Kabalevsky was born in Saint Petersburg in 1904 and soon moved with his family to Moscow where he studied piano at the Scriabin Musical Institute. During his adolescence he already began teaching piano lessons, composing simple pieces for his students and for silent films. In 1925 he entered the Moscow Conservatory as a student of Ab Gol'denvejzera for piano and of N.Y. Mjaskoskij for composition. He graduated in 1930. By the 1930's Kabalevsky was appointed as an assistant instructor of composition at the Moscow Conservatory, and by 1939 he was a full professor. This period until 1942 is considered to be Kabalevsky's strongest. During this time he wrote much incidental music for radio and stage. On this new release, Italian pianist Maria Gabriella Bassi performs his 24 Preludes for Piano Op. 38.

CONZASIEGGE is an expression in the dialect of Molfetta (a town in Apulia), indicating an ancient craftsman: the man who repaired chairs. Vincenzo Valente (1830-1908) was inspired by the “chant” of those trying to draw the attention of this craftsman, when he created his funeral march that he therefore called “Conzasiegge”. This record collects five of the most beautiful marches that animate the Holy Week processions in Molfetta, introduced by the typical sound of the “Ti te” that opens every procession. The original feature of this repertoire in the album is its version for mandolins that in the 1940s saw the barbers, especially Sabino Andriani, as refined and cultured amateurial players.

Clangori di tromba (Trumpet chants), the third record that collects five more funeral marches from the rich and precious band repertoire played during the Holy Week processions in Molfetta, is now available. Clangori di Tromba is an arduous and impressive discographic work in which the transmission of funeral marches is not only part of a process of preservation and enhancement of an intangible cultural asset and identity heritage of a community, but is part of that phenomenon of popular piety in which, as Pope Francis writes in 'Evangelii Gaudium (2013): "we can grasp the way in which the faith received has been embodied in a culture and continues to be transmitted." Beyond that, this third volume proves invaluable in that it boasts the rediscovery and engraving of one of the lesser known and performed marches Ai Caduti d'Africa Orientale by Maestro Angelo Inglese (1918- 1990). A particular example of composition in which the author, though self-taught, shows a perfect acquisition and development of the canons of compositional technique of band instrumentation and all the problems and peculiarities of wind instruments, continuing that style of reference of the illustrious predecessors Valente, de Candia, Peruzzi, Cal�. The commitment of the Great Wind Orchestra "Francesco Peruzzi" City of Molfetta to collect all the repertoire of funeral marches in Molfetta in the rites of Holy Week in a complete future necklace, helps to fix and hand down this precious wealth of culture and popular tradition, always suggestive and full of emotions that is renewed annually.

Italian composer Niccolo Piccinni, despite his obscurity today, was one of the most popular opera composers of his day, especially in the genre of Neapolitan opera buffa. This release focuses on Piccinni’s Pater Noster, which has been passed down in rare transcriptions. The long, virtuosic work is composed in typical Neapolitan fashion. Also included is Piccinni’s Creed. The work is believed to be from Piccinni’s early days of composing.

The story that is narrated here begins in Naples and after touching Venice, Madrid, Lisbon, London and Newcastle will close again - although, we are sure, in non-definitive manner - in South Italy. This story begins in 1685, annus mirabilis for the European music that will assist in a few months to the birth of three of its most important coryphaei: George Friedrich Handel, Johann Sebastian Bach and Domenico Scarlatti, who is precisely one of the main protagonists of our history. Domenico was born in Naples and was the son of Alessandro Scarlatti, famed Italian composer at the turn of the seventeenth and eighteenth centures. Domenico moved and worked throughout Europe where he found great loves, admirations and friendships to inspire his most famous works.

With this first record, titled Profili, a collaboration (already consolidated) is born between the record label Digressione Music and the Festival and Competition "Wanda Landowska"; the latter, dedicated to the Harpsichord in all its stylistic and expressive variations, is directed by Margherita Porfido. The three young musicians we present here are the harpsichordists Davide Cicconi and Svitlana Rudd, and the violinist Juliane Oberegger, who were Absolute Winners of the "IX Edition of the 2022 Competition", the first two as W. Landowska Ex Equo Prize - Solo Harpsichord, while the two young musicians together for the Chamber Music section. The composers chosen for this recording are the great German musician Johann Sebastian Bach (1685-1750), whose French Suite No. 2 in C minor BWV 813 and Toccata in D major BWV 912 are performed by harpsichordist Davide Cicconi, and the French composer Elisabeth Claude Jaquet de la Guerre (1666-1729) with the Second Suite for solo Harpsichord (1687), performed by Ukrainian Svitlana Rudd, and the First Suite for Violin and Harpsichord (1707) performed by Rudd and Austrian violinist Juliane Oberegger.

Paying homage to the past to dialogue with the present is the ambitious motive of the project. A metamorphosis that aims to transcend tradition towards contemporary perspectives and potential, projecting the notes into an eclectic universe where there is no lack of research, continuity and emulation of the past. The composer Daniele Sardone and the Re-Imagine Duo, formed by Dario Doronzo at the Flugelhorn and Pietro Gallo at the Piano, offer a wide-ranging repertoire that embraces new sound explorations in which classicism and modernity blend. A tribute to tradition expressed in the freshness of a current idiom, a continuous and consolidated dialogue between sounds, colors, stories, cultures, synergistically confluent in a new music that finds the cornerstone of its knowledge in its reinterpretation. The new compositions, like metaphors, are not simple rhetorical artifices but an unprecedented paraphrase of the classical world. The musical ideas of the famous baroque composers are reinterpreted but not betrayed, thanks to the ability to rethink the different musical structures by updating them, breaking them down and re-composing them as in a game of mirrors and references, in a completely new guise that enhances their profound meaning. The sacredness of the classical tradition and its mitigated magniloquence finds echoes of intimacy, illuminated by a courageous artistic experimentation. The linear amplitude of time moves between flash-backs and flash-forwards that transport the notes into a surreal dimension, in a Baudelairian doctrine of correspondences that creates a new and poetic artistic statute. The project is enhanced by the guest appearance of Gabriele Mirabassi on clarinet.

“Bohemian Stories" encapsulates an intimate introspection of some "musical tales" from the Bohemian Romantic chamber music repertoire for violin and piano. In the 19th century we are spectators to an awakening of national consciousness that spreads to literary salons and theaters through the tendency of musicians to want to emancipate themselves from the ways of the hegemonic musical art, through a revaluation of popular heritage, highlighting characters of different historical-musical traditions. Freedom, independence, political autonomy, love of country and the security of one's own identity are the main driving forces of this era. The intent of the musicians of this era is to create a style that will elevate the country's musical language to a musical language of art, infusing it with new elements and an authentic national "character." In Bohemia, then included in the Habsburg Empire, this nationalist movement has a particular intensity, and by the late nineteenth century one can speak of a true "Czech style."

Among the earliest composers devoted to the exaltation of the particular pitch of the Czech melody we have Bedrich Smetana: a style of descriptive music writing in which he tells stories inspired by national legends, very remote historical events, natural landscapes, folk motifs, and rhythms of village dances. The other distinguished representative of Czech music of the second half of the 19th century is Antonín Dvorák, who enriched his vast musical output with elements drawn from the folk heritage not only of the Czech but also of other Slavic peoples (of Slovakia, Moravia, Ukraine, Russia). Leoš Janácek, that poor professor of music in the Moravian province, with a life without any great adventures or illustrious acquaintances, without too much travel and without recognition until the age of sixty where he totally identified with his inner self and his worldview. And the long story of this life of artistic struggles is told by him through his musical work. A hereditary prince of A. Dvorák, Josef Suk is a proponent of a particular nuance of late Bohemian Romanticism that is distinctly coloristic, stretching harmony to the utmost to create a more creative and personal style. Unlike his compatriots, he does not include too many references to traditional Czech music in his compositions.

The world premiere recording of Maurice Vieux's Études for solo viola is presented in a double album, masterfully interpreted and performed by Marco Misciagna, who for the first time in history records and performs in a highly evocative recital performing the 20 Études for solo viola (1927), the 10 Études sur des traits d'orchestre for solo viola (1928), the 10 Études sur les intervalles for solo viola (1931) and the 10 Études Nouvelles for solo viola (1956). This is the first world recording of these Études (50 in total) composed by Maurice Vieux, which aims to highlight a hitherto little or not at all known aspect of what can be called, without any doubt, a "pillar" of modern violist art. A titanic undertaking, which adds a great piece to the history of this instrument, hitherto unexplored. With dedication and passion, Misciagna has put himself at the service to create a work of great musical depth, demonstrating great artistic sensitivity and exceptional technique.

This boxed set collects the jewels of the Music of the Great Neapolitan School for harpsichord, starting from its founder Carlo Gesualdo, Prince of Venosa, up to Niccolò Piccinni, great opera composer and reformer of the Italian Opera. A path that weaves the history of Southern musicians, who saw in Naples their great cultural capital, a spring-board to take flight and cross the Italian borders and bring their music throughout Europe. Often forgotten, the musicians contained in this double album show a great artistic vein and a strong and very personal musicality, which still enchants the attentive listener; they are: Gesualdo da Venosa, Rocco Rodio, Antonio Valente, Giovanni Maria Trabaci, Giovanni Salvatore, Bernardo Storace and Niccolò Piccinni.

A precious disc for the compositional art and the artistic inspiration of the authors, for the originality and the variety of the pieces, all authentic starting from the most ancient forms such as the Salve Regina by Rodio, the fantasies by Rodio and Valente, the French Songs by Gesualdo da Venosa, Giovanni Salvatore, Giovanni Maria Trabaci , the dances of Antonio Valente and Bernardo Storace, up to the splendid "Three Sonatas and a Toccata" of Niccolo' Piccinni (the only work of the author for harpsichord) published in Paris in 1775 and which preceded his arrival in the French capital by one year. Margherita Porfido's research, precise analysis, and exemplary performance are the compendium of a discographic product that is fundamental for the understanding of music between the 16th and 18th centuries in southern Italy.