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Olimpia Abbandonata & Other Cantatas

Artists
Valeria La Grottasoprano
Ensemble Sonar d'affetto
Nicola Brovelli, violoncello 
Mauro Pinciaroli, arciliuto 
Luigi Accardo, clavicembalo
Composer
Leonardo Vinci (1696-1730)
Venue
Sant'Eligio Vescovo Churc,
La Mandria di Chivasso (To) (Italy)

About this album

«I entered this city, impressed with the highest ideas of the perfect state in which I should find practical music. It was at Naples only that I expected to have my ears gratified with every musical luxury and refinement which Italy could afford. [...] And what lover of music could be in the place which had produced the two Scarlattis, Vinci, Leo, Pergolesi, Porpora, Farinelli, Jommelli, Piccini, Traetta, Sacchini, and innumerable others of the first eminence among composers and performers, both vocal and instrumental, without the most sanguine expectation?». With these words, Charles Burney, the author of one of the most famous and ancient “histories of music” of the modern age, in October 1770 noted in his travel diary his expectations – certainly not unfulfilled – when visiting Naples, a Europea

Esule dalle sfere - Chi resiste al Dio bendato

Artists
Accademia del Ricercare,
Pietro Busca, conductor
Massimo Altieri,tenor
Gianluigi Ghiringhelli, countertenor
Enrico Bava,
Mauro Borgioni, baritone
Lucia Cortese, Paola Valentina Molinari, sopranos
Composer
Alessandro Stradella (1644-1682)
Venue
Cappella del Seminario di Vercelli (VC), Italy

About this album

Together with Caravaggio, Alessandro Stradella is one of the most fascinating figures of the Italian Baroque era, not just in virtue of an outstanding talent, but also for a tormented life spent in constant fleeting, that contributed to make him very much alike to a protagonist of a modern day novels. Like the famous painter, Stradella died still young at age 38, killed by a knife wound inflicted to him from the hired assassins sent by Giovan Battista Lomellini, a nobleman from Genoa that thus intended to avenge the honor of his sister who – according to his views – the composer had seduced while giving her

Sonate a due flauti

Artists
Ensamble A'L'Antica
Luigi Lupo,   transverse flute1
Pietro Berlanda, transverse flute2 
Compositor
Georg Philipp Telemann (1681-1767)

About this album

Until 1999 Telemann was thought to have written four collections of duets for two flutes, three of which were published in Paris: Sonates sans Basse (1727), XIIX Canons mélodieux (1738) and Second Livre de Duo (1752). The fourth collection remained manuscript and the only copy is kept in Berlin in the Staatsbibliothek (D-B, Mus. Ms. 21787). In 1999, however, all the scores of the Sing Akademie in Berlin stolen during the Second World War were found in the Kiev Library and thus nine other duets came to light and now they have the catalog number TWV 40: 141-149. The manuscript, the work of an unidentified Berlin copyist, has the signature SA 3903 (ZD 1742 g) and consists of two separate parts, each of 22 folios. These are duets of good quality even if a little heterogeneous and in fact the musicologist Steve Zohn has raised doubts about the authenticity of the last three. In reality, the doubts also concern so

Organ Works

Artist
Paolo Bottini, organ
Composer
Amilcare Ponchielli (1834-1886)

About this album

Quartetto Kv 370 - Sonata Kv 311 - Terzetti dai Divertimenti Kv 439/b

Artist
Ensemble à L'Antica
Luigi Lupo, flauto traversiere
Rossella Croce, violino
Luigi Azzolini, viola
Rebecca Ferri, violoncello
Composer
Wolfgang Amadeus Mozart (1756-1791

About this album

Around the turn of the 18th and 19th centuries numerous chamber, orchestral and even operatic works were transcribed for small chamber groups. This fairly widespread practice enabled a wide range of instrumental combinations to perform the successful compositions of the day. We have examples of operatic overtures transcribed for solo guitar, of operatic arias transcribed for a solo instrument and, subsequently, “variations on a theme”. The instrumental ensembles used for such arrangements were numerous and varied. The importance of this 19th century phenomenon is its opening up of two pathways. In the first place, it led to a spreading of musical culture. Secondly, it encouraged and increased the pool of enthusiastic amateurs who experienced directly the study of musical instruments. Lastly, the economic angle should not be underestimated: the 19th century European musical salon offered a genuine financial opportunity for both publishers and musicians. The music of Mozart, too, lent itself well to this practice and was reva

Tra le sollecitudini - Autori Ceciliani

Composers
Angelo Burbatti (1868-1946)
Giovanni Pagella (1872-1944)
Carlo Calegari (1863-1952)
Giovanni Bolzoni (1841-1919)
Michele Mondo (1883-1965)
Dino Sincero (1872-1923)
Costante Adolfo Bossi (1876-1953)
Marco Enrico Bossi (1861-1925)
Federico Caudana (1878-1963)
Giovanni Battista Polleri (1855-1923)
Organ
Carlo Vegezzi Bossi (1897)
Luogo
Duomo di San Giovanni Battista, Ciriè Turin

About this album

THE CECILIAN REFORM
Towards the end of the 19th century the Cecilian Movement was found in Italy: the title belonged to a musical movement that reformed the sacred music inside the Catholic church. So called in honour of Saint Cecily, patroness of music, was the answer to the centenary and almost total absence of the Gregorian chant and of the renaissance polyphony from the liturgical catholic celebrations in favour of more similar styles of the opera music. The main aim of the new compositions had to be a major moderation and pursuit in order to let the assembly participate to the liturgy through chant. In this period were born in almost all the parishes the Scholae Can

Music for the Royal Fireworks

Artist
Pietro Tagliaferri, soprano saxophone 
Stefano Pellini, organ
Composer
Georg Friedrich Händel (1685-1759)

About this album

After the recording dedicated to Johann Sebastian Bach (CD Elegia, Eleorg037, 2016), Riverberi continues his journey into the world of baroque repertoire featuring Georg Friedrich Handel’s music, exploring many musical genres addressed by the composer, from the Suite for orchestra to the opera aria, from the organ concert to the trio sonata. The intent is to offer a glimpse, as narrow as you want but still significant, that can intrigue the listener’s ear with a new sound experience, through the particular combination of two instruments so far apart - the organ and the soprano saxophone - to look incompatible. The arrangement for violin or flute (or other soprano instrument) and basso continuo of the famous Suite “Music for the Royal Fireworks” , which an anonymous composer wrote in the same year of its composition (1749) - yet another proof of the exceptional fame enjoyed by Händel when he was still alive – was a safe base of work: the various movements, from the solemn Ouverture to the graceful final minuets, exploit the rich sound combinations of the Ruffatti organ to display the different affections that this music offers. The Organ Concerto in F, transcription by Händel himself of the

Complete Italian Organ Concertos- Vol.2

Composer
Johann Sebastian Bach (1685-1750)

About this album

In the case of Johan Sebastian Bach, the practice of musical transcription can be considered, an audacious act or an act of will, depending on the perspective from which it is observed. It is an audacity in relation to the level of boldness necessary to confront such a challenge, and an act of will in relation to an aspiration that risks to be unsustainable, because of the high level of difficulty of the task. The musical form of instrumental concerto occupied a role of primary importance in the evolution and the definition of the style and language of the German musician. Such form encountered extreme fortune and growing importance starting from the end of the XVII century until the end of the XVIII century. He was certainly not the first musician to confront himself with this genre; indeed, it is possible to state that the activity of musical transcription characterized the first productions of keyboard music, and accompanied it constantly from its origins to our day, As it is well known, the transcriptions of concertos composed by Italian musicians were made by Bach in 1713/14 on a prompting by young Prince Johann Ernst of Saxony–Weimar (1696-1715), the nephew of Duke Wilhelm Ernst. Moreover, during that period Bach had occasions to wor

Arie per una “voce d’angelo”

Artists
Trigono Armonico
Lucia Cortese, soprano
Maurizio Cadossi, conductor
Composers
F.M. Veracini (1690-1768), M. D’Alay (1687-1757)
G.B. Bononcini (1670-17479, L. Leo (1694-1744)
N. Fiorenza (?-1764), G. Giacomelli, (1692-1740)

About this album

Alongside with composers, in the beginning of the XVIII century the first great singers began to come to the front scene of music. In some instances - mostly in the case of Senesino and Farinelli, the castrati – they ascended to the role of international stars. Among these, Francesca Cuzzoni deserves mention. A soprano born in Parma in 1696, she had an adventurous life and Georg Friedrich Händel composed 13 operas for her. Besides that for her extraordinary virtuoso voice, the Parmigiana - as she was known – stood out for her temperamental excesses as well, that caused fierce reproaches from Händel and brought her to a true physical fight on stage with her rival Faustina Bordoni. On the occasion of the nomination of Parma as Italian Capital of Culture in 2020, Elegia Classics celebrates this great interpreter with an attractive record that covers the important steps of her inimitable career, with a beautiful anthology of arias from the works of some of the most famous composers of the time, from Giovanni Bononcini, the fierce rival of Händel in London, to Geminiano Giacomelli, an author almo

Arianna abbandonata & other Cantatas

Artists
Camerata Accademica
Lucia Cortese, soprano
Paolo Faldi, conductor
Composers
Benedetto Marcello (1686-1739) 
Alessandro Marcello (1684-1747)

About this album

When one thinks of the Venetian Baroque repertory, the thought spontaneously runs to Antonio Vivaldi and his famous Four Seasons, forgetting that for a long time this context was identified with authors such as Benedetto Marcello – after whom the Conservatory of the lagoon city is named. For this reason, Elegia Classics decided to dedicate the second volume of its series on the Glories of the Italian Cantatas to Marcello, a Venetian nobleman with manifold interests. Besides being a musician, he devoted himself with appraisable results to the literary field and wrote Il teatro alla moda, a merciless satire on the protagonists of the musical scene in Venice during the first years of the XVIII century. In the musical field, Marcello left us over 300 cantatas of remarkable value for voice and basso continuo, both with or without obbligato instruments. This record features three very beautiful pieces, among which we mention Arianna abbandonata, a long cantata in which Marcello revisits in a very original manner the myth of Theseus and Arianna. The program is competed by Irene sdegnata, These little known works are proposed in the interpretation of Lucia Cortese, one of the most int

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, t

Mottetti-Inni-Antifone

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<

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 20

Organ Concertos Op. 4

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 Ma

Toccate e variazioni sulla follia

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

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 friend

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