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Opere per Organo
Artist
Diego Cannizzaro, organ
Composer
Lorenzo Perosi (1872-1956)
Organ
Vincenzo Mascioni (1966) Op. 884
Venue
Basilica Cattedrale della Trasfigurazione, Cefalù (PA), Italy
About this album
With this double CD set that follows the presentation of two very beautiful Missae pontificales, Elegia Classics continues its exploration of the production of Lorenzo Perosi, a priest and composer from the region of Piedmont. The program includes his little known organ works, a series of compositions that Perosi wrote for the most part at the beginning of his career. Through these, he began to develop his own original style, freeing himself from the theatrical tones that were close to the Lyric Opera genre and that were adopted by many Italian composers towards the end of the XIX century. These liturgical pieces – often short in time length –feature an intimate atmosphere through which the themes are developed through the resourceful use of the glorious heritage of the past, as can be seen in the fugue passages and in the brilliant improvisation passages. Alongside with these works, the transcriptions made by Marco Enrico Bossi of some excerpts from the Passion of Christ according to Saint Mark’s Gospel and of the Transfiguration of Our Lord Jesus Christ by Perosi are featured. Diego Cannizzaro, who for this recording plays the splendid Vincenzo Mascioni organ of the Cathedral Basilica of the Transfiguration in Cefalù (Palermo), performs these works with brilliant solidity.
Additional info about this CD
in Cattedrale di Cefalù, Palermo, Italy, on may 2019.
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment
Full organ specs card included.
With this double CD set that follows the presentation of two very beautiful Missae pontificales, Elegia Classics continues its exploration of the production of Lorenzo Perosi, a priest and composer from the region of Piedmont. The program includes his little known organ works, a series of compositions that Perosi wrote for the most part at the beginning of his career. Through these, he began to develop his own original style, freeing himself from the theatrical tones that were close to the Lyric Opera genre and that were adopted by many Italian composers towards the end of the XIX century. These liturgical pieces – often short in time length –feature an intimate atmosphere through which the themes are developed through the resourceful use of the glorious heritage of the past, as can be seen in the fugue passages and in the brilliant improvisation passages. Alongside with these works, the transcriptions made by Marco Enrico Bossi of some excerpts from the Passion of Christ according to Saint Mark’s Gospel and of the Transfiguration of Our Lord Jesus Christ by Perosi are featured. Diego Cannizzaro, who for this recording plays the splendid Vincenzo Mascioni organ of the Cathedral Basilica of the Transfiguration in Cefalù (Palermo), performs these works with brilliant solidity.
Additional info about this CD
in Cattedrale di Cefalù, Palermo, Italy, on may 2019.
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment
Full organ specs card included.
Organ works
Artist
Alessandro Bianchi,organo
Composer
Gordon Young (1919-1998)
Organs
Grande organo Diego Bonato (2013)
Balbiani Vegezzi-Bossi
Venue
Parrocchia Sant'Anastasia, Villasanta (MB), Italy
About this album
Though he is almost unknown outside the world of organ music, Gordon Young has been among the most authoritative exponents of the American music landscape of the mid XX century and can boast a vast production of remarkable quality on his behalf, which comprises over 800 works. These works, mostly for organ and choir, made it possible for Young to be awarded the ASCAP prize, the American Society of Composers, Authors and Publishers of the United States, for 18 consecutive years, an accomplishment never equaled by any other composer. To celebrate the first centenary of the birth of Young, Elegia Calssics presents this surprisingly beautiful CD that makes it possible to discover the composer’s brilliant and very personal style. In it, style elements from the great masters of Baroque and of Romantic composers as well can be recognized as these are reinvented in a very personal key. This can be noticed in the Cathedral Suite that opens the program. Young has found a valid paladin in Alessandro Bianchi, an organist of great talent, who performs these works on the great Diego Bonati Balbiani Vegezzi-Bossi organ of the Parish Church of Saint Anastasia of Villasanta.
Additional info about this CD
Recorded in chiesa di Sant’Anastasia, Villasanta (MB), Italy, on January 2019.
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment.
Full organ specs card included.
Balbiani Vegezzi-Bossi
Though he is almost unknown outside the world of organ music, Gordon Young has been among the most authoritative exponents of the American music landscape of the mid XX century and can boast a vast production of remarkable quality on his behalf, which comprises over 800 works. These works, mostly for organ and choir, made it possible for Young to be awarded the ASCAP prize, the American Society of Composers, Authors and Publishers of the United States, for 18 consecutive years, an accomplishment never equaled by any other composer. To celebrate the first centenary of the birth of Young, Elegia Calssics presents this surprisingly beautiful CD that makes it possible to discover the composer’s brilliant and very personal style. In it, style elements from the great masters of Baroque and of Romantic composers as well can be recognized as these are reinvented in a very personal key. This can be noticed in the Cathedral Suite that opens the program. Young has found a valid paladin in Alessandro Bianchi, an organist of great talent, who performs these works on the great Diego Bonati Balbiani Vegezzi-Bossi organ of the Parish Church of Saint Anastasia of Villasanta.
Additional info about this CD
Recorded in chiesa di Sant’Anastasia, Villasanta (MB), Italy, on January 2019.
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment.
Full organ specs card included.
Sonate d’intavolatura per organo e cimbalo
Artists
Gabriele Giacomelli, organo
Andrea Banaudi, cembalo
Composer
Domenico Zipoli (1688-1726)
Organs
Cesare Romani (1588) e Michelangelo Crudeli (1773)
Organo di Michelangelo Crudeli (1777)
e Michelangelo Paoli (prima metà del sec. XIX)
Venue
Cattedrale di S. Stefano,
Cappella del Sacro Cingolo, Pieve di San Giusto in Piazzanese, Italy
About this album
One of the most fascinating and paradoxically least known figures of the Baroque is undoubtedly Domenico Zipoli, whose posthumous fame is almost completely linked to his organ production. Actually his work - numerically rather small, if compared to the eighteenth-century standards, but of very high quality - embraces other genres, from the oratorios (unfortunately lost) to the liturgical music and the cantatas, in whose brilliant and very original writing we can see some stylistic element of the most famous composers of those years, starting from Alessandro Scarlatti, who was for a short time one of Zipoli’s teachers. In 1716, Zipoli moved to Seville, where he entered the Jesuit order and decided to leave for missions in Latin America. Arriving in Argentina, the composer of Prato devoted himself intensely to music, helping the local people of the Guaranì to develop their innate musical talent. Unfortunately, in 1725 Zipoli contracted tuberculosis, which the following year led him to death at the age of only 37 years. To honor this highly suggestive author, Elegia launches the complete series of his works with this double box set, starting from the complete works for organ and harpsichord, performed respectively by Gabriele Giacometti - one of the greatest specialists in Zipoli’s work - and Andrea Banaudi, also artistic director of the Accademia del Santo Spirito in Turin. A wide-ranging project destined to discover works of rare beauty.
Additional info about this CD
Recorded: CD1: in Cattedrale di Santo Stefano (Cappella del Sacro Cingolo), Prato, Italy, on 5 July 2013; Pieve di San Giusto in Piazzanese, Prato, on 8 October 2013. .
CD2: in Sacrestia della Chiesa dello Spirito Santo, Torino, Italy, November-December 2018
Booklet di 28 pag iBooklet 28 pages full colour (It, En)
Artists biographies
Musicological comment
Full organ specs card included and photographye
Andrea Banaudi, cembalo
Organo di Michelangelo Crudeli (1777)
e Michelangelo Paoli (prima metà del sec. XIX)
Cappella del Sacro Cingolo, Pieve di San Giusto in Piazzanese, Italy
One of the most fascinating and paradoxically least known figures of the Baroque is undoubtedly Domenico Zipoli, whose posthumous fame is almost completely linked to his organ production. Actually his work - numerically rather small, if compared to the eighteenth-century standards, but of very high quality - embraces other genres, from the oratorios (unfortunately lost) to the liturgical music and the cantatas, in whose brilliant and very original writing we can see some stylistic element of the most famous composers of those years, starting from Alessandro Scarlatti, who was for a short time one of Zipoli’s teachers. In 1716, Zipoli moved to Seville, where he entered the Jesuit order and decided to leave for missions in Latin America. Arriving in Argentina, the composer of Prato devoted himself intensely to music, helping the local people of the Guaranì to develop their innate musical talent. Unfortunately, in 1725 Zipoli contracted tuberculosis, which the following year led him to death at the age of only 37 years. To honor this highly suggestive author, Elegia launches the complete series of his works with this double box set, starting from the complete works for organ and harpsichord, performed respectively by Gabriele Giacometti - one of the greatest specialists in Zipoli’s work - and Andrea Banaudi, also artistic director of the Accademia del Santo Spirito in Turin. A wide-ranging project destined to discover works of rare beauty.
Additional info about this CD
Recorded: CD1: in Cattedrale di Santo Stefano (Cappella del Sacro Cingolo), Prato, Italy, on 5 July 2013; Pieve di San Giusto in Piazzanese, Prato, on 8 October 2013. .
CD2: in Sacrestia della Chiesa dello Spirito Santo, Torino, Italy, November-December 2018
Booklet di 28 pag iBooklet 28 pages full colour (It, En)
Artists biographies
Musicological comment
Full organ specs card included and photographye
Mottetti-Inni-Antifone
Artista
Cappella Musicale della Cattedrale di Vercelli
Don Denis Silano, conductor
Composers
Marco Antonio Centorio (1597/98 - 1638)
Pietro Heredia (1570-1648)
About this album
During Middle Ages the bishopric of Vercelli was one of the most important episcopal venue in northern Italy, also thanks to its position: along Via Francigena, one of the most important European communication routes of the time, crossed both by pilgrims and rich merchants. This strategic position allows Vercelli to get richness, bringing a huge art spread. Beside the architectural masterpieces of the city, the visitors can rediscover the brilliant musical works that were composed here. This CD presents a series of motets by Marco Antonio Centorio and Pietro Heredia. This latter wrote pieces of great interest and he was until today unknown: thanks to Don Denis Silano, director of Cappella Musicale del Duomo, we can listen to this musical beauty. It is an evocative CD, which is added to the first-half of the seventeenth century repertoire, that many identify almost exclusively with Claudio Monteverdi.
Additional info about this CD
Recorded in Cappella del Seminario Arcivescovile Vercelli, Italy, on 17-21 January 2019
20 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment.
Don Denis Silano, conductor
Pietro Heredia (1570-1648)
During Middle Ages the bishopric of Vercelli was one of the most important episcopal venue in northern Italy, also thanks to its position: along Via Francigena, one of the most important European communication routes of the time, crossed both by pilgrims and rich merchants. This strategic position allows Vercelli to get richness, bringing a huge art spread. Beside the architectural masterpieces of the city, the visitors can rediscover the brilliant musical works that were composed here. This CD presents a series of motets by Marco Antonio Centorio and Pietro Heredia. This latter wrote pieces of great interest and he was until today unknown: thanks to Don Denis Silano, director of Cappella Musicale del Duomo, we can listen to this musical beauty. It is an evocative CD, which is added to the first-half of the seventeenth century repertoire, that many identify almost exclusively with Claudio Monteverdi.
Additional info about this CD
Recorded in Cappella del Seminario Arcivescovile Vercelli, Italy, on 17-21 January 2019
20 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment.
La musica sacra ai tempi di Leonardo
Artists
Accademia del Ricercare
Pietro Busca, direttore
Composer
Franchino Gaffurio (1451-1522)
About this album
In order to celebrate the fifth anniversary of Leonardo da Vinci’s death, the Italian genius who in his Trattato della pittura wrote “Music is nothing but depiction’s sister”, Elegia Classics is proud to present an entirely CD dedicated to Franchinus Gaffurius, composer from Lodi, nowadays almost forgotten, but who had the extraordinary honour to be painted by Leonardo. The programme is focused on Missa da Carnaval, one of his most significant works, composed for the last Sunday before the Lent, to which he added some motets of striking beauty, that underline a fascinating view of the musical panorama during the last years of the XV century. Of these works Accademia del Ricercare ensemble, directed by Pietro Busca, gives us an inspired performance both expressive and instrumental, with the four masculine voices facing krummhorns, flutes, Renaissance traverse, vielle and basso continuo.
Additional info about this CD
Recorded: in Cappella del Seminario Arcivescovile Vercelli, Italy, on 23-25 February 2019
12 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment,
Pietro Busca, direttore
Additional info about this CD
Recorded: in Cappella del Seminario Arcivescovile Vercelli, Italy, on 23-25 February 2019
12 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment,
Missa Pontificalis I-II - Confitebor Tibi Domine - Magnificat
Artisti
Coro dell’Accademia Stefano Tempia
Michele Frezza, direttore
Composers
Lorenzo Perosi (1872-1956)
Organs
Organo Tamburini (1933/4) - Organo Pinchi, Opus 419,III/48 (2000)
Venues
Conservatorio G. Verdi, Torino Italia - Basilica Pontificia di Castelnuovo Don Bosco (AT) Italia
About this album
Son of Giuseppe Perosi, kappelmeister of Tortona and protagonist of the Italian sacred music reform, he was born in Tortona on December 21th 1872 and died in Rome on December 12th 1956. Started by the father to musical studies at Santa Cecilia Conservatoire and, later, at “Giuseppe Verdi” Conservatoire with M. Saladino, in 1890 he became organ player and singing teacher in Montecassino Abbey. In 1892 he studied again in Milan, where he got the diploma. He perfected himself in Regensburg with F.X. Haberl and M. Haller in 1893. Towards the end of that year, he became singing teacher in the Imola Seminary, directing the Cappella del Duomo, then that of San Marco in Venice. As a priest, he was known as a director of his own compositions and in 1898 he became director of Cappella Sistina and since 1903 with the title of perpetual master: this task was interrupted between 1915 and 1923 because of health problems. On October 22nd 1930 he was nominated Accademico d’Italia.
Additional info about this CD
Recorded at Conservatorio “G. Verdi” of Turin, on February 13, 14, 15 2010 (Missa Pontificalis, Confitebor tibi Domine, Magnificat). At Basilica Pontificia di Castelnuovo Don Bosco (AT), on March 18, 19 2019 (Missa Secunda Pontificalis)
20 pages full colour booklet (Ita and Eng).
Musicology comment.
Artist biography.
Michele Frezza, direttore
Son of Giuseppe Perosi, kappelmeister of Tortona and protagonist of the Italian sacred music reform, he was born in Tortona on December 21th 1872 and died in Rome on December 12th 1956. Started by the father to musical studies at Santa Cecilia Conservatoire and, later, at “Giuseppe Verdi” Conservatoire with M. Saladino, in 1890 he became organ player and singing teacher in Montecassino Abbey. In 1892 he studied again in Milan, where he got the diploma. He perfected himself in Regensburg with F.X. Haberl and M. Haller in 1893. Towards the end of that year, he became singing teacher in the Imola Seminary, directing the Cappella del Duomo, then that of San Marco in Venice. As a priest, he was known as a director of his own compositions and in 1898 he became director of Cappella Sistina and since 1903 with the title of perpetual master: this task was interrupted between 1915 and 1923 because of health problems. On October 22nd 1930 he was nominated Accademico d’Italia.
Additional info about this CD
Recorded at Conservatorio “G. Verdi” of Turin, on February 13, 14, 15 2010 (Missa Pontificalis, Confitebor tibi Domine, Magnificat). At Basilica Pontificia di Castelnuovo Don Bosco (AT), on March 18, 19 2019 (Missa Secunda Pontificalis)
20 pages full colour booklet (Ita and Eng).
Musicology comment.
Artist biography.
Complete Organ Works Vol.1 - Six Organ Sonatas Op. 65
Artist
Luca Benedicti, organ
Composer
Felix Mendelssohn (1809-1847)
Organ
Vincenzo Mascioni (1910)
Venue
Cattedrale di Sant'Eusebio, Vercelli, Italy
About this album
The Six Sonatas for organ op.65 by Felix Mendelssohn-Bartholdy, commissioned by the editors Coventry and Hollier in London, represent the synthesis of the full artistic and creative maturity of the composer. The passion for this instrument revealed very early in the musician’s life, as witnessed by the fact that he wrote his first composition, “Sei piccoli pezzi”, when he was only 12. His incredible talent in composing for organ was due not only to his constant interest, but also to the many years of attendance with prestigious teachers (he studied harmony and counterpoint with Friederich Zelter while he gained a solid mastery of the instrument with August Wilhelm Bach, who was then the titular organist of the Marienkirche in Berlin) and to the focused knowledge of Bach’s masterpieces. It is indeed important to remark that, as is well known, Mendelssohn played a fundamental role in their rediscovery. He was renowned and appreciated for his interpretation virtuosity as well as for his mastery in improvisation. He was invited, not yet an adolescent, to play in Germany in different concerts, among which we remember those in Weimar in 1821 and in the Bern cathedral the year after. The experience gained in this period was decisive when, between the summer of 1844 and January 1845, Mendelssohn started to compose the Six Sonatas. We can recognize therein different genres like the theme with variations or the aria with “da capo” and the use of several composition techniques in the treatment of single movements. If the fourth Sonata played a pioneering role towards the organ symphony of the 19th century, with the sixth Sonata Mendelssohn composed what we could consider the first “Sonata ciclica”. The theme of the choral “Vater unser im Himmelreich” became the starting point and the pretext not only for the elaboration of the first four variations, but also of the last two movements (the subject of the fuga and of the conclusive Andante are built essentially on the same choral), transforming them into the fifth and the sixth variations. An amazing counterpoint technique appears also in the “Allegro moderato e serioso” of the first Sonata in F minor, where the subject of the “Fugato” is masterfully developed, interrupted in some points by the harmonization of the Choral “Was mein Gott will, das g’sche hall zeit”. The same magnificent counterpoint technique reappears to remark the outstanding qualities of the German composer in the elaboration of the double fuga of the third Sonata in which the Choral “Aus tiefer Not schrei’ ich zu dir” appears, sustained by the pedal. The idea of an organ with more tonal and expressive resources can be identified in the use of violent sound contrasts, like in the “Andante recitativo” of the third movement of the first Sonata or in the great opening of the third Sonata, where a simple theme, declaimed through the second keyboard, is alternated to the powerful chord masses of the first one. In the same way the drawing of the dotted quavers design that characterises the pedal of the “Andante con moto” of the fifth Sonata expresses effectively the usual method of “pizzicato” in the strings. The technique entrusted to the pedal notes reveals to be innovative for the time. Mendelssohn resorts to it confidently in his Sonatas assigning to the pedal difficult passages. In this way he provided a significant boost to the building of new organs with a bigger pedal and a larger number of corresponding stops with respect to the typical early 19th century English instruments.
Additional info about this CD
Recorded in Cattedrale di Sant'Eusebio, Vercelli, Italy, in February, 26th, 27th 2019
Booklet di 12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography,
Full organ specs card included
The Six Sonatas for organ op.65 by Felix Mendelssohn-Bartholdy, commissioned by the editors Coventry and Hollier in London, represent the synthesis of the full artistic and creative maturity of the composer. The passion for this instrument revealed very early in the musician’s life, as witnessed by the fact that he wrote his first composition, “Sei piccoli pezzi”, when he was only 12. His incredible talent in composing for organ was due not only to his constant interest, but also to the many years of attendance with prestigious teachers (he studied harmony and counterpoint with Friederich Zelter while he gained a solid mastery of the instrument with August Wilhelm Bach, who was then the titular organist of the Marienkirche in Berlin) and to the focused knowledge of Bach’s masterpieces. It is indeed important to remark that, as is well known, Mendelssohn played a fundamental role in their rediscovery. He was renowned and appreciated for his interpretation virtuosity as well as for his mastery in improvisation. He was invited, not yet an adolescent, to play in Germany in different concerts, among which we remember those in Weimar in 1821 and in the Bern cathedral the year after. The experience gained in this period was decisive when, between the summer of 1844 and January 1845, Mendelssohn started to compose the Six Sonatas. We can recognize therein different genres like the theme with variations or the aria with “da capo” and the use of several composition techniques in the treatment of single movements. If the fourth Sonata played a pioneering role towards the organ symphony of the 19th century, with the sixth Sonata Mendelssohn composed what we could consider the first “Sonata ciclica”. The theme of the choral “Vater unser im Himmelreich” became the starting point and the pretext not only for the elaboration of the first four variations, but also of the last two movements (the subject of the fuga and of the conclusive Andante are built essentially on the same choral), transforming them into the fifth and the sixth variations. An amazing counterpoint technique appears also in the “Allegro moderato e serioso” of the first Sonata in F minor, where the subject of the “Fugato” is masterfully developed, interrupted in some points by the harmonization of the Choral “Was mein Gott will, das g’sche hall zeit”. The same magnificent counterpoint technique reappears to remark the outstanding qualities of the German composer in the elaboration of the double fuga of the third Sonata in which the Choral “Aus tiefer Not schrei’ ich zu dir” appears, sustained by the pedal. The idea of an organ with more tonal and expressive resources can be identified in the use of violent sound contrasts, like in the “Andante recitativo” of the third movement of the first Sonata or in the great opening of the third Sonata, where a simple theme, declaimed through the second keyboard, is alternated to the powerful chord masses of the first one. In the same way the drawing of the dotted quavers design that characterises the pedal of the “Andante con moto” of the fifth Sonata expresses effectively the usual method of “pizzicato” in the strings. The technique entrusted to the pedal notes reveals to be innovative for the time. Mendelssohn resorts to it confidently in his Sonatas assigning to the pedal difficult passages. In this way he provided a significant boost to the building of new organs with a bigger pedal and a larger number of corresponding stops with respect to the typical early 19th century English instruments.
Additional info about this CD
Recorded in Cattedrale di Sant'Eusebio, Vercelli, Italy, in February, 26th, 27th 2019
Booklet di 12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography,
Full organ specs card included
Organ Concertos Op. 4
Artist
Massimo Gabba, organo
Composer
George Friedrich Händel (1685-1759)
Organ
Mascioni Op. 570 (1942)
Venue
Chiesa di San Francesco, Moncalvo (AT) Italy
About this album
«“We can say that Hӓndel, in particular, cannot be easily overcome by anyone in his cleverness on the organ, if not maybe by Bach from Lipsia”. With this very flattering judgment of 1739 Johann Mattheson, famous German composer and theorist of the XVIII century, allows us to discover an almost unfamiliar characteristic of the composer of Halle’s production, nowadays known most of all for his works and oratorios. It was really for his oratorios that Hӓndel wrote between 1735 and 1736 the six concerts for organ, strings and basso continuo op.4, that he performed himself in-between his monumental sacred works. In any case, it is not at all about simple occasional works, conceived to pleasantly entertain the public waiting for the restarting of the “real performing”, but pieces of remarkable artistic depth, in which the composer used virtuosic passages and singing movements. These six beautiful works are performed in this CD by Massimo Gabba, as seen before in Elegia Classics.
Additional info about this CD
Recorded: in chiesa di San Francesco d’Assisi, Moncalvo (AT), Italy, on November 2018
12 pages full colour booklet (Ita and Eng)
Musicology comment
Artist biography
Full organ specs card included
«“We can say that Hӓndel, in particular, cannot be easily overcome by anyone in his cleverness on the organ, if not maybe by Bach from Lipsia”. With this very flattering judgment of 1739 Johann Mattheson, famous German composer and theorist of the XVIII century, allows us to discover an almost unfamiliar characteristic of the composer of Halle’s production, nowadays known most of all for his works and oratorios. It was really for his oratorios that Hӓndel wrote between 1735 and 1736 the six concerts for organ, strings and basso continuo op.4, that he performed himself in-between his monumental sacred works. In any case, it is not at all about simple occasional works, conceived to pleasantly entertain the public waiting for the restarting of the “real performing”, but pieces of remarkable artistic depth, in which the composer used virtuosic passages and singing movements. These six beautiful works are performed in this CD by Massimo Gabba, as seen before in Elegia Classics.
Additional info about this CD
Recorded: in chiesa di San Francesco d’Assisi, Moncalvo (AT), Italy, on November 2018
12 pages full colour booklet (Ita and Eng)
Musicology comment
Artist biography
Full organ specs card included
Seicento - Italian Early baroque music
Artists
Accademia del Ricercare Pietro Busca, conductor
Lorenzo Cavasanti, Manuel Staropoli,flauti,
Antonio Fantinuoli, violoncello
Claudia Ferrero, clavicembalo
Composers
Francesco Turini (1589 circa–1656)
Giovanni P. Cima (1570 circa–1622)
Dario Castello (1602–1631)
Antonio Caldara (1670–1736)
Venue
Basilica di Sant’Apollinare (Roma), Italy
About this album
During the seventeenth century in Italy the genre of instrumental sonata developed and it was an artistic route that involved a great number of cities and of composers, starting from Sonate concertate in stil moderno by the venetian Dario Castello – a composer that nowadays is wrapped in a fascinating mystery – up to the smooth style and technically unexceptionable of Arcangelo Corelli, who was an example all over Europe. This CD sketches a pleasant fresco of this glorious tradition with a sort of circular path, that starts from Castello, Francesco Turini – a composer born in Praha and active in Brescia for many years – and the Milanese Francesco Paolo Cima, up to Antonio Caldara, coming back finally to the three forerunners: a choice that underlines the coherence with which the sonata spread. A new CD of great interest by Accademia del Ricercare, that, after the beautiful record dedicated to Georg Philipp Teleman’s production, celebrates the Italian 17th century in music. Looking forward to the release of a new CD dedicated to Leonardo da Vinci’s time, stay tuned for an incredible offer by Elegia Classics.
Additional info about this CD
Booklet 12 pages full colour (It, En)
Recorded: in chiesa di San Raffaele Arcangelo, San Raffaele Cimena (TO), Italy, on 9th-10th March 2018.
Artists biography
Musicology comment
Lorenzo Cavasanti, Manuel Staropoli,flauti,
Antonio Fantinuoli, violoncello
Claudia Ferrero, clavicembalo
Giovanni P. Cima (1570 circa–1622)
Dario Castello (1602–1631)
Antonio Caldara (1670–1736)
During the seventeenth century in Italy the genre of instrumental sonata developed and it was an artistic route that involved a great number of cities and of composers, starting from Sonate concertate in stil moderno by the venetian Dario Castello – a composer that nowadays is wrapped in a fascinating mystery – up to the smooth style and technically unexceptionable of Arcangelo Corelli, who was an example all over Europe. This CD sketches a pleasant fresco of this glorious tradition with a sort of circular path, that starts from Castello, Francesco Turini – a composer born in Praha and active in Brescia for many years – and the Milanese Francesco Paolo Cima, up to Antonio Caldara, coming back finally to the three forerunners: a choice that underlines the coherence with which the sonata spread. A new CD of great interest by Accademia del Ricercare, that, after the beautiful record dedicated to Georg Philipp Teleman’s production, celebrates the Italian 17th century in music. Looking forward to the release of a new CD dedicated to Leonardo da Vinci’s time, stay tuned for an incredible offer by Elegia Classics.
Additional info about this CD
Booklet 12 pages full colour (It, En)
Recorded: in chiesa di San Raffaele Arcangelo, San Raffaele Cimena (TO), Italy, on 9th-10th March 2018.
Artists biography
Musicology comment
Toccate e variazioni sulla follia
Artist
Diego Cannizzaro, organ
Composer
Alessandro Scarlatti (1660-1725)
Organ
Antonino La Valle (1630 ca.)
Venue
Chiusa Sclafani (PA), Italy
About this album
Inside the huge production of Alessandro Scarlatti, the keyboard instruments works are a very restricted part under the quantity profile, but under the stylistic one they have many reasons of interest. As we can see even in the most famous pieces, as oratorios and cantatas, the great Neapolitan master was able to create in fact an extraordinary writing, that genially blend some elements of the seventeenth century tradition with a series of modern ideas: as a whole, they bring to a listening of extraordinary pleasantness, as we can see for example in the famous Toccata e Partite sulla Follia di Spagna, theme that was put in music, among the others, by Arcangelo Corelli and Antonio Vivaldi. Beside this work, the programme of this CD also includes unreleased pages taken from the manuscripts preserved in Santa Pietro a Majella (Naples) at Biblioteca del Conservatorio and in Fondo Foà- Giordano (Torino). Realized inside the celebrations for Palermo Capitale Italiana della Cultura, this CD has an inspired protagonist in Diego Cannizzaro, at the keyboard of the splendid organ of San Sebastiano di Sclafani (PA), built around 1630 by Antonio La Valle.
Additional info about this CD
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment
Full organ specs card included
Inside the huge production of Alessandro Scarlatti, the keyboard instruments works are a very restricted part under the quantity profile, but under the stylistic one they have many reasons of interest. As we can see even in the most famous pieces, as oratorios and cantatas, the great Neapolitan master was able to create in fact an extraordinary writing, that genially blend some elements of the seventeenth century tradition with a series of modern ideas: as a whole, they bring to a listening of extraordinary pleasantness, as we can see for example in the famous Toccata e Partite sulla Follia di Spagna, theme that was put in music, among the others, by Arcangelo Corelli and Antonio Vivaldi. Beside this work, the programme of this CD also includes unreleased pages taken from the manuscripts preserved in Santa Pietro a Majella (Naples) at Biblioteca del Conservatorio and in Fondo Foà- Giordano (Torino). Realized inside the celebrations for Palermo Capitale Italiana della Cultura, this CD has an inspired protagonist in Diego Cannizzaro, at the keyboard of the splendid organ of San Sebastiano di Sclafani (PA), built around 1630 by Antonio La Valle.
Additional info about this CD
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment
Full organ specs card included
Giuseppe Tartini & amici, maestri, rivali
Artists
L'Arte dell'Arco
Federico Guglielmo, violino
Francesco Galligioni, violoncello
Diego Cantalupi, tiorba
Roberto Loreggian, cembalo
Composers
Giuseppe Tartini (1692-1770)
Arcangelo Corelli (1653-1713)
Antonio Vandini (1690-1778)
Antonio Vivaldi (1678-1741)
Francesco M.Veracini (1690-1768)
Venue
Basilica di Sant’Apollinare (Roma), Italy
About this album
This CD represents the first title of the collaboration between Elegia Records and Roma Baroque Festival, one of the most prestigious Italian shows dedicated to the pre romantic repertoire, come to the eleventh edition in 2018. Lovers of around the world will be able to live the emotion of a great concert in one of the main historical churches of the Eternal City: the same in which ages ago played authors like Palestrina, Corelli and Scarlatti. Recorded on December 15th 2017 in Sant’Apollinare, this CD have Federico Guglielmo and L’Arte dell’Arco, his ensemble of original instruments, as protagonists with a programme about Giuseppe Tartini: the great virtuoso of which Guglielmo is considered among the greatest specialists worldwide. In particular, this recording underlines the fascinating background of Tartini through his friends, masters and rivals such as Corelli, Vivaldi and Veracini up to Antonio Vandini. An overwhelming virtuosity and a great vitality are characteristics of this CD.
Additional info about this CD
Recorded in Roma, Basilica di Sant’Apollinare on 15 december 2017, Italy
full colour booklet (Italian, English, French e Spanish)
L'Arte dell'Arco's biography
Musicology comment.
Federico Guglielmo, violino
Francesco Galligioni, violoncello
Diego Cantalupi, tiorba
Roberto Loreggian, cembalo
Arcangelo Corelli (1653-1713)
Antonio Vandini (1690-1778)
Antonio Vivaldi (1678-1741)
Francesco M.Veracini (1690-1768)
This CD represents the first title of the collaboration between Elegia Records and Roma Baroque Festival, one of the most prestigious Italian shows dedicated to the pre romantic repertoire, come to the eleventh edition in 2018. Lovers of around the world will be able to live the emotion of a great concert in one of the main historical churches of the Eternal City: the same in which ages ago played authors like Palestrina, Corelli and Scarlatti. Recorded on December 15th 2017 in Sant’Apollinare, this CD have Federico Guglielmo and L’Arte dell’Arco, his ensemble of original instruments, as protagonists with a programme about Giuseppe Tartini: the great virtuoso of which Guglielmo is considered among the greatest specialists worldwide. In particular, this recording underlines the fascinating background of Tartini through his friends, masters and rivals such as Corelli, Vivaldi and Veracini up to Antonio Vandini. An overwhelming virtuosity and a great vitality are characteristics of this CD.
Additional info about this CD
Recorded in Roma, Basilica di Sant’Apollinare on 15 december 2017, Italy
full colour booklet (Italian, English, French e Spanish)
L'Arte dell'Arco's biography
Musicology comment.
Noëls de Provence
Artists
Jean Christophe Maillard musette baroque,
François Dujardin galoubet, tambourin,
Silvano Rodi orgue
Organ
Alessandro Collino (1859, op. 175),
Gioacchino Concone (1790-'91),
Lingiardi (1874) - Bonizzi (1998).
Venue
Fenestrelle, Bussoleno, Imperia-Oneglia. Italy
Information Album
It is not simple to realize an original Christmas CD indeed, that know how to stand out from the countless classic collections, without arriving for this reason to the opposite with a specialized repertoire, only reserved to few connoisseurs. Christmas is the sweetest feast of the year, the one that gather distant families and that can involve with its joy even the simplest people. According to those statements, Elegia Classics presents with touching spontaneity a sparkling anthology of traditional works from Provence, a repertoire that has its roots back in very remote times and that during XVIII century became “cultured” by a group of composers like Jean-Jacques Beauvarlet Charpentier, Micolau Saboly, Michel Corrette, Louis Archimbauded Etienne-Paul Charbonnier. Those works have a touching delicacy, proposed to us in the performance by Stefano Rodi (organ), Jean-Christophe Maillard (musetta barocca) and François Dujardin (galoubet, fifre and tambourin). For a very different kind of Christmas.
Additional info about this CD
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment
François Dujardin galoubet, tambourin,
Silvano Rodi orgue
Gioacchino Concone (1790-'91),
Lingiardi (1874) - Bonizzi (1998).
It is not simple to realize an original Christmas CD indeed, that know how to stand out from the countless classic collections, without arriving for this reason to the opposite with a specialized repertoire, only reserved to few connoisseurs. Christmas is the sweetest feast of the year, the one that gather distant families and that can involve with its joy even the simplest people. According to those statements, Elegia Classics presents with touching spontaneity a sparkling anthology of traditional works from Provence, a repertoire that has its roots back in very remote times and that during XVIII century became “cultured” by a group of composers like Jean-Jacques Beauvarlet Charpentier, Micolau Saboly, Michel Corrette, Louis Archimbauded Etienne-Paul Charbonnier. Those works have a touching delicacy, proposed to us in the performance by Stefano Rodi (organ), Jean-Christophe Maillard (musetta barocca) and François Dujardin (galoubet, fifre and tambourin). For a very different kind of Christmas.
Additional info about this CD
16 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment
Complete Italian Organ Concertos
Artist
Luca Scandali, organ
Composer
Johann Sebastian Bach
Organ
Dell’Orto e Lanzini (2007)
Venue
Chiesa di M. Assunta, Vigliano Biellese, Italy
About this album
During his youth, Johann Sebastian Bach studied with passion the great Italian composers’ works, were at that time style models both for their perfection about their harmonic architecture both for the brilliant vitality about their melodic vein. In order to capture the secrets of the Italian style, the young composer realized a series of transcriptions for organ from orchestra pieces, in which it is possible to see the future genius. The programme of this CD includes five works based on famous concerts by Vivaldi (four from Estro Armonico op. 3 and one from Stravaganza op. 4) and a transcription from a piece by Alessandro Marcello, who is today almost forgotten but very appreciated at Bach’s time, as his younger brother Benedetto. Those works were proposed thanks to the great performance by Luca Scandali, organ player of magnificent talent, who for Elegia has already recorded many CDs of great interest, among which stand out the two volumes of the symphonies by Padre Davide da Bergamo. A Cd that deserves to be considered even for Dell’Orto & Lanzini’s beautiful sounding palette inside the church of Santa Maria Assunta in Vigliano Biellese and for the excellent quality of the recording.
Additional info about this CD
Recorded in 17-18 maggio 2018, chiesa di Santa Maria Assunta, Vigliano (Biella)
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included
During his youth, Johann Sebastian Bach studied with passion the great Italian composers’ works, were at that time style models both for their perfection about their harmonic architecture both for the brilliant vitality about their melodic vein. In order to capture the secrets of the Italian style, the young composer realized a series of transcriptions for organ from orchestra pieces, in which it is possible to see the future genius. The programme of this CD includes five works based on famous concerts by Vivaldi (four from Estro Armonico op. 3 and one from Stravaganza op. 4) and a transcription from a piece by Alessandro Marcello, who is today almost forgotten but very appreciated at Bach’s time, as his younger brother Benedetto. Those works were proposed thanks to the great performance by Luca Scandali, organ player of magnificent talent, who for Elegia has already recorded many CDs of great interest, among which stand out the two volumes of the symphonies by Padre Davide da Bergamo. A Cd that deserves to be considered even for Dell’Orto & Lanzini’s beautiful sounding palette inside the church of Santa Maria Assunta in Vigliano Biellese and for the excellent quality of the recording.
Additional info about this CD
Recorded in 17-18 maggio 2018, chiesa di Santa Maria Assunta, Vigliano (Biella)
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included
Antonio Caldara - Vespro della Beata Vergine. Missa in Sol
Artists
Collegio Musicale Italiano
Adriano Gaglianello, conductor
Composer
Antonio Caldara (1670-ca.1736)
Venue
Chiesa confraternitale dei Santi Giovanni Battista e Marta - Chivasso - Turin- Italy
About this album
Among many Italian baroque composers, set aside in spite of them in the background, stands out the name of Antonio Caldara, who had the misfortune to be overshadowed by the bright star of his contemporary and fellow citizen Vivaldi. Left Venetia at 29, Caldara moved first to Mantua and then to Rome, where he was offered the prestigious position of kappelmeister of prince Ruspoli, set free by Georg Friedrich Händel, in order to dock in the end to the Austrian court of Karl VI Hasburg, where he remained until his death. This CD presents as a first worldwide recording two of the most significant liturgical works of the venetian composer, Messa in sol maggiore and Vespro della Beata Vergine: this last one composed after 1716 and transcribed by Adriano Gaglianello from the manuscripts kept at the Staatsbibliothek of Munich. They are works with great suggestion, varied and original style, also appreciated by Johann Sebastian Bach and Wolfgang Amadeus Mozart, that got inspiration for some of their sacred pages. An absolute first time not to be missed, even thanks to the magnificent performance of Collegio Musicale italiano directed by Adriano Gaglianello.
Additional info about this CD
Recorded in Chiesa confraternitale dei Santi G. Battista e Marta, Chivasso, Turin, Italy, in March 2012
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artists biography
Adriano Gaglianello, conductor
Among many Italian baroque composers, set aside in spite of them in the background, stands out the name of Antonio Caldara, who had the misfortune to be overshadowed by the bright star of his contemporary and fellow citizen Vivaldi. Left Venetia at 29, Caldara moved first to Mantua and then to Rome, where he was offered the prestigious position of kappelmeister of prince Ruspoli, set free by Georg Friedrich Händel, in order to dock in the end to the Austrian court of Karl VI Hasburg, where he remained until his death. This CD presents as a first worldwide recording two of the most significant liturgical works of the venetian composer, Messa in sol maggiore and Vespro della Beata Vergine: this last one composed after 1716 and transcribed by Adriano Gaglianello from the manuscripts kept at the Staatsbibliothek of Munich. They are works with great suggestion, varied and original style, also appreciated by Johann Sebastian Bach and Wolfgang Amadeus Mozart, that got inspiration for some of their sacred pages. An absolute first time not to be missed, even thanks to the magnificent performance of Collegio Musicale italiano directed by Adriano Gaglianello.
Additional info about this CD
Recorded in Chiesa confraternitale dei Santi G. Battista e Marta, Chivasso, Turin, Italy, in March 2012
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artists biography
Organ transcriptions
Artist
Roberto Cognazzo, organ
Composer
Pietro Mascagni (1863-1945)
Organ
Carlo Vegezzi Bossi (1884)
Venue
Chiesa Parrocchiale di San Massimo, Turin, Italy
About this album
After the two beautiful CDs dedicated to the transcriptions of the most known works by Giuseppe Verdi, the organ player Roberto Cognazzo pays attention to the production by Pietro Mascagni, composer which posthumously fame continues to be based almost exclusively on Cavalleria Rusticana, considered with Pagliacci by Ruggero Leoncavallo the maximum manifesto of the musical Verismo flourished in Italy between XIX and XX centuries. The programme proposes the transcriptions of ten pieces, realized by the same Cognazzo: not only from Cavalleria (il Preludio con la Siciliana, la Preghiera and the unequalled Intermezzo), but also from L’amico Fritz, Guglielmo Ratcliff, Silvano, Iris and Le maschere, works that had great reputation and that deserve today to be rediscovered. As it already happened in the previous CDs, the performance is characterized by theatricality, that widens from singing sections with brilliant inspiration to passages of more dramatic tones and it can count on the Carlo Vegezzi Bossi’s rich sounding palette: the organ was built in 1884 and it is placed in San Massimo in Turin.
Additional info about this CD
Registrazioni: Recorded in Organ Carlo Vegezzi Bossi (1884), February 2016, Turin, ltaly
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
After the two beautiful CDs dedicated to the transcriptions of the most known works by Giuseppe Verdi, the organ player Roberto Cognazzo pays attention to the production by Pietro Mascagni, composer which posthumously fame continues to be based almost exclusively on Cavalleria Rusticana, considered with Pagliacci by Ruggero Leoncavallo the maximum manifesto of the musical Verismo flourished in Italy between XIX and XX centuries. The programme proposes the transcriptions of ten pieces, realized by the same Cognazzo: not only from Cavalleria (il Preludio con la Siciliana, la Preghiera and the unequalled Intermezzo), but also from L’amico Fritz, Guglielmo Ratcliff, Silvano, Iris and Le maschere, works that had great reputation and that deserve today to be rediscovered. As it already happened in the previous CDs, the performance is characterized by theatricality, that widens from singing sections with brilliant inspiration to passages of more dramatic tones and it can count on the Carlo Vegezzi Bossi’s rich sounding palette: the organ was built in 1884 and it is placed in San Massimo in Turin.
Additional info about this CD
Registrazioni: Recorded in Organ Carlo Vegezzi Bossi (1884), February 2016, Turin, ltaly
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Musicalisches Opfer BWV 1079
Artisti
Solisti della Turin Baroque Orchestra
Ensemble Sol Invictus
Francesca Odling, traversiere
Svetlana Fomina, violino e viola
Paola Nervi, violino
Composer
Johann Sebastian Bach (1685-1750)
Organ
Pinchi (1996) op. 412
Venue
Chiesa Madonna del Rosario, Chivasso, Turin, Itally
About this album
In 1747 Johann Sebastian Bach went to Potsdam visiting his second son Carl Philipp Emanuel, who was at the court of Frederik the Great. In that occasion the elderly musician was welcomed with all the honors by the king of Prussia, great music lover, who asked him to improvise at the harpsichord a fugue for three voices on a deeply chromatic theme proposed by him. After happily completing this task, the king asked Bach to create a fugue for six voices on the same theme. The achievement however was too difficult to be improvised and for this reason Bach answered the king that he would send him a copy of this work after his return to Lipsia. From this memorable evening arose the Offerta Musicale, one of the huge masterpieces by the genius of Bach, a speculative work that continues nowadays to arouse regard and astonishment in the public. This piece is proposed by Elegia thanks to the Turin Baroque Orchestra soloists’ masterful reading, that already in 2017 has emerged with the splendid CD dedicated to the organ concerts by Vivaldi and that came up to the music of Bach with the same musicality and the same high interpretation.
Instruments
Nicola Brovelli: violoncello barocco, Maurizio Vella, Cremona 2016, modello Maggini
Francesca Odling: traversiere, Carlo Palanca, 1750ca. Copia di Martin Wenner
Paola Nervi: violino barocco, Federico Lowemberger, Genova 2004. Copia di Maggini
Svetlana Fomina: violino barocco, Johannes Fichtl, Mittenwald, 1767; viola barocca: anonimo del 18 sec.
Gianluca Cagnani: organo Guido Pinchi op. 412, 1996; clavicembalo Bizzi, costruito secondo il modello italiano Giusti.
Additional info about this CD
Recorded in Madonna del Rosario (paris church), Chivasso, Torino Italy, in January 2018
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artists biography
Ensemble Sol Invictus
Francesca Odling, traversiere
Svetlana Fomina, violino e viola
Paola Nervi, violino
In 1747 Johann Sebastian Bach went to Potsdam visiting his second son Carl Philipp Emanuel, who was at the court of Frederik the Great. In that occasion the elderly musician was welcomed with all the honors by the king of Prussia, great music lover, who asked him to improvise at the harpsichord a fugue for three voices on a deeply chromatic theme proposed by him. After happily completing this task, the king asked Bach to create a fugue for six voices on the same theme. The achievement however was too difficult to be improvised and for this reason Bach answered the king that he would send him a copy of this work after his return to Lipsia. From this memorable evening arose the Offerta Musicale, one of the huge masterpieces by the genius of Bach, a speculative work that continues nowadays to arouse regard and astonishment in the public. This piece is proposed by Elegia thanks to the Turin Baroque Orchestra soloists’ masterful reading, that already in 2017 has emerged with the splendid CD dedicated to the organ concerts by Vivaldi and that came up to the music of Bach with the same musicality and the same high interpretation.
Instruments
Nicola Brovelli: violoncello barocco, Maurizio Vella, Cremona 2016, modello Maggini
Francesca Odling: traversiere, Carlo Palanca, 1750ca. Copia di Martin Wenner
Paola Nervi: violino barocco, Federico Lowemberger, Genova 2004. Copia di Maggini
Svetlana Fomina: violino barocco, Johannes Fichtl, Mittenwald, 1767; viola barocca: anonimo del 18 sec.
Gianluca Cagnani: organo Guido Pinchi op. 412, 1996; clavicembalo Bizzi, costruito secondo il modello italiano Giusti.
Additional info about this CD
Recorded in Madonna del Rosario (paris church), Chivasso, Torino Italy, in January 2018
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artists biography
Lieder Op. 74
Artists
Dominika Zamara, soprano
Franco Moro, pianoforte
Composer
Fryderyk Chopin (1810-1849)
About this album
Even if it seems incredible, inside the most famous composer’s production there are still treasures to discover. In the case of Fryderyk Chopin, among these unknown gems, stand out the seventeen Lieder op. 74, less considered by their author so that they were only published after his death. As we know, Chopin did not love to write for voice, but from these works extremely vivid images of the great Polish musician emerge: they recall the youth years, spent in Poland and the echo of his love for Konstancja Gladkowska with moments of sincerity that remind the best Schubert on many points of view. In this CD of intense beauty Dominika Zamara, Polish soprano with great talent, opens the Elegia catalogue and for the occasion she is accompanied by the piano player Franco Moro with refined taste. Beside the Lieder op. 74, the programme of this CD includes Jakież kwiaty, jakie wianki, a virtually unknown piece by Chopin, and two beautiful pages by Stanislaw Moniuszko and Ignacy Jan Paderewski, the first considered the father of the Polish national opera and the second a great piano talent, who for some time was the Poland Prime Minister.
Additional info about this CD
Recorded in Pink Sound Studio, Padova Sound engineer and Digital Editing: Massimo Gabba
24 pages full colour booklet (It , En and Pl)
Musicology comment,
Artist biography
Franco Moro, pianoforte
Even if it seems incredible, inside the most famous composer’s production there are still treasures to discover. In the case of Fryderyk Chopin, among these unknown gems, stand out the seventeen Lieder op. 74, less considered by their author so that they were only published after his death. As we know, Chopin did not love to write for voice, but from these works extremely vivid images of the great Polish musician emerge: they recall the youth years, spent in Poland and the echo of his love for Konstancja Gladkowska with moments of sincerity that remind the best Schubert on many points of view. In this CD of intense beauty Dominika Zamara, Polish soprano with great talent, opens the Elegia catalogue and for the occasion she is accompanied by the piano player Franco Moro with refined taste. Beside the Lieder op. 74, the programme of this CD includes Jakież kwiaty, jakie wianki, a virtually unknown piece by Chopin, and two beautiful pages by Stanislaw Moniuszko and Ignacy Jan Paderewski, the first considered the father of the Polish national opera and the second a great piano talent, who for some time was the Poland Prime Minister.
Additional info about this CD
Recorded in Pink Sound Studio, Padova Sound engineer and Digital Editing: Massimo Gabba
24 pages full colour booklet (It , En and Pl)
Musicology comment,
Artist biography
Opera Overtures
Artist
Roberto Cognazzo, organ
Composer
Giuseppe Verdi (1813-1901
Organi
Organo Felice Bossi - San Giorgio Canavese
Organo Tiburzio Gorla - Coassolo Torinese
About this album
After the great success of the first CD, Roberto Cognazzo comes back to this repertoire with a program most of all based on a series of works composed by Verdi in the first phase of his career, the so-called anni di galera. These are the pieces that have more interest, because allow to listen to titles nowadays barely performed such as Oberto Conte di San Bonifacio and Il finto Stanislao and because they lead us to the discovery of this composer, who later would have written masterpieces. During the XIX century it was a habit to write the most famous arias and choirs for organ or piano, a praxis that allowed them to reach a great popularity even among those that did not attend theatres. These works are performed by Cognazzo with verve, that it is emphasized by the rich timbre of the four great symphonic organs.
Additional info about this CD
Booklet 12 pages full colour (It and En)
Artists biographies
Musicological comment
Full organ specs card included
Organo Tiburzio Gorla - Coassolo Torinese
After the great success of the first CD, Roberto Cognazzo comes back to this repertoire with a program most of all based on a series of works composed by Verdi in the first phase of his career, the so-called anni di galera. These are the pieces that have more interest, because allow to listen to titles nowadays barely performed such as Oberto Conte di San Bonifacio and Il finto Stanislao and because they lead us to the discovery of this composer, who later would have written masterpieces. During the XIX century it was a habit to write the most famous arias and choirs for organ or piano, a praxis that allowed them to reach a great popularity even among those that did not attend theatres. These works are performed by Cognazzo with verve, that it is emphasized by the rich timbre of the four great symphonic organs.
Additional info about this CD
Booklet 12 pages full colour (It and En)
Artists biographies
Musicological comment
Full organ specs card included
Concertos and triosonatas
Artisti
Accademia del Ricercare
Lorenzo Cavasanti, recorder and flute
Manuel Staropoli, recorder and flute
Luisa Busca, recorder
Composer
Georg Philipp Telemann (1681-1767)
About this album
Despite his endless discography, Georg Philipp Telemann is always able to pleasantly amaze with his huge production, most of which awaits to be discovered. Among the skills of the Magdeburg’s composer, stand out a natural talent for the tune and an amazing ability in expressing himself in all the important styles of his time, moving from Corelli’s musicality to the sublime refinement of the French eighteenth century, without neglecting the traditional polish and bohemian elements. This CD focuses on his chamber production for more flutes and transverse flutes, suggesting, next to three quite famous pieces from Tafelmusik and Der getreue Musik Meister, many unknown tracks, but not for this reason less fascinating. The main stage belongs to Introduzione per due flauti dolci e basso continuo, that in barely 13 minutes outlines with mastery five great ancient women, from Santippe to Clelia, closing with Dido. Accademia del Ricercare is the leading actor of this recording: it is an original ensemble, that with this beautiful CD makes its debut with Elegia Classic.
Additional info about this CD
Recorded in Chiesa di San Raffaele Arcangelo, San Raffaele Cimena (Italy), on 11st & 12nd March 2017
8 pages full colour booklet (Ita and Eng)
Accademia del Ricercare's biography
Musicology comment,
Lorenzo Cavasanti, recorder and flute
Manuel Staropoli, recorder and flute
Luisa Busca, recorder
Despite his endless discography, Georg Philipp Telemann is always able to pleasantly amaze with his huge production, most of which awaits to be discovered. Among the skills of the Magdeburg’s composer, stand out a natural talent for the tune and an amazing ability in expressing himself in all the important styles of his time, moving from Corelli’s musicality to the sublime refinement of the French eighteenth century, without neglecting the traditional polish and bohemian elements. This CD focuses on his chamber production for more flutes and transverse flutes, suggesting, next to three quite famous pieces from Tafelmusik and Der getreue Musik Meister, many unknown tracks, but not for this reason less fascinating. The main stage belongs to Introduzione per due flauti dolci e basso continuo, that in barely 13 minutes outlines with mastery five great ancient women, from Santippe to Clelia, closing with Dido. Accademia del Ricercare is the leading actor of this recording: it is an original ensemble, that with this beautiful CD makes its debut with Elegia Classic.
Additional info about this CD
Recorded in Chiesa di San Raffaele Arcangelo, San Raffaele Cimena (Italy), on 11st & 12nd March 2017
8 pages full colour booklet (Ita and Eng)
Accademia del Ricercare's biography
Musicology comment,
Organ Masterpieces
Artist
Massimo Gabba, organo
Composer
Richard Wagner (1813-1883)
Organ
Mascioni III/47 (2010)
Venue
Chiesa di San Giovanni Evangelista, Alessandria, Italy
About this album
Wagner’s works became rapidly famous and allowed the transcriptions for the most different instruments, among which we remember the ones for piano by Franz Liszt. Soon after his death, a young English organ player, known as Edwin Henry Lemare, became so passionate about Wagner, that he realized a series of organ transcriptions, considered as the most inspired of all time, both for the perfect performance of the difficult writing by the German composer and for the extraordinary sounding richness, able to rival with a great orchestra. This CD presents five transcriptions by Lemare, from the ouverture of Der fliegende Holländer to the pilgrims choir of Tannhäuser, thanks to Massimo Gabba’s performance at the keyboard of the great Mascioni organ of San Giovanni Evangelista (Alessandria), an instrument that has huge technical and expressive resources, perfect for this repertoire. The program is completed by other brilliant transcriptions by William Joseph Westbrook, Herbert Brewer and Théodore Dubois. A compelling vortex of organ emotions!
Additional info about this CD
Recorded in Chiesa Parrocchiale San Giovanni Evangelista, Alessandria, on December, 2017.
Sound engineer and Digital Editing: Massimo Gabba
12 pages full colour booklet (Ita and Eng)
Musicology comment, rtist biography Full organ specs card included
Wagner’s works became rapidly famous and allowed the transcriptions for the most different instruments, among which we remember the ones for piano by Franz Liszt. Soon after his death, a young English organ player, known as Edwin Henry Lemare, became so passionate about Wagner, that he realized a series of organ transcriptions, considered as the most inspired of all time, both for the perfect performance of the difficult writing by the German composer and for the extraordinary sounding richness, able to rival with a great orchestra. This CD presents five transcriptions by Lemare, from the ouverture of Der fliegende Holländer to the pilgrims choir of Tannhäuser, thanks to Massimo Gabba’s performance at the keyboard of the great Mascioni organ of San Giovanni Evangelista (Alessandria), an instrument that has huge technical and expressive resources, perfect for this repertoire. The program is completed by other brilliant transcriptions by William Joseph Westbrook, Herbert Brewer and Théodore Dubois. A compelling vortex of organ emotions!
Additional info about this CD
Recorded in Chiesa Parrocchiale San Giovanni Evangelista, Alessandria, on December, 2017.
Sound engineer and Digital Editing: Massimo Gabba
12 pages full colour booklet (Ita and Eng)
Musicology comment, rtist biography Full organ specs card included
Gli Organi Agati e Tronci
Artist
Andrea Vannucchi, organ
Composer
Autori toscani dal XVI al XIX Sec.
Organs
Organo Cosimo Ravani (1626),
Agati-Tronci (1890 ca.), Cutigliano (PT).
Organo Pietro Agati (1789), Bargi (BO).
Organo Onofrio Zeffirini (1555),
Antonio e Filippo Tronci (17869, Colle di Val d’Elsa (SI).
Organo Domenico Cacioli-Antonio e Filippo Tronci (1745), (PT).
Organo Giosuè Agati, 1820, Limite sull’Arno (FI).
About this album
Always committed to increase the value of the Italian historic organs, Elegia Classics outlines in this CD a fascinating cutaway of the Tuscan instruments with regard to four organs realized between the half of the XVIII century and the beginning of the XIX century by Agati and Tronci families, that are almost like dynasties. The wide programme is conceived to reach the highest improvement of the timbre and expressive characteristics of each instrument, with an exhaustive anthology of the Tuscan organ literature, that ranges over the sixteenth century authors such as Gioseffo Guami and Francesco Bianciardi to Giuseppe Gherardeschi, composer of whom Elegia has recently published the opera omnia, performed by Andrea Vannucchi. Among the most interesting authors, it is also important to remember Bernardo Pasquini and Domenico Puccini, grandfather of Giacomo. For this repertoire Andrea Vannucchi was the best, because he proposes a very appropriate performance, that also underlines four splendid organs.
Additional info about this CD
20 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included
Agati-Tronci (1890 ca.), Cutigliano (PT).
Organo Pietro Agati (1789), Bargi (BO).
Organo Onofrio Zeffirini (1555),
Antonio e Filippo Tronci (17869, Colle di Val d’Elsa (SI).
Organo Domenico Cacioli-Antonio e Filippo Tronci (1745), (PT).
Organo Giosuè Agati, 1820, Limite sull’Arno (FI).
Always committed to increase the value of the Italian historic organs, Elegia Classics outlines in this CD a fascinating cutaway of the Tuscan instruments with regard to four organs realized between the half of the XVIII century and the beginning of the XIX century by Agati and Tronci families, that are almost like dynasties. The wide programme is conceived to reach the highest improvement of the timbre and expressive characteristics of each instrument, with an exhaustive anthology of the Tuscan organ literature, that ranges over the sixteenth century authors such as Gioseffo Guami and Francesco Bianciardi to Giuseppe Gherardeschi, composer of whom Elegia has recently published the opera omnia, performed by Andrea Vannucchi. Among the most interesting authors, it is also important to remember Bernardo Pasquini and Domenico Puccini, grandfather of Giacomo. For this repertoire Andrea Vannucchi was the best, because he proposes a very appropriate performance, that also underlines four splendid organs.
Additional info about this CD
20 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included
Complete Organ symphonies vol.2
Artist
Luca Scandali, organo
Composer
Padre Davide Da Bergamo (1791-1863
Organ
Fratelli Serassi op. 384 (1821)
Venue
Chiesa di Santa Maria Assunta, Caluso, Italy
About this album
After the great success gained by the first volume, Elegia publishes the second one of the complete collection of Padre Davide da Bergamo’s organ symphonies. He is one of the most emblematic composers of the first period of Risorgimento and his knowledge is still confined almost exclusively to the organ field. Since the first listening these pieces deserve a prominent place in the instrumental repertoire of the Italian nineteenth century, nowadays overshadowed by Bellini, Donizetti and Verdi’s melodramas. From these authors Padre Davide often took inspiration for his symphonies, in which it is possible to perceive an overwhelming atmosphere, that contributes to render the listening extremely pleasant. For this CD, that includes very rich works under the timbre profile as the brilliant Sinfonia con trombe e fagotti obbligati e risposte in Eco, Luca Scandali decided to use the great organ built by Fratelli Serassi in 1821 for Santa Maria Assunta in Caluso: this is a contemporary instrument of Padre Davide that adds authenticity to the performance.
Additional info about this CD
Recorded in parish church of San Calocero and Sant’Andrea, in May 2017.
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included
After the great success gained by the first volume, Elegia publishes the second one of the complete collection of Padre Davide da Bergamo’s organ symphonies. He is one of the most emblematic composers of the first period of Risorgimento and his knowledge is still confined almost exclusively to the organ field. Since the first listening these pieces deserve a prominent place in the instrumental repertoire of the Italian nineteenth century, nowadays overshadowed by Bellini, Donizetti and Verdi’s melodramas. From these authors Padre Davide often took inspiration for his symphonies, in which it is possible to perceive an overwhelming atmosphere, that contributes to render the listening extremely pleasant. For this CD, that includes very rich works under the timbre profile as the brilliant Sinfonia con trombe e fagotti obbligati e risposte in Eco, Luca Scandali decided to use the great organ built by Fratelli Serassi in 1821 for Santa Maria Assunta in Caluso: this is a contemporary instrument of Padre Davide that adds authenticity to the performance.
Additional info about this CD
Recorded in parish church of San Calocero and Sant’Andrea, in May 2017.
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included
L’Organo Jaquot della Cattedrale di Catania
Artist
Diego Cannizzaro, organo
Composers
Alexandre Guilmant (1837-1911)
Nicolas Couturier (1840-1911)
Vincenzo Bellini (1801-1835)
Filippo Capocci (1840-1911)
Marco Enrico Bossi (1861-1925)
Pietro Branchina (1876-1953)
Organ
Nicolas Jaquot (1877)
Venue
Cattedrale di Catania - Palermo, Italy
About this album
Elegia opens, with this amazing and beautiful CD, a new collection dedicated to the Italian organs, that will allow to discover some of the most interesting instruments of our country, thanks to a repertoire thought for emphasize its technique and expressive resources. For the first volume the choice was the huge Jaquot organ of Catania Cathedral, a massive instrument built in 1877 and restored in 2014. Diego Cannizzaro, organ player who performed Office Divin by Filippo Capocci and two volumes of the complete collection about Pietro Alessandro Yon, selected a fascinating anthology of French and Italian authors, combining Sonata op.56 n.3 by Alexandre Guilmant and two suites of the unknown Nicolas Couturier to a series of pages by Marco Enrico Bossi, king of the Italian organ between the end of the XIX and the beginning of the XX century, Capocci and Pietro Branchina, making homage to Vincenzo Bellini, immortal glory of Catania. A CD that will conquer both the passionate and the connoisseurs.
Additional info about this CD
Recorded Catania’s Cathedral in December, 2015, Italy.
Sound engineer & Digital Editing: Giuseppe Faranda – Wave Studio,
Mastering: Centro Studi Auditorium Pacis,
12 pages full colour booklet,
Musicology comment,
Artist biography,
Full organ specs card included
Nicolas Couturier (1840-1911)
Vincenzo Bellini (1801-1835)
Filippo Capocci (1840-1911)
Marco Enrico Bossi (1861-1925)
Pietro Branchina (1876-1953)
Elegia opens, with this amazing and beautiful CD, a new collection dedicated to the Italian organs, that will allow to discover some of the most interesting instruments of our country, thanks to a repertoire thought for emphasize its technique and expressive resources. For the first volume the choice was the huge Jaquot organ of Catania Cathedral, a massive instrument built in 1877 and restored in 2014. Diego Cannizzaro, organ player who performed Office Divin by Filippo Capocci and two volumes of the complete collection about Pietro Alessandro Yon, selected a fascinating anthology of French and Italian authors, combining Sonata op.56 n.3 by Alexandre Guilmant and two suites of the unknown Nicolas Couturier to a series of pages by Marco Enrico Bossi, king of the Italian organ between the end of the XIX and the beginning of the XX century, Capocci and Pietro Branchina, making homage to Vincenzo Bellini, immortal glory of Catania. A CD that will conquer both the passionate and the connoisseurs.
Additional info about this CD
Recorded Catania’s Cathedral in December, 2015, Italy.
Sound engineer & Digital Editing: Giuseppe Faranda – Wave Studio,
Mastering: Centro Studi Auditorium Pacis,
12 pages full colour booklet,
Musicology comment,
Artist biography,
Full organ specs card included
Complete organ music
Artist
Andrea Vannucchi, organ
Composer
Giuseppe Gherardeschi (1759 - 1815)
Organs
Giosuè Agati (1820) - Limite sull’Arno (Firenze), Italia Pietro Agati (1797) - Vignole di Quarrata (Pistoia), Italia Pietro Agati (1789) - Bargi, Camugnano (Bologna), Italia Organo Cesare Romani (1587), Pietro Agati (1776), Giosuè e Nicomede Agati (1824), Luigi e Cesare Tronci (1856) - Gavinana, San Marcello Pistoiese (Pistoia), Italia
About this album
During the XIX century the Italian organ repertoire assumed brilliant and very lively connotations that largely resumed the styles and melodies of melodrama, genre that in this period became the most characteristic element of the musical heritage of the nation. Today this style is known most of all thanks to Padre Davide da Bergamo’s works, but this route was walked also by other forgotten authors. Among them stands Giuseppe Gherardeschi, an author of Pistoia with great talent, of whom in this CD were played all the organ works in the beautiful interpretation of Andrea Vannucchi on four remarkable historic organs. As we can read on the cover notes signed by Umberto Pineschi: “gli offertori di Gherardeschi risentono dello stile dell’ouverture, le Elevazioni e le Benedizioni di quello della romanza, mentre nel Postcommunio riecheggia lo spirito civettuolo della cabaletta, sempre però con fantasia, equilibrio e, soprattutto, buon gusto”. A great discovery!
Additional info about this CD
Recorded in Vignole di Quarrata on 9th September 2006, Gavinana on 23rd December 2006, Limite sull’Arno on 30th December 2006, Bargi on 18th July 2017, Italy | Sound engineer & Digital Editing: Paolo Fedi (tracks 1-16, 21-28), Daniele Boccaccio (tracks 17-20)
20 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included.
During the XIX century the Italian organ repertoire assumed brilliant and very lively connotations that largely resumed the styles and melodies of melodrama, genre that in this period became the most characteristic element of the musical heritage of the nation. Today this style is known most of all thanks to Padre Davide da Bergamo’s works, but this route was walked also by other forgotten authors. Among them stands Giuseppe Gherardeschi, an author of Pistoia with great talent, of whom in this CD were played all the organ works in the beautiful interpretation of Andrea Vannucchi on four remarkable historic organs. As we can read on the cover notes signed by Umberto Pineschi: “gli offertori di Gherardeschi risentono dello stile dell’ouverture, le Elevazioni e le Benedizioni di quello della romanza, mentre nel Postcommunio riecheggia lo spirito civettuolo della cabaletta, sempre però con fantasia, equilibrio e, soprattutto, buon gusto”. A great discovery!
Additional info about this CD
Recorded in Vignole di Quarrata on 9th September 2006, Gavinana on 23rd December 2006, Limite sull’Arno on 30th December 2006, Bargi on 18th July 2017, Italy | Sound engineer & Digital Editing: Paolo Fedi (tracks 1-16, 21-28), Daniele Boccaccio (tracks 17-20)
20 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included.