspiration. Lincetto was certainly enamored of the radical innovation brought to the world of music by two great revolutionaries such as Debussy and Stravinsky, whose manners and customs Lincetto sometimes quotes. But he was not insensitive either to the synthesizing ability of the great popular music of Eastern Europe achieved by authors like Bartok or Prokofiev.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAdriano Lincetto is certainly a child of the 20th century (although a fundamental composition for string orchestra from 1980, significantly titled \"Suite per Paer,\" cannot be forgotten).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDelving further into detail, it is very interesting to note a strong need to communicate his vision of the notes written on the staff to the performer, even using words: the definitions of the individual movements and the agogic indications throughout the score are always illuminating and, I would say, striking. Taking the Sonata for flute and piano as a paradigmatic example, we can and must note the titles of the movements: Allegro spigliato, Andante elegiaco, Allegro ironico e grottesco. There is always an adjective to the classic definitions: very precise adjectives, which make the sensitive performer perceive the author's almost desperate need for his music to be fully understood. No less so are the agogic indications: \"flowing, but marked\" is written at the beginning of the third movement of the Sonata...\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHere, the true great difficulty in translating Lincetto's compositions into sounds lies, even more than in the strict technical difficulty of correctly executing the notes, in being able to fully understand what the author, with so much imagination and stubbornness, tried to communicate with those notes, not disjoined from the words that further define them.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis communicative \"anxiety,\" finally, distinctly separates the author from the frigid dryness of the great masters of the past, such as J.S. Bach, who, as is well known, left almost exclusively to the note written on the staff his entire artistic message (to the somewhat perverse delight of the many imaginative interpreters who over the centuries have engaged with the music of the great German author).\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAnd also in this, Adriano Lincetto is not only a child of the 20th century, but also in some way a precursor of the twenty-first century, the century of great direct communication, the century of the internet and social networks.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eI have always wondered how Adriano Lincetto would have experienced this new era and I have always answered myself that he would have had a lot of fun and perhaps would have found his most authentic natural \"artistic habitat.\" Unfortunately, Adriano Lincetto prematurely passed away at the dawn of the new era, and all our curiosity is inexorably destined to remain unanswered.\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Flute-for-Dinner\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49894404030811,"sku":"CVLD248","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/248-cover.jpg?v=1736893580"},{"product_id":"adriano-lincetto-legacy","title":"Adriano Lincetto: Legacy | opere in sei volumi","description":"\u003cp\u003eRecordings of Adriano Lincetto’s works in six volumes: Gianò, solo piano, chamber music, orchestra, songs and villotte.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eComplete collection on USB drive or as Hi-Res WAV files; individual volumes as Hi-Res WAV files. Digital variants specify 88.2 kHz · 24bit for the full collection and volumes 1–4 and 6, and 192 kHz · 24bit for volume 5. Velut Luna CVLD371.\u003c\/p\u003e\u003cp\u003eThe collection organises recordings of Adriano Lincetto’s works gathered for this edition into six volumes. Marco Lincetto made the recordings, except for the home version of Gianò recorded by the composer in 1969 and remastered for this release.\u003c\/p\u003e\n\n\n\u003ch3\u003eVOLUME 1 - GIANO' 64:42\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eI Sogni di Gianò\u003c\/b\u003e \u003ci\u003e(studio version for electronic organ, mezzo-soprano and flute),\u003c\/i\u003e 24:54\u003c\/p\u003e\n\u003cp\u003e1 - 8: Movimenti I - VII e Finale\u003c\/p\u003e\n\u003cp\u003eAdriano Lincetto, \u003ci\u003eorgan\u003c\/i\u003e, Lucia Valentini Terrani, \u003ci\u003emezzosoprano\u003c\/i\u003e, Antonio Carraro,\u003ci\u003e flute\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eHome recording made by the composer at his Padua studio in 1969 with a Geloso recorder and Sennheiser MD 440 microphone\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Sogni di Gianò\u003c\/b\u003e \u003ci\u003e(transcription for solo organ by the composer)\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e9: Finale, 2:38\u003c\/p\u003e\n\u003cp\u003eAdriano Lincetto,\u003ci\u003e organ\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded in February 1996 at the parish church of Bassanello, Padua: the composer’s last public performance, two months before his death. Recorded by Marco Lincetto.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eI Sogni di Gianò, Suite Orchestrale\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e10: Canzone d'amore, 13:03\u003c\/p\u003e\n\u003cp\u003e11: Sono stato soldato, 12:06\u003c\/p\u003e\n\u003cp\u003e12: La fisarmonica e il bambino, 3:36\u003c\/p\u003e\n\u003cp\u003e13: Finale, 4:16\u003c\/p\u003e\n\u003cp\u003eOrchestra di Padova e del Veneto, conductor Fabio Framba, Silvia Regazzo, mezzosoprano\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, September 2009\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 2 - PIANO SOLO 22:19\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eQuattro Schizzi, per pianoforte solo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1: Preludio, Lento espressivo, 2:16\u003c\/p\u003e\n\u003cp\u003e2: Notturno, Andante sereno, 2:27\u003c\/p\u003e\n\u003cp\u003e3: Lento espressivo, 3:49\u003c\/p\u003e\n\u003cp\u003e4: Allegramente scanzonato, 1:03\u003c\/p\u003e\n\u003cp\u003eAuditorium di Taio, Trento, July 1997\u003c\/p\u003e\n\u003cp\u003e5: \u003cb\u003eda Quattro Improvvisi: Presto\u003c\/b\u003e, 2:56\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, June 2001\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCinque Momenti Musicali, per pianoforte solo\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e06: Andante molto calmo, 2:31\u003c\/p\u003e\n\u003cp\u003e07: Agitato, 1:22\u003c\/p\u003e\n\u003cp\u003e08: Calmo e sereno, 1:43\u003c\/p\u003e\n\u003cp\u003e09: Mosso con spirito, 2:13\u003c\/p\u003e\n\u003cp\u003e10: Andante, 1:53\u003c\/p\u003e\n\u003cp\u003eStudio Zanta, Camponogara, May 2017\u003c\/p\u003e\n\u003cp\u003eAlberto Boischio, piano\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 3 - CAMERA I 76:40\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eQuintetto per fiati\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Moderatamente mosso e ironico, 3:23\u003c\/p\u003e\n\u003cp\u003e02: Adagio ma non troppo, 3:37\u003c\/p\u003e\n\u003cp\u003e03: Allegro moderato, 2:42\u003c\/p\u003e\n\u003cp\u003eAlban Quintet:\u003c\/p\u003e\n\u003cp\u003eErmanno Giacomel, flute, Giuseppe Nalin, oboe, Mirta Ormen, clarinet, Franco Poloni, horn, Paolo Tognon, bassoon\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, August 1993\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTrio per flauto, viola e violoncello\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e04: Moderato, Allegro molto, 4:08\u003c\/p\u003e\n\u003cp\u003e05: Molto lento, Statico, 3:25\u003c\/p\u003e\n\u003cp\u003e06: Allegro ironico con spirito, 2:30\u003c\/p\u003e\n\u003cp\u003eAntonio Carraro, flute, Sergio Agius, viola, Andrea Musto, cello\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, August 1993\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCinque piccoli pezzi per flauti dolci e fagotto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e05: Allegro scanzonato, 1:14\u003c\/p\u003e\n\u003cp\u003e06: Andante, 2:10\u003c\/p\u003e\n\u003cp\u003e07: Allegro deciso, 1:10\u003c\/p\u003e\n\u003cp\u003e08: Adagio molto cantabile e malinconico, 3:29\u003c\/p\u003e\n\u003cp\u003e09: Allegro molto con ironia, 1:41\u003c\/p\u003e\n\u003cp\u003eMaria Giovanna Fiorentino e Francesca Fiorentino, recorders, Paolo Tognon, bassoon\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, August 1993\u003c\/p\u003e\n\u003cp\u003e10: \u003cb\u003eFantasia per viola, clarinetto e pianoforte\u003c\/b\u003e, 7:57\u003c\/p\u003e\n\u003cp\u003eDomenico Nordio, viola, Alessandro Carbonare, clarinet, Alberto Boischio, piano\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, June 2001\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eQuintetto per fiati\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e11: Moderatamente mosso e ironico, 3:14\u003c\/p\u003e\n\u003cp\u003e12: Adagio ma non troppo, 3:22\u003c\/p\u003e\n\u003cp\u003e13: Allegro moderato, 2:49\u003c\/p\u003e\n\u003cp\u003eQuintetto Pedrollo di Vicenza\u003c\/p\u003e\n\u003cp\u003eAuditorium del Conservatorio, Vicenza, September 2022\u003c\/p\u003e\n\u003cp\u003e14: \u003cb\u003eTurodo Nacto per arpa,\u003c\/b\u003e 5:25\u003c\/p\u003e\n\u003cp\u003eCaterina Bergo\u003c\/p\u003e\n\u003cp\u003eMagister Recording Area Studio, Preganziol, November 2005\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSonata per due arpe\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e15: Allegro con spirito, 3:57\u003c\/p\u003e\n\u003cp\u003e16: Adagio espressivo, 4:09\u003c\/p\u003e\n\u003cp\u003e17: Allegro scorrevole, 3:55\u003c\/p\u003e\n\u003cp\u003eCaterina Bergo e Paola Donato, harps\u003c\/p\u003e\n\u003cp\u003eMagister Recording Area Studio, Preganziol, November 2005\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eScene Minime per quartetto d'archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e18: Ninna nanna, 1:48\u003c\/p\u003e\n\u003cp\u003e19: L'ubriaco, 1:25\u003c\/p\u003e\n\u003cp\u003e20: Funerale della bambola, 1:41\u003c\/p\u003e\n\u003cp\u003e21: Lo sberleffo, 0:54\u003c\/p\u003e\n\u003cp\u003e22: Il chiodo, 5:27\u003c\/p\u003e\n\u003cp\u003e23: Per la strada, 0:53\u003c\/p\u003e\n\u003cp\u003eKairos String Quartet: Sara Michieletto e Francesco Scattolin, violins, Michele Sguotti, viola, Laura Moretti, cello\u003c\/p\u003e\n\u003cp\u003eChiesa di San Francesco, Schio, February 1996\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 4 - CAMERA II 74:15\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eDivertimento a due per chitarra e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Introduzione, 2:54\u003c\/p\u003e\n\u003cp\u003e02: Danza, 2:53\u003c\/p\u003e\n\u003cp\u003e03: Finale, 3:38\u003c\/p\u003e\n\u003cp\u003ePaolo Muggia, guitar, Lorella Ruffin, piano\u003c\/p\u003e\n\u003cp\u003eSala degli Specchi del Hotel Ritz, Abano Terme, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdagio e Allegro per mandolino e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e04: Adagio, 2:05\u003c\/p\u003e\n\u003cp\u003e05: Allegro, 3:46\u003c\/p\u003e\n\u003cp\u003eUgo Orlandi, mandolin, Maura Mazzonetto, piano\u003c\/p\u003e\n\u003cp\u003eSala degli Specchi del Hotel Ritz, Abano Terme, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eQuartetto per quattro flauti in do\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e06: Allegro deciso e molto marcato, 4:42\u003c\/p\u003e\n\u003cp\u003e07: Andante cantabile e sognante, 3:51\u003c\/p\u003e\n\u003cp\u003e08: Vivacissimo, 3:42\u003c\/p\u003e\n\u003cp\u003eTommaso Benciolini, Gloria Ammendola, Marco Aurelio Di Giorgio, Niccolò Valerio, flutes\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eSonatina per flauto e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e09: Allegro spigliato, 4:00\u003c\/p\u003e\n\u003cp\u003e10: Andante elegiaco, 3:10\u003c\/p\u003e\n\u003cp\u003e11: Allegro ironico e grottesco, 2:31\u003c\/p\u003e\n\u003cp\u003eElia Guglielmo, flute, Maria Bisi, piano\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eGiochi d'infanzia per tre flauti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e12: Allegro spiritoso, 1:05\u003c\/p\u003e\n\u003cp\u003e13: Adagio ma non troppo, 2:13\u003c\/p\u003e\n\u003cp\u003e14: Scorrevole, 1:20\u003c\/p\u003e\n\u003cp\u003eLudovico Degli Innocenti, Alice Sabbadin, Roberta Nobile, flutes\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e15: \u003cb\u003eAdagio e Allegro per orchestra di Flauti,\u003c\/b\u003e 5:57\u003c\/p\u003e\n\u003cp\u003eOrchestra di flutes Cesare Pollini\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e16: \u003cb\u003eSequenza cromatica per flauto solo,\u003c\/b\u003e 3:06\u003c\/p\u003e\n\u003cp\u003eAlice Sabbadin, flute\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, December 2014\u003c\/p\u003e\n\u003cp\u003e17: \u003cb\u003eSequenza cromatica per flauto solo, eseguita col violino,\u003c\/b\u003e 3:25\u003c\/p\u003e\n\u003cp\u003eDomenico Nordio, violin\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, June 2001\u003c\/p\u003e\n\u003cp\u003e18: \u003cb\u003eElegia per tromba e organo,\u003c\/b\u003e 3:45\u003c\/p\u003e\n\u003cp\u003eFabiano Maniero, tromba, Silvio Celeghin, organ\u003c\/p\u003e\n\u003cp\u003eChiesa di Noale, January 1997\u003c\/p\u003e\n\u003cp\u003e19: \u003cb\u003eda La Messa degli Artisti: Et Incarnatus est,\u003c\/b\u003e 3:09\u003c\/p\u003e\n\u003cp\u003eLuisa Giannini, soprano, Silvio Celeghin, organ\u003c\/p\u003e\n\u003cp\u003eChiesa di Noale, January 1997\u003c\/p\u003e\n\u003cp\u003e20: \u003cb\u003eda La Messa degli Artisti: Domine non sum dignus,\u003c\/b\u003e 3:16\u003c\/p\u003e\n\u003cp\u003eLuisa Giannini, soprano, Silvio Celeghin, organ\u003c\/p\u003e\n\u003cp\u003eChiesa di Noale, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDivertimento a due per chitarra e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e21: Introduzione, 2:59\u003c\/p\u003e\n\u003cp\u003e22: Danza, 3:01\u003c\/p\u003e\n\u003cp\u003e23: Finale, 3:33\u003c\/p\u003e\n\u003cp\u003eLapo Vannucci, guitar, Luca Torrigiani, piano\u003c\/p\u003e\n\u003cp\u003eMagister Area Recording Studio, Preganziol, September 2015\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 5 - ORCHESTRA 87:28\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eSuite per Paer, per orchestra d'archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Allegro con Spirito, 1:28\u003c\/p\u003e\n\u003cp\u003e02: Adagio, 2:29\u003c\/p\u003e\n\u003cp\u003e03: Tempo di valzer, 2:28\u003c\/p\u003e\n\u003cp\u003e04: Allegro molto, 2:13\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eConcerto per flauto e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e05: Largo espressivo cantabile, Allegro moderato, 5:12\u003c\/p\u003e\n\u003cp\u003e06: Lento, cantando con molta espressione, 4:35\u003c\/p\u003e\n\u003cp\u003e07: Allegro vivacissimo, 4:36\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Enzo Caroli, flute\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eElegia per corno delle Alpi e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e08: Adagio, ma non troppo lento. Allegro molto. Poco meno cantando. Tempo I, 13:02\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Alessio Benedettelli, alphorn\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDivertimento per fagotto e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e09: Notturno, 3:17\u003c\/p\u003e\n\u003cp\u003e10: Danza, 3:32\u003c\/p\u003e\n\u003cp\u003e11: Elegia, 6:51\u003c\/p\u003e\n\u003cp\u003e12: Finale, 3:00\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Andrea Bressan, bassoon\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDivertimento a due per chitarra \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(version for strings by Adriano Lincetto)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e13: Preludio, 4:18\u003c\/p\u003e\n\u003cp\u003e14: Danza, 3:13\u003c\/p\u003e\n\u003cp\u003e15: Finale, 4:07\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Alessandro Bono, guitar\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdagio e Allegro per mandolino e pianoforte \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(version for strings by Claudio Mandonico)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e16: Adagio, 2:09\u003c\/p\u003e\n\u003cp\u003e17: Allegro, 3:51\u003c\/p\u003e\n\u003cp\u003eI Solisti di Venezia, Giovanni Guglielmo, lead violin, Ugo Orlandi, mandolin\u003c\/p\u003e\n\u003cp\u003eSala della Biblioteca, Abbazia di Carceri d'Este, March 2003\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eConcerto per flauto e archi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e18: Largo espressivo cantabile, Allegro moderato, 4:38\u003c\/p\u003e\n\u003cp\u003e19: Lento, cantando con molta espressione, 4:48\u003c\/p\u003e\n\u003cp\u003e20: Allegro vivacissimo, 4:12\u003c\/p\u003e\n\u003cp\u003eOrchestra di Padova e del Veneto, Federico Guglielmo, lead violin, Mario Folena, flute\u003c\/p\u003e\n\u003cp\u003eChiesa dei Cappuccini, Padova, May 2011\u003c\/p\u003e\n\u003cp\u003e21: \u003cb\u003eIl Chiodo \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(version for voice and orchestra by Simone Tonin, lyrics by Rosella Caporale),\u003c\/b\u003e\u003c\/i\u003e 3:17\u003c\/p\u003e\n\u003cp\u003eOrchestra Sinfonica del Conservatorio Pollini, Giuliano Medeossi, conductor, Rosella Caporale, voice\u003c\/p\u003e\n\u003cp\u003eAuditorium Pollini, Padova, May 2015\u003cbr\u003e \u003c\/p\u003e\n\u003ch3\u003eVOLUME 6 - MELODIE E VILLOTTE 62:41\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eVentiquattro Melodie, per voce e pianoforte (bassoon version by Adriano Lincetto)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Allegro, tempo di valzer \/ Agitato \/ Moderato cantabile \/ Mosso \/ Andante cantabile \/ Andante \/ Allegro scherzando \/ Scorrevole, ma non molto \/ Maestoso \/ Mosso, ma cantabile \/ Lento espressivo \/ Moderatamente mosso \/ mosso, ma cantabile \/ Molto calmo, espressivo \/ Valzer brillante \/ Drammatico \/ Calmo espressivo \/ Andante cantabile \/ Con allegria, scherzando \/ Alla marcia \/ Scorrevole, molto espressivo \/ Cantabile \/ Andante sereno \/ Andante mosso \/ Tempo I, Allegro, tempo di valzer, 22:51\u003c\/p\u003e\n\u003cp\u003eLeopoldo Armellini, bassoon, Lorella Ruffin, piano\u003c\/p\u003e\n\u003cp\u003eSala degli Specchi del Hotel Ritz, Abano Terme, January 1997\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNove Villotte Pavane \u003c\/b\u003e\u003ci\u003e\u003cb\u003e(texts by Giorgio Erminio Fantelli)\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e02: Co te go visto \/ El me sposo \/ Se te passi de là \/ Lu diseva e mi diseva \/ Se podesse inciodarte \/ Go dito al prete \/ te voio ben de luni \/ Se tuti i basi \/ Sento sonare la campana a morto, 10:16\u003c\/p\u003e\n\u003cp\u003eSol Ensemble\u003c\/p\u003e\n\u003cp\u003eMagister recording Area Studio, Preganziol, July 2017\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eVentiquattro Melodie, per voce e pianoforte\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e01: Allegro, tempo di valzer \/ Agitato \/ Moderato cantabile \/ Mosso \/ Andante cantabile \/ Andante \/ Allegro scherzando \/ Scorrevole, ma non molto \/ Maestoso \/ Mosso, ma cantabile \/ Lento espressivo \/ Moderatamente mosso \/ mosso, ma cantabile \/ Molto calmo, espressivo \/ Valzer brillante \/ Drammatico \/ Calmo espressivo \/ Andante cantabile \/ Con allegria, scherzando \/ Alla marcia \/ Scorrevole, molto espressivo \/ Cantabile \/ Andante sereno \/ Andante mosso \/ Tempo I, Allegro, tempo di valzer, 29:31\u003c\/p\u003e\n\u003cp\u003eTatiana Meira Aguiar, soprano, Alberto Boischio, piano\u003c\/p\u003e\n\u003cp\u003eCasa Boischio, Padova, July 2017\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"USB - PENDRIVE COMPLETE WORK","offer_id":49971489145179,"sku":"CVLD371USB","price":99.0,"currency_code":"EUR","in_stock":true},{"title":"COMPLETE WORK - 88.2kHz · 24bit","offer_id":49952760398171,"sku":"CVLD371","price":99.0,"currency_code":"EUR","in_stock":true},{"title":"VOLUME 1 - GIANO' - 88.2kHz · 24bit","offer_id":49945460605275,"sku":"CVLD371\/1","price":16.5,"currency_code":"EUR","in_stock":true},{"title":"VOLUME 2 - PIANO SOLO - 88.2kHz · 24bit","offer_id":49952704201051,"sku":"CVLD371\/2","price":16.5,"currency_code":"EUR","in_stock":true},{"title":"VOLUME 3 - CAMERA I - 88.2kHz · 24bit","offer_id":49952704233819,"sku":"CVLD371\/3","price":16.5,"currency_code":"EUR","in_stock":true},{"title":"VOLUME 4 - CAMERA II - 88.2kHz · 24bit","offer_id":49952704266587,"sku":"CVLD371\/4","price":16.5,"currency_code":"EUR","in_stock":true},{"title":"VOLUME 5 - ORCHESTRA - 192kHz · 24bit","offer_id":49952704299355,"sku":"CVLD371\/5","price":16.5,"currency_code":"EUR","in_stock":true},{"title":"VOLUME 6 - MELODIES AND VILLOTTE - 88.2kHz · 24bit","offer_id":49952704332123,"sku":"CVLD371\/6","price":16.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/VELUTLUNACVLD371-cover.jpg?v=1737676388"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/niccolo-valerio.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}