{"title":"Johann Sebastian Bach","description":null,"products":[{"product_id":"j-s-bach-the-great-orchestral-transcriptions-eugen-ormandy-the-philhadelphia-orchestra","title":"J. S. Bach Las Grandes Transcripciones Orquestales - Eugen Ormandy  La Orquesta Filadelfia","description":"\u003ch2\u003e\u003cstrong\u003eJ. S. Bach: LAS GRANDES TRANSCRIPCIONES ORQUESTALES (CBH205)\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e1. Gran Fuga en sol menor, S. 542 \u003cstrong\u003e(06’00)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e2. Fuga en la menor, S. 543 \u003cstrong\u003e(07’05)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e3. Fuga en do menor, S. 549 \u003cstrong\u003e(03’23)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e4. Fuga ‘St. Anne’ en mi bemol, S. 522 \u003cstrong\u003e(06’50)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e5. Pequeña Fuga en sol menor, S. 578 \u003cstrong\u003e(03’40)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e6. Fuga en re, S. 532 \u003cstrong\u003e(06’18)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e7. Toccata y Fuga en re menor BWV 565\u003cstrong\u003e (09’13)\u003c\/strong\u003e*\u003c\/p\u003e\n\u003cp\u003eToccata, Adagio y Fuga en do mayor BWV 564*\u003cbr data-mce-fragment=\"1\"\u003e8. Toccata \u003cstrong\u003e(06’53)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e9. Adagio \u003cstrong\u003e(05’14)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e10. Fuga \u003cstrong\u003e(04’19)\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e11. Passacaglia y Fuga en do menor \u003cstrong\u003e(12’53)\u003c\/strong\u003e*\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eLa Orquesta de Filadelfia\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\" size=\"3\"\u003eDirector: \u003cstrong\u003eEugen Ormandy\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eGrabado en Filadelfia: 1960*-1973\u003c\/p\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 419px; top: 29.2604px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"44.1kHz · 16bit","offer_id":48538051248475,"sku":"cs-205-44","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"96kHz · 24bit","offer_id":48538051281243,"sku":"cs-205-96","price":15.0,"currency_code":"EUR","in_stock":true},{"title":"192kHz · 24bit","offer_id":48538051314011,"sku":"cs-205-192","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"DSD · 64","offer_id":48538051346779,"sku":"cs-205-64","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"DSD · 128","offer_id":48538051379547,"sku":"cs-205-128","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/205cover.jpg?v=1718893488"},{"product_id":"baroque-festival-herbert-von-karajan-berliner-philharmoniker","title":"Festival Barroco - Herbert von Karajan Berliner Philharmoniker","description":"\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003ci\u003e\u003cb\u003e\u003cspan\u003eFestival Barroco - Herbert von Karajan (CBH 201)\u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\u003c\/span\u003e\n\u003cp class=\"western\"\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003ci\u003e\u003cb\u003e\u003cspan\u003eAlbinoni, Vivaldi, Pachelbel, Corelli, J.S. Bach\u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003ci\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003e1. Albinoni: Adagio para cuerdas \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cb\u003e(10’15)\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003e2. Vivaldi: Concierto en La menor, RV 523 (Allegro molto - Largo - Allegro) \u003cb data-mce-fragment=\"1\"\u003e(12’40)\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003e3. Pachelbel: Canón y Giga en Re Mayor\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e \u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cb\u003e(05’57)\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003e4. Boccherini: La retirada de Madrid, Vers. Orch. de Quinteto Op. 30\/6  \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cb\u003e(10’01)\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003e5. Corelli: Concierto de Navidad, Op. 6 n. 8 (Vivace - Grave - Allegro - Adagio - Allegro - Adagio - Vivace - allegro - Pastorale) \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cb\u003e(14’40)\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003e6. J. S. Bach: Aire, de la Suite Orquestal No. 3 BWV 1068 \u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cb\u003e(05’59)\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e \u003c\/span\u003e\u003cspan color=\"#0000ff\" style=\"color: #0000ff;\"\u003e\u003cspan color=\"#000000\" style=\"color: #000000;\"\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cspan\u003eBerlinesa\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e Filarmónica\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e Director: \u003c\/span\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\nGrabación:  \u003cspan color=\"#0000ff\" style=\"color: #0000ff;\"\u003e\u003cspan color=\"#000000\" style=\"color: #000000;\"\u003e\u003cspan\u003eBerlí­n, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e1969\u003cbr\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003ci\u003eProductor: Deutsche Grammophon \u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan face=\"Calibri, serif\" style=\"font-family: Calibri, serif;\"\u003e\u003cspan size=\"3\" style=\"font-size: medium;\"\u003e\u003ci\u003e\u003cspan\u003eIngeniero de sonido: Günter Hermanns\u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"44.1kHz · 16bit","offer_id":48538054492507,"sku":"cs-201-44","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"96kHz · 24bit","offer_id":48538054525275,"sku":"cs-201-96","price":15.0,"currency_code":"EUR","in_stock":true},{"title":"192kHz · 24bit","offer_id":48538054558043,"sku":"cs-201-192","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"DSD · 64","offer_id":48538054590811,"sku":"cs-201-64","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"DSD · 128","offer_id":48538054623579,"sku":"cs-201-128","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/201cover_df2661e5-aa3c-4a16-bf58-7ccf52599106.jpg?v=1718893514"},{"product_id":"j-s-bach-4-orchestral-suites-neville-marriner-academy-of-st-martin-in-the-fields","title":"J. S. Bach 4 suites orquestales - Neville Marriner Academia de St. Martin-in-the-Fields","description":"\u003ch2\u003e\u003cstrong\u003eJ. S. Bach: 4 Suites Orquestales (CBH199)\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cbr\u003e1. Suite n° 1 en Do Mayor BWV 1066 (Obertura, Corrente, Gavotta I e II, Furlana, Minuetto I e II, Bourrée I e II, Passepied I e II.) \u003cstrong\u003e(20’12)\u003c\/strong\u003e\u003cbr\u003e2. Suite n° 2 en Si Menor BWV 1067 (Obertura, Rondó, Sarabanda, Bourrée I e II, Polonesa e Doble, Minuetto, Badinerie). \u003cstrong\u003e(19’41)\u003c\/strong\u003e\u003cbr\u003e3. Suite n° 3 en Re Mayor BWV 1068 (Obertura, Aria, Gavotta I e II, Bourrée, Giga) \u003cstrong\u003e(19’45)\u003c\/strong\u003e\u003cbr\u003e4. Suite n° 4 en Re Mayor BWV 1069 (Obertura, Bourrée I e II, Gavotta, Minuetto I e II, Réjouissance.) \u003cstrong\u003e(17’55)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAcademia de St. Martin-in-the-Fields\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\" size=\"3\"\u003eDirector: \u003cstrong\u003eNeville Marriner\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\" size=\"3\"\u003e\u003ci\u003eGrabación: 1970\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv id=\"gtx-trans\" style=\"position: absolute; left: 1px; top: 45.9271px;\"\u003e\n\u003cdiv class=\"gtx-trans-icon\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"44.1kHz · 16bit","offer_id":48538056130907,"sku":"cs-199-96","price":9.0,"currency_code":"EUR","in_stock":true},{"title":"96kHz · 24bit","offer_id":48538056163675,"sku":"cs-199-96","price":15.0,"currency_code":"EUR","in_stock":true},{"title":"192kHz · 24bit","offer_id":48538056196443,"sku":"cs-199-192","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"DSD · 64","offer_id":48538056229211,"sku":"cs-199-64","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"DSD · 128","offer_id":48538056261979,"sku":"cs-199-128","price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/199FRONTE.jpg?v=1718893522"},{"product_id":"stokowski-edition-vol-5","title":"Stokowski: Bach, Dukas, Mussorgsky, Ponchielli y Bizet — Obras orquestales","description":"\u003cp\u003eLeopold Stokowski dirige a la Philadelphia Orchestra en obras de Bach, Dukas, Mussorgsky, Ponchielli y Bizet.\u003c\/p\u003e\u003ch2\u003eEdición digital Capsa Symphōnĭa\u003c\/h2\u003e\u003cp\u003eDisponible como \u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e.\u003c\/p\u003e\u003ch2\u003eCréditos\u003c\/h2\u003e\u003cp\u003eLeopold Stokowski; Philadelphia Orchestra; Johann Sebastian Bach; Paul Dukas; Modest Mussorgsky; Amilcare Ponchielli; Georges Bizet\u003cbr\u003e\u003cstrong\u003eEdición:\u003c\/strong\u003e Capsa Symphōnĭa — CS547\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/es\/collections\/capsa-symphonia\"\u003eDescubre la colección Capsa Symphōnĭa\u003c\/a\u003e\u003c\/p\u003e\u003ch2\u003e¿Qué son DSD y DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e es un sistema digital de 1 bit basado en modulación por densidad de pulsos. DSD64 funciona aproximadamente a \u003cstrong\u003e2,8 MHz\u003c\/strong\u003e, DSD128 a \u003cstrong\u003e5,6 MHz\u003c\/strong\u003e y DSD256 a \u003cstrong\u003e11,2 MHz\u003c\/strong\u003e. La reproducción requiere un DAC o reproductor compatible.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e es un formato PCM de muy alta resolución; aquí funciona a \u003cstrong\u003e352,8kHz\u003c\/strong\u003e y requiere un DAC o reproductor compatible.\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"ARCHIVO CD 44.1kHz • 16bit","offer_id":51055672754523,"sku":"CS547-44","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/covercbh_cca60883-ef7a-4ec9-aff7-5768c126bc0c.png?v=1753649182"},{"product_id":"rachmaninov-bach-duo-trevisan","title":"RACHMANINOV + BACH - DUO TREVISAN","description":"\u003cul\u003e\n\n \u003cli\u003e\u003ca href=\"https:\/\/www.referencemusicstore.it\/products\/musica-per-due-pianoforti-vol-1-2-t-trevisan-e-f-trevisan\" target=\"_blank\" rel=\"noopener\"\u003eRACHMANINOV, MUSIC FOR TWO PIANOS VOL 1, 2\u003c\/a\u003e\u003c\/li\u003e\n\n\u003cli\u003e\n\n \u003ca href=\"https:\/\/www.referencemusicstore.it\/products\/johann-sebastian-bach-concerti-brandeburghesi-2-cd-t-trevisan-f-trevisan\" target=\"_blank\" rel=\"noopener\"\u003eJOHANN SEBASTIAN BACH: BRANDENBURG CONCERTS VOL 1, 2\u003c\/a\u003e\u003cbr\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cp\u003e BUNDLE OF THE MAGNIFICENT REMASTERED BY MARCO LINCETTO OF THE DUO TREVISAN\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"Default Title","offer_id":51923249103195,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/258-cover.jpg?v=1766083451"},{"product_id":"icone-in-musica-fone-ensable-fornaciari-colonna-merlini","title":"ICONOS EN MÚSICA, FONE ENSAMBLE | Fornaciari, Colonna, Merlini","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eICONS IN MUSIC\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFonè ensemble\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: LP, CD, DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eHeinrich Ignaz Franz von Biber\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 1 The Annunciation in D minor - D minor 6'42\"\u003cbr\u003eSonata No. 10 The Crucifixion in G minor - G minor 6'41\"\u003cbr\u003eSonata No. 12 The Ascension in C major - C major 4'27\"\u003cbr\u003eSonata No. 13 Pentecost in D minor - D minor 6'01\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 14 The Assumption in D major - D major 9'23\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eJohann Sebastian Bach\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSonata No. 3 in C major - C major BWV 1005 - Pentecost Sonata\"\u003cbr\u003eAdagio 5'33\"\u003cbr\u003eFuga 11'32\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eAntonio Vivaldi\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eConcerto in D major - D major\u003cbr\u003eFor the Most Holy Assumption of the Virgin Mary\u003cbr\u003eAllegro 5'04\"\u003cbr\u003eAdagio 2'45\"\u003cbr\u003ePresto 5'13\"\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eTotal Time 1h 3'21\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/8012871000425?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cp\u003e\u003cspan\u003eLeonardo Colonna double bass\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eErnesto Merlini, organ\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMarco Fornaciari, violin\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\" id=\"content-wrapper\"\u003e\n\u003csection itemtype=\"https:\/\/schema.org\/Product\" itemscope=\"\" id=\"main\"\u003e\n\u003cdiv class=\"row\"\u003e\n\u003cdiv class=\"col-xs-12\"\u003e\n\u003cdiv class=\"tabs\" id=\"product-tab\"\u003e\n\u003cdiv id=\"tab-content\" class=\"tab-content\"\u003e\n\u003cdiv role=\"tabpanel\" id=\"description\" class=\"tab-pane fade in active\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003e\u003cspan\u003eConceived, recorded, and produced by Giulio Cesare Ricci \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded at the Propositura of San Verano, Peccioli (Pisa)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecording date November 19, 2005\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eNeumann U 47, U 48, M 49 tube microphones \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSignoricci microphone preamplifiers \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSignoricci signal, microphone, and power cables \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"The themes to which the icons refer can be ordered into two general categories: portrait icons (for example, portraits of saints, Mother of God of the Sign, Christ Pantocrator) and narrative icons. Some of these subjects have also inspired masterpieces by great musicians. H. Biber (18th century), a Bohemian, lived between Salzburg and Vienna. Considered one of the greatest violinists and composers, he gained great fame for his expertise. \u003cbr\u003eOne of his masses for 36 voices was attributed to Bach until the mid-last century. \u003cbr\u003eSome of the \"Rosary Sonatas\" will be performed, in which Biber describes the mysteries one by one, prescribing a different tuning for the violin in each sonata to better differentiate their spiritual moods. \u003cbr\u003eNumerous icons with similar subjects have been painted over the centuries for those presented tonight. \u003cbr\u003eJ.S. Bach needs no introduction. However, the identification that the six sonatas and partitas for solo violin were completed, and the famous Chaconne written virtually impromptu, at a moment of the deepest drama, constitutes a source of new studies (Helga Thone: Chaconne, dance or funerary monument? Leipzig 1994). Returning from a journey, Bach found that his young wife had suddenly died, leaving him with four small children. At this moment, that absolute masterpiece, the six sonatas and partitas for solo violin, took its definitive form in practically a few days. In the sonata in C major, whose fugue constitutes the most complex example of polyphonic mastery entrusted to a monodic instrument, numerous self-citations (musical themes) are present, taken from various chorales previously composed by Bach, all \u003cbr\u003eon the subject of Pentecost, just as in the first sonata the citations refer to the Nativity and in the second to the Passion. \u003cbr\u003eVivaldi's Concerto dedicated to the Assumption of Our Lady the Virgin Mary is one of two that the author dedicated to this feast (August 15), which was very dear in his Venice. \u003cbr\u003eIn contrast to the meditative and profound depth of the previous compositions, extroverted and joyful in character, the evening will conclude with a glimmer of serene Mediterranean brightness.\"\u003cbr\u003e\u003cem\u003eMarco Fornaciari\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cfooter class=\"page-footer\"\u003e\u003c\/footer\u003e\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52830905598299,"sku":"DSD004","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52830905631067,"sku":"HD004","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/FONESRCD004-cover_art.jpg?v=1776446860"},{"product_id":"i-bis-di-nikita-magaloff-magaloff","title":"LOS BIS DE NIKITA MAGALOFF | Magaloff","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF'S ENCORES\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003ePiano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1.     \u003c\/span\u003e\u003cspan\u003eCanzonetta del Salvator Rosa (No. 3 from “Années de pèlerinage; deuxième année: Italie”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e2.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"de\"\u003eGnomenreigen (Dance of the Gnomes) No. 2 from “Zwei Konzertetuden”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e3.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"de\"\u003eConsolation No. 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"fr\"\u003e4.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eLa chasse (No. 5 from “Six Grandes Etudes de Paganini“)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eA. ALABIEFF (1787-1851), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"fr\"\u003e5.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eLe Rossignol (No. 1 from “Deux Mélodies russes”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eF. SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e6.     \u003c\/span\u003e\u003cspan\u003eImpromptu in E-flat major Op. 90 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e7.     \u003c\/span\u003e\u003cspan\u003eNocturne in C-sharp minor (Op. posth.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e8.     \u003c\/span\u003e\u003cspan\u003eEtude in G-flat major Op. 10 No. 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"de\"\u003eJ.S. BACH (1685-1750)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e9.     \u003c\/span\u003e\u003cspan\u003eSiciliana in G minor from Sonata No. 2 for flute and harpsichord)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e10. \u003c\/span\u003e\u003cspan\u003eHungarian Dances: No. 5 in F-sharp minor, No. 7 in F major, No. 9 in E minor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eS. RACHMANINOFF (1873-1943)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan lang=\"fr\"\u003e11.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003ePolichinelle Op. 3 No. 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"fr\"\u003e12.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSérénade Op. 3 No. 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e13. \u003c\/span\u003e\u003cspan\u003eAndante spianato et Grande Polonaise brillante Op. 22\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"fr\"\u003e14.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eIntermezzo Op. 117 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/wjsxnvgp3h6jz?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBi-microphone configuration with field effect (Fonè Studio).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRecording engineer: Giulio Cesare Ricci. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eProduction director: Giulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci is proud to dedicate this album of \"encores,\" recorded during his recent Italian tour, to Maestro Nikita Magaloff on the occasion of his 75th birthday. The recordings were made at the Teatro Donizetti in Bergamo, the Teatro Grande in Brescia, the Teatro Goldoni in Livorno, the Teatro Manzoni in Pistoia, and the Teatro Comunale in Imola.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cstrong\u003eNikita Magaloff\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a student of Liszt and cousin and professor of Rachmaninoff. He later moved to Paris, where he studied with Isidor Philipp, graduating at the age of 17 with a Premier Grand Prix. On this occasion, Maurice Ravel said of him: \"A great musician, truly extraordinary, has been born.\" He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. His career saw countless significant events, including the first performance of Prokofiev's \"Seventh Sonata,\" the performance of Stravinsky's \"Capriccio\" under the composer's direction, tours in Europe, the USA, Japan, and Israel, and frequent and regular participation in the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), always attentive to the emergence of new talents among the younger generations. He has recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados, and most recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is among the unsurpassed interpreters, a body of work he also presented in cycles of five recitals in all the most important European cities.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52849151770971,"sku":"DSD8706","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52849151803739,"sku":"HD8706","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8706sleeve_342f6d6e-05f3-4e76-b9e2-3c92431b514f.jpg?v=1776805004"},{"product_id":"musical-landscapes-and-avant-garde-visions-busoni-mariotti","title":"PAISAJES MUSICALES Y VISIONES DE VANGUARDIA | Busoni, Mariotti","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eMUSICAL LANDSCAPES AND AVANT-GARDE VISIONS\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFerruccio Busoni\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSuite Campestre Op. 18\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 81 (1878)\u003c\/p\u003e\n\u003cp\u003e1 Canzone Villereccia del Mattino\u003cbr\u003e2 La Caccia\u003cbr\u003e3 L‘Orgia\u003cbr\u003e4 II ritorno\u003cbr\u003e5 Preghiera della sera\u003c\/p\u003e\n\u003cp\u003e6\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eFantasia nach Johann Sebastian Bach\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 253 (1909)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndianisches Tagebuch\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 267 (1915)\u003cbr\u003e7 Allegretto affettuoso, un poco agitato\u003cbr\u003e8 Vivace\u003cbr\u003e9 Andante\u003cbr\u003e10 Maestoso ma andando\u003c\/p\u003e\n\u003cp\u003e11\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina seconda\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 259 (1912)\u003c\/p\u003e\n\u003cp\u003e12\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eVierte Ballet-Szene Op. 33a\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 238 (1892)\u003c\/p\u003e\n\u003cp\u003e13\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonatina in diem nativitatis Christi MCMXVII\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 274 (1917)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrei Albumblätter\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eKind. 289 (1917 - 1921)\u003cbr\u003e14 (Zürich) Andantino sostenuto\u003cbr\u003e15 (Roma) Andante\u003cbr\u003e16 (Berlin) In der Art eines Choralvorspiels. Sostenuto religioso\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/td948kq8eftja?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp\u003eFerruccio Busoni's Leonardesque figure stands imposingly in the musical landscape at the turn of the two centuries. A frantic activity as a man and musician was the characteristic that accompanied him throughout his life, and his universal genius allowed him to reach absolute artistic peaks, even if often unrecognized. His virtuosity, impressive for speed and power but never showy or an end in itself, and his avant-garde and highly original musical imagination were legendary. From his youth, he was adored by the public, often leaving critics bewildered. His compositions, especially the later ones, are among the most significant and ingenious of his time: not only his piano works but also, and above all, those for orchestra and the operatic stage had a considerable influence on an entire generation of musicians. He genuinely endeavored to disseminate, through performances, revisions, and critical articles, the works of his contemporary composers (such as those of Arnold Schoenberg, who succeeded him in the composition chair at the Berlin Musikakademie). His literary background and subtle, acute mind allowed him to prepare librettos for his own operas and to maintain epistolary relationships with the greatest personalities of his time, in addition to publishing several fundamental writings. The most significant of these, the \"Sketch of a New Aesthetic of Music\" from 1907, contains ingenious insights into the dodecaphonic system, microtonality, new notation systems, and even hints of electronic music. He was also an inspirer of new instruments, such as the Viennese Bösendorfer Imperial model piano used for this recording, and originally built for him. The characteristic pieces of the Suite Campestre, composed at the age of twelve, clearly take Schumann's Album for the Young as a model. They reflect the late romantic idealization of rural life. In Preghiera della sera, certain mystical atmospheres emerge and a polyphonic writing of clear Bachian ancestry, elements so beloved by the mature Busoni. The Fantasia nach (after) Johann Sebastian Bach was composed in memory of his father Ferdinando. Although based on three organ compositions by Bach, about half of the piece consists of original material. The continuous alternation of minor and major sections well expresses both the emotional and tonal progression of the entire piece. The melancholy of the beginning turns into pacification at the end: the score significantly bears the inscription PAX EI! on the last page. The New World, visited several times during tours, held great fascination for Busoni. The songs and melodies of Native Americans left an indelible impression on him, leading him to compose a fantasy for piano and orchestra from which he drew the suite Indianisches Tagebuch (Indian Diary). The themes are almost literal transcriptions of Native American motifs, treated according to the schemes of Western music, yet with penta- and hexatonic inflections typical of those populations. The term Sonatina refers to the dimensions and form, not to their difficulty. The return to simple and clear compositional schemes (codified by Busoni in his idea of \"new classicism\") and the often intimate character of the Sonatinas are in clear contrast with previous compositions. The Sonatina seconda, almost an exception, represents his atonal experiment, following Schoenberg's example. New elements appear, such as the lack of bar indications for long stretches or a new way of understanding accidentals. The unstable, chaotic, brutal character reflects that of Umberto Boccioni's painting \"The City Rises,\" owned by Busoni and from which he was inspired. The Sonatina in diem nativitatis Christi, with its calm, serene simplicity, perfectly represents the model of \"new classicism.\" Christmas bells, Chorales, the mystical atmosphere, and also the pipers are inserted into a fine polyphonic texture, archaic and suggestive. The Vierte Ballett-Szene (Fourth Ballet Scene) of 1892 is almost a tribute to Johann Strauss and his Waltzes, in the sign of brilliant and salon virtuosity then in vogue. The last compositions are closely related to Busoni's unfinished opera, Doktor Faust, in which themes were often developed and matured in his piano works. The Drei Albumblätter (Three Album Leaves), thoughtful and melancholic, reflect the composer's state of mind after the horrors of the First World War. The first, algid and crystalline, displays refined harmonic solutions and a subtle, intimate rhythmic charge. The second, a fugato, is an extremely abstract and mysterious page, while the third returns to Bachian reminiscences with the chorale \"Christ lag in Todesbanden\" (Christ lay in death's bonds).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGiuseppe Mariotti\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52898084225371,"sku":"DSD9511","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 96kHz · 24bit","offer_id":52898084258139,"sku":"HD9511","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9511sleeve.jpg?v=1777539544"},{"product_id":"roberto-michelucci-violino-j-s-bach-michelucci","title":"ROBERTO MICHELUCCI - violino - J. S. BACH | Michelucci","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eROBERTO MICHELUCCI, violino\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eJ. S. BACH\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonata I per violino solo in sol minore BWV 1001\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAdagio                                  (4’35”)\u003c\/p\u003e\n\u003cp\u003eFuga allegro                         (5’39”)\u003c\/p\u003e\n\u003cp\u003eSiciliana                                (3’15”)\u003c\/p\u003e\n\u003cp\u003ePresto                                   (3’42”)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePartita I per violino solo in si minore BWV 1002\u003c\/p\u003e\n\u003cp\u003eAllemanda                           (6’24”)\u003c\/p\u003e\n\u003cp\u003eDouble                                 (2’36”)\u003c\/p\u003e\n\u003cp\u003eCorrente                              (3’25”)\u003c\/p\u003e\n\u003cp\u003eDouble presto                    (3’40”)\u003c\/p\u003e\n\u003cp\u003eSarabande                          (4’03”)\u003c\/p\u003e\n\u003cp\u003eDouble                                (2’05”)\u003c\/p\u003e\n\u003cp\u003eTempo di borea                 (3’44”)\u003c\/p\u003e\n\u003cp\u003eDouble                                (3’11”)\u003c\/p\u003e\n\u003cp\u003eDurata: 47’00”\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/v88pkic3igzui?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eQuesto progetto è stato realizzato in località Massa Pisana, comune di Lucca, presso la villa \"Lazzareschi\" nel luglio del 1988. Le registrazioni sono state effettuate da Giulio Cesare Ricci; in tutte le sessioni di registrazione è stata utilizzata una coppia di microfoni Neumann M 49 a valvole (1947), usata in configurazione bi-microfonica ad effetto di campo. Il segnale senza manipolazioni passa contemporaneamente su un master tape Studer, due tracce modello C.37 a valvole e su un PCM digital 1630, due tracce. Sono stati usati cavi microfonici e di segnale linea Van Den Hul.\u003c\/p\u003e\n\u003cp\u003eSi ringrazia Mauro Carnicelli per l'impegno dimostrato in ogni momento, sotto il profilo umano e per la preziosa consulenza tecnico-storica, l'Assessore del Comune di Capannori Giovanni Cordoni e l’ing. Renzo Bessi per la sensibilità dimostrata. Un grazie sentito al notaio Renzo Lazzareschi per aver aperto la propria \"casa\" con sincera ospitalità.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003eRoberto Michelucci è conosciuto ovunque nel mondo. Molte delle sue interpretazioni più prestigiose restano nella intensa produzione discografica con la Philips che gli ha valso i premi più ambiti. Frequente ospite di Festivals Internazionali fu il primo violinista italiano invitato a quello di Salisburgo eseguendo con la Camerata Accademica del Mozarteum i concerti di Mozart K. 219 e K. 211 nell'agosto degli anni 1967 e 1968. Il Matinée del 1967 fu ripetuto la sera dello stesso giorno per la televisione austriaca e successivamente ripreso da tutte le televisioni europee eccetto la televisioneitaliana. Il suo vasto repertorio comprende musiche che vanno dai compositori barocchi ai contemporanei. Presentò per la prima volta in Israele le due \"Tartiniane\"per vl. ed orchestra (sinfonica di Haifa) di L. Dallapiccola, a Ginevra fece conoscere il concerto di F. Busoni con l'orchestra della Suisse Romande, al Maggio Musicale Fiorentino presentò le prime per Firenze dei concerti op. 19 di S. Prokofieff, re min. di R. Schumann, re min. di F. Mendelssohn. Critici del livello di F. Abbiati (Milano), M. Mila (Torino), B. Gavoty (Parigi), E. Moser (Lausanne), E. Muller-Moore (Ginevra), J. Hawranek (Salisburgo), H. Boehm (Gerusalemme), C. Wilson (Edinburgo) hanno avuto per lui parole di elogio e di ammirazione. Fra i Premi della sua discografia Philips ricordiamo: Il \"Grand Prix du Disque\" di Parigi Il \"Premio della Critica Francese\" (Parigi) Il \"Disco d'Oro\" a Tokio. Fa parte sovente di Giurie di concorsi internazionali. Oggi incide per la casa discografica \"Fonè\" con la quale sta terminando l'integrale delle sonate e partite di J.S. Bach.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJohann Sebastian Bach (Eisenach 1685 - Lipsia 1750)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCon questo disco la Fonè-Ricci inizia la pubblicazione delle Sonate e Partite per Violino Solo di J. S. Bach interpretate da Roberto Michelucci. Anche se molta della musica da camera di Bach è andata irrimediabilmente perduta, cosicché non è possibile seguire tutto l'arco evolutivo dello stile bachiano, tuttavia le opere che ci sono rimaste, ci danno l'esatta misura della perfezione che Bach aveva raggiunto in questo genere musicale. Come le composizioni destinate ad altri strumenti solisti, anche le Sonate e le Partite per violino solo pervengono a vertici difficilmente superabili. Alla fine del Seicento la polifonia sul violino era ormai giunta in Germania ad uno stadio di alta perfezione. Stando alle testimonianze dei contemporanei, tra cui Mattheson che era un valido musicista, la maggior parte dei violinisti tedeschi si distingueva ovunque per il carattere polifonico delle loro esecuzioni. Nikolaus Bruhns sedeva all'organo realizzando col pedale i passaggi armonici che otteneva simultaneamente col violino. Un altro apprezzato violinista, Nikolaus Struck, durante il suo soggiorno a Roma avvenuto nel 1686, stupì Corelli eseguendo sul violino doppie corde. Corelli, sorpreso e divertito, avrebbe esclamato: \"Io mi chiamo Arcangelo, voi dovreste chiamarvi Arcidiavolo\". Non c'è da meravigliarsi se Bach, dati questi precedenti, abbia conquistato nelle opere per violino solo quella compiutezza formale che ancora oggi ammiriamo. Bach aveva studiato il violino fin da giovane. Quando lasciò il collegio di Lüneburg era già in grado di farsi apprezzare come violinista nell'orchestra di Weimar. Conoscendo perfettamente la tecnica degli strumenti ad arco, preferì la viola perché, come egli diceva, gli pareva di essere quasi al centro dell'esecuzione e, sentendo tutte le altre parti sopra e sotto la sua, gustava meglio il fascino della polifonia. Le tre Sonatee le tre Partiteper violino solo,BWV 1001 – 1006, ci sono pervenute in un autografo, datato 1720, che è un capolavoro di grafia. Non abbiamo certezza sulla data di composizione. Le Sonate corrispondono nella forma alle sonate da chiesa in quattro movimenti, due lenti alternati da due Presto. I primi due movimenti stanno nel rapporto dialettico di un Preludio e di una Fuga, il terzo è sempre in stile arioso, mentre quello finale è caratterizzato da un vivace stile toccatistico. Strutturalmente le Sonate sono espressione della più pura polifonia, talora a quattro voci. Il Preludio della prima Sonata per violino soloin sol minore è un Adagio contabile che liberamente, con ricche figurazioni, introduce la Fuga basata su un tema di un'unica battuta, contrappuntisticamente elaborato sfruttando le possibilità polifoniche del violino solista. Il terzo movimento Siciliana è costruito su una semplice melodia e si svolge con leggeri risvolti ritmici e con morbide armonie, che conferiscono al brano un carattere pastorale. Molto melodico è anche il Finale, ricco di tensioni, nel quale prevale l’idea di un rapsodico vagare della fantasia. Le tre Partite ricalcano l'antica forma della suite di danze stilizzate e sono sostanzialmente diverse l'una dall'altra. La prima Partita per violino solo in si minore è uno splendido esempio della maestria bachiana nella variazione. Ad ogni movimento segue una variazione dal carattere contrastante chiamata da Bach \"double\". Vario è anche l'impiego dei ritmi all'interno degli otto brani. \u003c\/p\u003e\n\u003cp\u003eAntonio Mazzoni\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53475973693787,"sku":"DSD8801","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53475973726555,"sku":"HD8801","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8801sleeve.jpg?v=1782851528"},{"product_id":"i-filarmonici-di-roma-ughi","title":"I FILARMONICI DI ROMA | Ughi","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eI FILARMONICI DI ROMA \u003c\/h1\u003e\n\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eUto Ughi, violino\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eJ.S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eCONCERTO IN LA MIN. N.1 PER VIOLINO E ARCHI BWV 1041\u003cbr\u003e1. Allegro non tanto  4'05\"\u003cbr\u003e2. Andante 6'36\"\u003cbr\u003e3. Allegro assai 4'30\"\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eN. PAGANINI\u003c\/span\u003e\u003c\/strong\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eCONCERTO IN RE MIN. N.4 PER VIOLINO E ORCHESTRA\u003cbr\u003e4. Allegro maestoso 14'16\"\u003cbr\u003e5. Adagio flebile 4'57\"\u003cbr\u003e6. Rondò (Andantino) 8'11\"\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJ. MASSENET\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"apple-converted-space\"\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eMEDITATION DA \"THAIS\" PER VIOLINO E ORCHESTRA\u003cbr\u003e7. Mediation 5'26\"\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003eC. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eSINFONIA OP. 3 N.1\u003cspan class=\"apple-converted-space\"\u003e \u003c\/span\u003e\u003cbr\u003e8. Allegro con spirito 3'41\"\u003cbr\u003e9. Andante 3'04\"\u003cbr\u003e10. Presto 2'18\"\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTotal Time 57'10\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"font-size: 0.875rem;\" height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/3661585317487?zone=IT-it\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIdeato, registrato e prodotto da Giulio Cesare Ricci\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAssistente alla registrazione Paola Liberato\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMicrofoni a valvola Neumann U47, U48, M49\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePreamplificatori microfonici, cavi, digitali e linea: Signoricci\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRegistrato su registratore Pyramix usando convertitori dCS A\/D e D\/A\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eQuesto album è stato registrato durante un concerto dal vivo tenutosi presso l'Auditorium Parco della Musica - Sala Petrassi di Roma il 12 novembre 2004. La registrazione e produzione sono di Giulio Cesare Ricci in collaborazione con l'Accademia Nazionale di Santa Cecilia - Fondazione. Il grande violinista Uto Ughi durante il concerto ha suonato il violino Guarneri del Gesù, ex Grumiaux, interpretando magistralmente alcuni dei suoi \"capolavori\" come il Concerto in la min. n. 1 per violino e archi BWV 1041 - J.S.Bach, il Concerto in re min. n. 4 per violino e Orchestra - N.Paganini e una emozionante Meditazione da \"Thais\" per violino e Orchestra - J. Massenet. Infine, il repertorio di questo album è arricchito anche dalla Sinfonia Op. 3 n. 1 - C. Bach. La scelta di questa location è stata dettata dalla sua particolare acustica che ha permesso di ottenere un risultato del tutto speciale. Per questa registrazione Giulio Cesare Ricci ha utilizzato i microfoni originali a valvole Neumann U47, U48 e M49 e tutta la sua attrezzatura: preamplificatori microfonici, cavi di linea, digitali, microfonici e di alimentazione Signoricci. Registrato in Stereo DSD su Pyramix utilizzando convertitori dCS A\/D e D\/A. Anche per questa registrazione Giulio Cesare Ricci ha utilizzato una tecnica di registrazione \"a effetto di campo\", suono naturale, senza l'uso di equalizzatori, nessun sistema di espansione e compressione del suono. Con questa registrazione, Giulio Cesare Ricci ha voluto che l'ascoltatore vivesse un'esperienza unica: è come se fosse seduto su una poltrona posizionata nella posizione ideale della \"Sala Petrassi - Auditorium Parco della Musica\". In questa posizione, la profondità, l'ampiezza e l'altezza del suono sono molto apprezzate. Un album da non perdere!\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53502015537499,"sku":"DSD028","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53502015570267,"sku":"HD208","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/8012871002856-sleeve.jpg?v=1783094805"},{"product_id":"all-ombra-dei-giganti-la-direzione-d-orchestra-in-germania-e-in-austria-1900-1950","title":"All’ombra dei giganti — La dirección orquestal en Alemania y Austria (1900–1950)","description":"\u003cp\u003e\u003cstrong\u003eAll’ombra dei giganti\u003c\/strong\u003e es una antología sonora de Capsa Symphōnĭa dedicada a la gran tradición de dirección orquestal alemana y austríaca, concebida en diálogo con el libro homónimo de Andrea Bedetti y con la guía de escucha publicada en \u003cstrong\u003eGRooVE back Magazine n. 009\/26\u003c\/strong\u003e. El título retoma el marco histórico del libro; la selección discográfica incluye también testimonios posteriores a 1950 de algunos de los directores representados.\u003c\/p\u003e\u003ch2\u003eDiez intérpretes, diez documentos de dirección orquestal\u003c\/h2\u003e\u003cp\u003eLa colección reúne a Felix Weingartner, Wilhelm Furtwängler, Bruno Walter, Otto Klemperer, Hans Knappertsbusch, Oswald Kabasta, Hermann Abendroth, Carl Schuricht, Leo Borchard y Hermann Scherchen en obras de Beethoven, Bruckner, Mozart, Wagner, Brahms, Tchaikovsky y Bach. Las grabaciones documentan distintas escuelas, épocas y prácticas fonográficas, desde sesiones de estudio y discos de 78 rpm hasta grabaciones radiofónicas y actuaciones en directo debidamente documentadas.\u003c\/p\u003e\u003ch2\u003eContexto discográfico\u003c\/h2\u003e\u003cp\u003eEntre los documentos identificados con mayor precisión figuran la Quinta de Beethoven dirigida por Weingartner con la London Philharmonic Orchestra, grabada entre el 31 de enero y el 2 de febrero de 1933 en Abbey Road Studio 1; la Novena de Bruckner de Furtwängler con los Berliner Philharmoniker, realizada para la radio en el Beethovensaal de Berlín en el otoño de 1944 y no como concierto público; la \u003cem\u003eJupiter\u003c\/em\u003e de Mozart de Bruno Walter con los Wiener Philharmoniker, grabada en enero de 1938; la \u003cem\u003eEroica\u003c\/em\u003e de Klemperer con la Philharmonia Orchestra, registrada en Kingsway Hall en 1955; y el célebre \u003cem\u003eParsifal\u003c\/em\u003e de Knappertsbusch del Festival de Bayreuth de 1962, documentado en directo.\u003c\/p\u003e\u003cp\u003eLa Cuarta de Bruckner de Oswald Kabasta con los Münchner Philharmoniker está documentada como grabación radiofónica del 30 de junio de 1943 conservada a partir de cintas RRG. La Cuarta de Brahms de Hermann Abendroth con la orquesta sinfónica de la radio de Leipzig corresponde a la grabación del 15 de abril de 1956; la Novena de Beethoven de Carl Schuricht con la Orchestre de la Société des Concerts du Conservatoire fue grabada en la Salle Wagram de París en 1958. Para las selecciones de Borchard y Scherchen se indican las atribuciones de intérpretes y repertorio; los detalles cronológicos no están establecidos con suficiente certeza.\u003c\/p\u003e\u003ch2\u003eEdición digital Capsa Symphōnĭa\u003c\/h2\u003e\u003cp\u003eEsta edición digital, código \u003cstrong\u003eCS001\u003c\/strong\u003e, está disponible como \u003cstrong\u003eFile PCM 44.1kHz • 16bit — CD Resolution\u003c\/strong\u003e. El archivo es PCM 44.1kHz • 16bit y no es un formato Hi-Res.\u003c\/p\u003e\u003ch2\u003eTracklist\u003c\/h2\u003e\u003col\u003e\u003cli\u003e\u003cstrong\u003eLudwig van Beethoven\u003c\/strong\u003e — Symphony No. 5 in C minor, Op. 67: Allegro con brio [08:09] — Felix Weingartner, London Philharmonic Orchestra.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eAnton Bruckner\u003c\/strong\u003e — Symphony No. 9 in D minor: Scherzo. Bewegt, lebhaft – Trio. Schnell [09:31] — Wilhelm Furtwängler, Berliner Philharmoniker.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eWolfgang Amadeus Mozart\u003c\/strong\u003e — Symphony No. 41 in C major, K. 551 “Jupiter”: Molto allegro [06:35] — Bruno Walter, Wiener Philharmoniker.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eLudwig van Beethoven\u003c\/strong\u003e — Symphony No. 3 in E-flat major, Op. 55 “Eroica”: Marcia funebre [14:43] — Otto Klemperer, Philharmonia Orchestra.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eRichard Wagner\u003c\/strong\u003e — \u003cem\u003eParsifal\u003c\/em\u003e, WWV 111: Vorspiel, Act I [12:00] — Hans Knappertsbusch, Bayreuther Festspielorchester.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eAnton Bruckner\u003c\/strong\u003e — Symphony No. 4 in E-flat major, WAB 104 “Romantische”: Bewegt, nicht zu schnell [16:02] — Oswald Kabasta, Münchner Philharmoniker.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eJohannes Brahms\u003c\/strong\u003e — Symphony No. 4 in E minor, Op. 98: Allegro energico e passionato [10:20] — Hermann Abendroth, Rundfunk-Sinfonieorchester Leipzig.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eLudwig van Beethoven\u003c\/strong\u003e — Symphony No. 9 in D minor, Op. 125 “Choral”: Molto vivace [11:18] — Carl Schuricht, Orchestre de la Société des Concerts du Conservatoire.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003ePyotr Ilyich Tchaikovsky\u003c\/strong\u003e — \u003cem\u003eRomeo and Juliet\u003c\/em\u003e, Overture-Fantasia [22:30] — Leo Borchard, Berliner Philharmoniker.\u003c\/li\u003e\u003cli\u003e\u003cstrong\u003eJohann Sebastian Bach\u003c\/strong\u003e — Brandenburg Concerto No. 3 in G major, BWV 1048 [15:08] — Hermann Scherchen, Orchestra of the Vienna State Opera.\u003c\/li\u003e\u003c\/ol\u003e\u003ch2\u003eCréditos y contenidos relacionados\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDirectores:\u003c\/strong\u003e Felix Weingartner, Wilhelm Furtwängler, Bruno Walter, Otto Klemperer, Hans Knappertsbusch, Oswald Kabasta, Hermann Abendroth, Carl Schuricht, Leo Borchard, Hermann Scherchen.\u003cbr\u003e\u003cstrong\u003eEdición digital:\u003c\/strong\u003e Capsa Symphōnĭa\u003cbr\u003e\u003cstrong\u003eCódigo:\u003c\/strong\u003e CS001\u003c\/p\u003e\u003cp\u003eLa \u003cstrong\u003eguía de escucha\u003c\/strong\u003e vinculada a esta antología está publicada en \u003ca href=\"\/es\/collections\/groove-back-magazine\"\u003e\u003cstrong\u003eGRooVE back Magazine n. 009\/26\u003c\/strong\u003e\u003c\/a\u003e. En el sitio también está disponible el libro de Andrea Bedetti \u003cem\u003eAll’ombra dei giganti. La direzione d’orchestra in Germania e in Austria (1900–1950)\u003c\/em\u003e, primer volumen de la colección GRooVE back Parallel.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/es\/collections\/capsa-symphonia\"\u003eDescubre la colección Capsa Symphōnĭa\u003c\/a\u003e\u003c\/p\u003e\u003ch2\u003e¿Qué son DSD y DXD?\u003c\/h2\u003e\u003cp\u003e\u003cstrong\u003eDSD (Direct Stream Digital)\u003c\/strong\u003e es un sistema de codificación digital de 1 bit basado en modulación por densidad de pulsos. DSD64 funciona aproximadamente a \u003cstrong\u003e2,8 MHz\u003c\/strong\u003e, DSD128 a \u003cstrong\u003e5,6 MHz\u003c\/strong\u003e y DSD256 a \u003cstrong\u003e11,2 MHz\u003c\/strong\u003e. Para la reproducción se necesita un DAC o reproductor compatible con la frecuencia DSD seleccionada.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDXD (Digital eXtreme Definition)\u003c\/strong\u003e es un formato PCM de muy alta resolución; en la versión propuesta funciona a \u003cstrong\u003e352,8kHz\u003c\/strong\u003e. Nació también como entorno profesional de edición y posproducción para trabajos de muy alta resolución y requiere un DAC o reproductor compatible.\u003c\/p\u003e","brand":"Capsa Symphōnĭa","offers":[{"title":"File PCM 44.1kHz • 16bit — CD Resolution","offer_id":53589920153947,"sku":"CS001","price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/all-ombra-dei-giganti-grandi-direttori-capsa-symphonia-CS001-cover.png?v=1788138214"},{"product_id":"la-fonosofia-del-signoricci","title":"LA FONOSOFIA DEL SIGNORICCI","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eLA FONOSOFIA DEL SIGNORICCI\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1 Concerto in la min. op.3 n.9 per violino e archi allegro A.Vivaldi 2’47”\u003cbr\u003eM.Fornaciari maestro concertatore e violino solista, fonè ensemble\u003c\/p\u003e\n\u003cp\u003e2 Just you, just me J.Greer, R.Klages 5’13”\u003cbr\u003eK.Mc Garry vocals, P.Kreibich drums, K.Hammack piano, E.von Essen bass\u003c\/p\u003e\n\u003cp\u003e3 Cantabile N.Paganini 4’33”\u003cbr\u003eS.Accardo violino e direttore, Orchestra da Camera Italiana\u003c\/p\u003e\n\u003cp\u003e4 Brilliant Corners T.Monk 5’19”\u003cbr\u003eT.Cochran piano e voce\u003c\/p\u003e\n\u003cp\u003e5 Gran Duo Concertant su temi di Robert le Diable F.Chopin 12’39”\u003cbr\u003eR.Filippini cello, M.Campanella piano\u003c\/p\u003e\n\u003cp\u003e6 Joshua V.S.Feldman 7’42”\u003cbr\u003eJ.Leary bass, E.Harris vocal \u0026amp; tenor saxophone, B.Childs piano, R.Penland drums\u003c\/p\u003e\n\u003cp\u003e7 Sonata n°12 L’Ascensione in do magg. H.I.F. von Biber 4’31”\u003cbr\u003eL.Colonna contrabbasso, E.Merlini organo, M.Fornaciari violino\u003c\/p\u003e\n\u003cp\u003e8 The shadow of your smile J.Mandel, P.F.Webster 5’36”\u003cbr\u003eS.Hamilton sax, P.Birro piano, A.Zunino bass, A.Kramer drums\u003c\/p\u003e\n\u003cp\u003e9 Concerto in do min. BWV 981, op. 1 n. 3 Grave J.S.Bach 2’54”\u003cbr\u003eE.M.Bellotti organo\u003c\/p\u003e\n\u003cp\u003e10 Drums, Drums, Drums R.Rayford, M.Jackson 4’19”\u003cbr\u003eM.Jackson percussion, F.Awe percussion, L.Castro percussion, M.Dosso percussion,\u003cbr\u003eA.Figueroa percussion, B.Summers percussion, R.Rayford percussion \u0026amp; voice,\u003cbr\u003eT.Cochran piano, O.Ruiz piano, M.O’Neil guitar, S.Bunch bass, P.Eustacio flute,\u003cbr\u003eR.Greenidge steel pans, R.Griffin Drums\/Cymbals\u003c\/p\u003e\n\u003cp\u003e11 Partita I per violino solo in si min. BWV 1002 corrente J.S.Bach 3’52”\u003cbr\u003eS.Accardo violino\u003c\/p\u003e\n\u003cp\u003e12 Milonga del angel A.Piazzolla 7’04”\u003cbr\u003eS.Accardo violino e direttore, Orchestra da Camera Italiana\u003c\/p\u003e\n\u003cp\u003e13 L’Italiana in Algeri, sinfonia G.Rossini 8’27”\u003cbr\u003eM. - W.Chung direttore, Orchestra dell’Accademia Nazionale di Santa Cecilia\u003c\/p\u003e\n\u003cp\u003e14 dal Gloria Rv 589 - Gloria in excelsis Deo A.Vivaldi 2’25\u003cbr\u003eM.Fornaciari maestro concertatore e violino solista, fonè ensemble\u003cbr\u003eCorale Valdera, S.Valeri\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/l3b3emejsgpeb?zone=IT-it\" width=\"378\" height=\"104\" style=\"font-size: 0.875rem;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRecording engineer: Giulio Cesare Ricci\u003cbr\u003eRecording assistant: Paola Liberato\u003cbr\u003ePhotos by Maurizio Po\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eLa masterizzazione per il SuperAudioCD è stata effettuata da Giulio Cesare Ricci utilizzando il sistema Signoricci interamente analogico e valvolare.\u003cbr\u003eIl Master DSD è stato realizzato utilizzando un convertitore dCS A\/D.\u003cbr\u003e\u003cbr\u003eLa selezione dei brani contenuti in questo disco accompagna come una sorta di colonna sonora il volume dallo stesso titolo, “La fonosofia del Signoricci”, edito dalla casa editrice Bordeaux.\u003cbr\u003eIl libro condensa la storia della mia vita, 35 anni e più di appassionata dedizione alla ricerca del suono e alla produzione discografica di altissima qualità. Tutto ciò che ho realizzato in questi anni è raccontato nel libro,\u003cbr\u003ema è anche presente nella selezione che troverete in questa playlist, come se scrittura biografica ed esecuzioni musicali si tenessero per mano, e volessero offrire al lettore\/ascoltatore un viaggio nel tempo e nello spazio.\u003cbr\u003eAscoltare e leggere: le due chiavi per riscoprire la bellezza del mondo, sia pure mediata attraverso la storia di una vita..... la mia!\u003cbr\u003e\u003cem\u003eGiulio Cesare Ricci\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53742789099867,"sku":"DSD199","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53742789132635,"sku":"HD199","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/8012871019953-FONOSOFIA-coverart.jpg?v=1786272375"},{"product_id":"mozart-handel-bach-orchestra-da-camera-del-festival-internazionale-di-brescia-e-bergamo-orizio","title":"MOZART, HANDEL, BACH | Orchestra da Camera del Festival Internazionale di Brescia e Bergamo, Orizio","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eMOZART, HANDEL, BACH\u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003e\u003cem\u003eOrchestra da Camera del Festival Internazionale di Brescia e Bergamo\u003c\/em\u003e\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eWOLFGANG AMADEUS MOZART (1756 -1791)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSinfonia concertante in mi bemolle maggiore per quattro strumenti a fiato e orchestra d’archi KV 297 b\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSolisti: Rota, Vernizzi, Borgonovo, Mariotti\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003eAllegro (14'05\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003eAdagio (8' 17\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003eAndantino (8'55\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGEORG FRIEDRICH HÄNDEL (1685-1759)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eConcerto in re minore op. 7 n. 4 per organo e orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSolista: Ernesto Merlini\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003eAdagio (5'30\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003eAllegro (6'52\") a (5 '05\") Ad Libitum (Adagio: quasi una fantasia)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003eAllegro (4' 57\")\u003c\/span\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eJOHANN SEBASTIAN BACH (1685 -1750)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eConcerto in re minore BWV 1060 per violino, oboe, archi e basso continuo\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eSolisti: Rizzi, Borgonovo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003eAllegro (4'57\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003eAdagio (5'25\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003eAllegro (4'02\")\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eDurata: 1 h 03' 00\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/rn933k5mo1tk3?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\u003eOrchestra da Camera del Festival Internazionale di Brescia e Bergamo \u003cbr\u003eDirettore Agostino Orizio\u003c\/p\u003e\n\u003cp\u003eDirettore di produzione Producer\u003c\/p\u003e\n\u003cp\u003eGiulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eDirettore dell’incisione Recording Supervisor\u003c\/p\u003e\n\u003cp\u003eGiulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eIngegnere del suono Recording Engineer\u003c\/p\u003e\n\u003cp\u003eAlessandro Orizio\u003c\/p\u003e\n\u003cp\u003eRegistrato nel mese di Maggio del 1987 presso il Teatro Grande in Brescia e la Basilica di Santa Maria delle Grazie in Brescia. \u003c\/p\u003e\n\u003cp\u003eMicrofoni utilizzati: Schoeps Colette C 41. Processore PCM: Sony PCM-F 1. Preamplificatore microfonico EMT. Vcr Betamax Sony SL F1E e SL HF100EC. Vcr U-Matic: Sony DRM 200. PCM: Sony 1630. Audio Editor: Sony 1100 \u003c\/p\u003e\n\u003cp\u003eWOLFGANG A. MOZART\u003c\/p\u003e\n\u003cp\u003eSinfonia concertante per quattro strumenti a fiato ed orchestra \u003c\/p\u003e\n\u003cp\u003eKV 297 b, Allegro - Adagio - Andantino\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSenza dubbio meno conosciuta, meno usurata da discutibili esecuzioni, la splendida “Sinfonia concertante” KV 297 b -che Mozart scrisse, durante il soggiorno parigino, per un “Concert spirituel” nel 1778. In quegli anni a Parigi (come pure in Italia) persisteva un certo favore per il Concerto Grosso barocco, col suo alternarsi “Concertino” \/ “Ripieno”. In conseguenza erano molto gradite le cosiddette “sinfonie concertanti” nelle quali l’alternarsi dei solisti (sempre in numero di due o superiore) e dell’orchestra richiamava in certo qual modo la pratica barocca. Mozart stesso compose un'altra mirabile “Sinfonia concertante” per violino e viola, la KV 364. Sempre a Parigi era ancora vivo lo spirito “galante” della Scuola di Mannheim. Ed è per quattro solisti di Mannheim che Mozart compose la KV 297 b. Essa non venne mai eseguita nei '”Concerts spirituels”. Il perché è uno dei tanti enigmi che avvolgono molte delle opere di Mozart. La sorte della KV 297 b è sconcertante; ritenuta composizione fondamentale dai migliori e più reputati complessi di “fiati” succedutisi nel tempo, essa non solo non venne eseguita nei “Concerts spirituels”, ma l’autografo andò addirittura smarrito in circostanze mai chiarite. Concepita per essere eseguita da flauto, oboe, fagotto e corno, la versione pervenutaci indica il clarinetto al posto del flautoe reca tracce di poco discrete manomissioni; pur tuttavia essa resta opera riservata a strumentisti di altissima perizia e non sembra che abbia subito seri danni al contenuto musicale. L’Allegro iniziale è una introduzione stupenda. In esso il gruppo di solisti domina, mentre l’orchestra ha quasi mansioni di accompagnamento. Si noti, soprattutto, la “cadenza” sostenuta all’unisono dai quattro strumentisti che, con il loro virtuosismo, rivelano il vero carattere dell’opera. Ma è nel sublime Adagio che si offre ai solisti la possibilità di dimostrare tutta la loro maestria, la loro abilità, la loro perizia. L’Andantino, introdotto da un quartetto di strumenti a fiato, accompagnato daun “Tutti” in stile chitarristico, pone un tema che, in dieci variazioni, conduce al finale. Tutto il terzo tempo risente dell’influsso parigino: sia il tema che, con la sua piacevolezza, parrebbe appartenere ad una “opéra-comique”; sia il Ritornello che rammenta il Vaudeville. Solo l’ultima variazione, in tempo più lento, si trasforma in un solenne Adagio. Il brano si conclude, come d’uso, in maniera brillante. In sintesi, mentre primo e terzo movimento esprimono tutta la loro divertita vivacità d’eloquio, l’Adagio resta uno dei più sublimi esempi di elevazione spirituale. È ben conosciuta la cura, la sapienza con la quale Mozart impiegava ogni strumento dell’orchestra per utilizzarne al massimo le caratteristiche di “timbro”, di “colore”. Ebbene, anche quando, come in questa Sinfonia concertante i solisti sono quattro e praticamente costituiscono un’unità concertante, il carattere sonoro di ogni singolo strumento resta stupendamente individuato. \u003c\/p\u003e\n\u003cp\u003eLamberto Limberti\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eGEORG FRIEDRICH HÄNDEL\u003c\/p\u003e\n\u003cp\u003eConcerto in re min. -op. 7 n. 4 per organo e orchestra\u003c\/p\u003e\n\u003cp\u003eAdagio - Allegro – Allegro\u003c\/p\u003e\n\u003cp\u003eSe il cosmopolitismo “interiore” di Bach e la reale, effettiva apertura al mondo di Händel pongono i due massimi artefici del tardo barocco musicale su piani, personali ancor prima che estetici e musicali, diversi, i due maestri tedeschi furono accomunati in vita dalla loro grande fama di esecutori: per Bach, le cui musiche, vivente l’autore, furono troppo spesso misconosciute, l’unico punto di contatto con ciò che comunemente definiamo successo; per Handel uno dei molteplici aspetti del suo porsi nei confronti del pubblico europeo come personaggio poliedrico ed artista “alla moda”. EGeorg Friedrich Händel dovette essere senza dubbio un organista straordinario, secondo riferiscono le testimonianze dirette di Charles Burney e di sir John Hawkins, straordinari personaggi del ‘700 musicale inglese, entrambi amici di Händel, che a Londra conobbe fama e successo. Colpivano in particolare l’uditorio le mirabili doti di improvvisatore del musicista tedesco, sia negli “a solo” dei concerti che nel libero preludiare. Se si eccettuano le belle parole di Hawkins e Burney, rimangono a noi, testimoni di un’arte che tanto stupì i contemporanei, solo più i Concerti per organo e orchestra, una ventina in tutto. Un genere, quello del concerto per organo e orchestra, che, con poche eccezioni, nasce e muore con Handel. Particolare ed originale la genesi di queste opere, che Händel stesso eseguiva fra un atto e l’altro dei suoi Oratori, col che possiamo collocare questi concerti nel periodo londinese, quello appunto il musicista tedesco rinverdì nel genere dell'Oratorio la sua immensa fama di operista. Si è detto della straordinaria abilità di Händel come improvvisatore: orbene, non possiamo non ritenere che le partiture pervenuteci di questi concerti ci tramandino solo una parte, ancorché grande e significativa, dell'arte organistica händeliana, quasi scheletrici canovacci per il mirabile, libero e fantastico dipanarsi dell’improvvisazione che tanto soggiogava il pubblico londinese degli Oratori. Tuttavia la lettura e l’ascolto di queste partiture ci rivela particolari di sommo interesse: intanto lospirito improvvisativo è sostanza strutturale di queste musiche (il secondo movimento del concerto qui proposto, “Allegro”, è interamente “ad libitum”); ma soprattutto colpisce la brusca inversione di tendenza che con l’elegante e raffinata spregiudicatezza dell’artista al passo coi tempi Händel riesce ad imprimere all’organo, strumento che fin dai suoi albori era stato “medium” ideale per evocare e captare le mistiche profondità del servizio liturgico e che in questi concerti, ad opera di Händel, si secolarizza del tutto, fino a porsi sullo stesso piano del clavicembalo settecentesco, brillante ed estroverso: ne fa fede l’ambivalenza strumentale di queste composizioni (destinate “al clavicembalo ed all’organo”; uno di questi concerti, l’op. 4 n. 6, è scritto anche per arpa), che fanno massicciamente uso di agili stilemi esecutivi clavicembalistici, cui si aggiunge la generalizzata mancanza, salvo eccezioni, del pedale obbligato, sempre presente nella severa tradizione organistica tedesca, laddove invece gli organi inglesi al tempo di Handel erano generalmente sprovvisti di pedaliera. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFrancesco Iuliano\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eJOHANN SEBASTIAN BACH\u003c\/p\u003e\n\u003cp\u003eConcerto in re min. BWV 1060 per violino, oboe, archi e basso cont.\u003c\/p\u003e\n\u003cp\u003eAllegro - Adagio – Allegro\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eSolo di recente l’esegesi bachiana sta approdando a conclusioni che, se da un lato si stanno· dimostrando più vicine alla verità storica, d’altro canto non mancano di provocare una certa dose di smarrimento in chi ancora sia legato (e non sempre per propria ristrettezza di vedute) all’immagine che del Maestro di Eisenach ci ha tramandato un certo ‘800 tedesco il cui romanticismo beveva alle germanicissime fonti del misticismo e del nazionalismo. Questa “nuova immagine”, com’è ormai uso corrente definirla, fu strenuamente propugnata dal compianto Friedrich Blume e sta in questi anni trovando da noi un fiero paladino in Piero Buscaroli: tende a restituirci un Bach più “tenero”, sanguigno, verace, se non proprio le mille miglia almeno molto distante dal ritratto, ormai “retro” del fervido e fervente artigiano dei suoni tutto dedito ad offrire i suoi mirabili “manufatti”“soli Deo gloria”: non solo dunque divino artefice di sacre architetture musicali ma uomo tutt’affatto integro nel suo desiderio di pienezza vitale, financo di mondanità, se non proprio di galanteria. Dove forse la vecchia immagine di Bach esce più malconcia è proprio nella sua funzione di “Kantor” a Lipsia: le nuove ricerche sulla cronologia delle opere bachiane attestano infatti non solo che la sua fervida attività di compositore di cantate sacre si arrestò ben presto, ma che per moltedi queste opere sacre, Passioni comprese, Bach attinse a piene mani ad opere scritte in anni precedenti. Gli è che, oltre alla poca sopportazione della terribile “routine” compositiva cui per ragioni di servizio era costretto, Bach trovò assai stimolante la direzione, che assunse nel 1729, del Collegium Musicum di Lipsia, uno dei tanti consorzi musicali che fiorivano, e talora son vivi ancor oggi~ nell’Europa luterana: associazioni di musicisti, per lo più valenti strumentisti, che svolgevano la loro attività in concerti pubblici, anche nei caffè o nelle piazze. Quello di Lipsia vantava una nobile tradizione (era stato fondato da Telemann) e Bach vi si appassionò al punto di dedicarvi gran parte del suo temo anche sottraendone ai suoi doveri di “Kantor”. Fu proprio per questo Collegium Musicum che Bach operò attivamente come compositore, attirando su di sé le fiere rampogne dei suoi superiori alla Thomasschule per la scarsa cura con cui ormai espletava le sue funzioni: per il Collegium lavorò alacremente, in parte scrivendo “ex novo”, e in parte, soprattutto, riadattando per l’organico di cui disponeva opere, anche sacre, scritte in precedenza. È il caso del Concerto BWV 1060: la versione che qui viene presentata è una ricostruzione di quella che correntemente si ritiene essere la versione originale per violino, oboe, archi e basso continuo che è andata smarrita, mentre a noi è pervenuta solamente una tradizione per due clavicembali, archi e basso continuo che Bach elaborò proprio per i valenti clavicembalisti del Collegium Musicum, trasportandone in do minore l’originaria tonalità di re minore. Nulla sappiamo di preciso circa la strumentazione della versione originaria di cui quella che l’Orchestra del Festival ci propone qui è una ricostruzione, ma se accettiamo per buona, e non v’ha motivo di non farlo, la ricostruzione della versione con violino ed oboe solisti, e se supponiamo, come assai plausibile in virtù di una prassi nota e consolidata, che le due mani destre dei clavicembalisti realizzassero le linee monodiche dei due strumenti solisti originari, non possiamo non stupirci una volta di più di fronte alla straordinaria capacità di Bach di reagire a1la necessità pratica di mutare organico strumentale di una stessa opera, nello stesso tempo arricchendola di particolari e di mirabili soluzioni tecniche, compositive ed architettoniche. \u003c\/p\u003e\n\u003cp\u003eFrancesco Iuliano\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53887417778523,"sku":"DSD9004","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53887417811291,"sku":"HD9004","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9004sleeve.jpg?v=1787754297"}],"url":"https:\/\/www.referencemusicstore.com\/es\/collections\/johann-sebastian-bach.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}