The struggle of dialects to be acknowledged with the same dignity as languages with a literature of their own has been a long one, and yet it seems forgotten by many. With this in mind and after a long quest for the sources of his own music, Donato Fumarola, an Apulian pianist and composer, started collecting and putting into music the materials of his research concerning the most significant Apulian vernacular poets using their Bari dialect. Chiara Liuzzi is the performer turning the words into sounds, echoes, songs, thanks to the alchemy of a universal metalanguage, hidden here and there in the old Apulian dialect with it's sounds and colors, evoking ancestral worlds. The travel mate along this journey is Nicola Puntillo with his bass clarinet to pave the road and suggest new paths. Melodies, melopoeias, waltz fragments, plainsong, profane prayers, mix with improvisation elements in a kaleidoscope of memories, of long-forgotten stories of the past that seem asleep during the day and are brought back to life by the night winds, thus bringing back to mind images of the rural world, it's landscapes, the cultural and economic gap between Italy's North and South, and the longing for the happy poverty of that vanished world. Poetry is turned into song, the "vulgar" becomes the sparkling sound of the original language of the motherland. The journey sets off moving from "some of the fathers" of Bari's twentieth-century poetry, such as Giuseppe de Benedictis, Antonio Nitti, Nicola Gonnella, with a tribute to Vittorio Bodini, to younger artists like Giovanni Laera from Noci and Maria Nardelli from Locorotondo, up to the recognizable and well-known voices of Pietro Gatti from Ceglie Messapica, Lino Angiuli from Valenzano, Vittorino Curci from Noci and Grazia Stella Elia from Trinitapoli. The journey ends with a folk prayer.

Although the first patent was filed in Vienna in 1829, by the manufacturer of organs and pianos Cyrill Demian, the accordion is an instrument of more ancient conception. The discovery of a Leonardo Da Vinci Code would anticipate three centuries of its conception, on the basis of that portative organ (a portable organ) that had a big circulation in Europe between the thirteenth and fifteenth centuries in the practice of polyphonic music. Apparently distant, organ and accordion are based on a common principle: both feed a bellows, which is its heart. Just like the organ, the accordion is an aerophone. His bellows inhales and exhales, pants, snorts, sighs, and sometimes holds its breath. He plays and meanwhile warms with his breath. Silvestro Sabatelli has therefore decided to transform it into the breath of Don Tonino Bello.

Cambio di Rotta try to make beautiful songs and delight their music lord, Frank il Ganzo, the King of Freedom and of Art without boundaries nor judgment. Five musicians – one weirder than the other – try their best to bring joy and interest on the stage, while also cheering up those who listen to them. They play out of passion and not for a revolution, screaming at the top of their lungs to give voice to their ideas. Their name itself, Cambio di Rotta, means ‘change of course,’ and that’s exactly what they give listeners- something new and exciting, something that’s never before been done. Cambio di Rotta is Dado Capogna, Fabio Semerano, Francesco Schiavone, Antonio Conte, and Marcello Saracino.

Coming into contact with Paolo Messa's musical production inevitably implies being put in touch not so much with the composer as with the man. For him, writing is the intuition of an instant, the still image of a memory, the emotion of listening, the suggestion of a text. In a continuous cross-reference to extra-musical elements, Messa matures in sound his own daily experience as a man among men. Not that a scrupulous introspective technical research or a solo production are less appreciable, but that's how he is: he doesn't compose for himself, nor for some academic recognition, but he has a clear mission to be for others. This discographic production does not only collect an anthology of his work; if on one hand it marks the dawn of his compositional path, on the other hand it preserves the experience of an entire day made of such precious encounters that they become metaphysical matter during the night. This is the reason for EOS - Anthologia condivisa. In his debut album, Paolo Messa wanted to have with him his lifelong friends, his most esteemed colleagues, the students to whom he patiently dedicates his work as a teacher.

My worst part describes an intensely personal and inexorably, irremediably political affair. A "training novel" focused on growth, maturation, the ancient struggle for resistance to the progressive shattering of illusions. The parable of love becomes here a universal category of social-relational integration. Through the precise narration of the spasmodic research of the loved one, which is after all an identity research on the field - along a time span ranging from early youth to maturity - a conflictual relationship with society is represented, and personal growth coincides with a process of estrangement and fierce criticism. The protagonist sees gradually fading the expectations of his youth in the daily struggle for survival and in fact he perceives himself, relationships, belonging, and the world around, as if in a boil. Political leave seems the only answer: the substantial leave from the ritual dynamics of this crazed world, from it's perverted productive and financial logics; from the ballot boxes; from it's cultural and cult cages. Because it does not mean going out defeated or "broken" after the extraversion, it does not mean "unplugging". It rather marks the transition to a higher level of awareness, expressing a rejection of shared rules in which the greatest contradictions of our time are reflected. A multidimensional story that lives, quivers, pulsates, roots, surfaces, emerges from the territory (one of the first songs is sung entirely in dialect), to hover over the bell towers, churches, over the chimneys, the scrub, aiming at synthesis; to the codification of a universal sense. From a musical point of view it is a substantially acoustic album mainly focused on piano and guitar, but also percussion, bass, drums, accordion, chalumeau, synth, slide guitar, theremin, double bass. The arrangements, the result of close collaboration between the Author and Crist� Chiapparino, are designed to be meaningful but not invasive, and above all not divergent with respect to the narrative.

Born in Molfetta (Italy) on June 21, 1931, don Salvatore has undertaken the priestly life uniting it deeply to the musical one. Together with the ecclesial experience of assistant FUCI (Italian Catholic University Federation) in the post-conciliar years and that of director of the Schola Cantorum of the Pontifical Regional Seminary of Molfetta, he built his musical training with the masters Armando Renzi (composition), Nicola Samale (conducting), Michele Marvulli, Marcel Couraud (perfecting choral conducting), Luigi Celeghin. He has taught at the Conservatories "E.R. Duni" in Matera and "N. Piccinni" in Bari; he has been at the head of the Choir and Orchestra "J. Salepico", an institution born within the Association and Popular School "A. Dvorak" of which he was founder and president until his death. He has been Maestro di Cappella of the Cathedral Chapter of Molfetta. Graduated in composition, conducting, piano and specialized in choral and organ conducting, he wanted to make up for the scarce musical and liturgical knowledge of the people, dedicating himself with passion and sacrifice to the young generations of his territory, building an associative and training experience so deep to constitute a generation of musicians that still today recognize him as their mentor and teacher. The fruits of his artistic genius are numerous and of various kinds, from oratorios to popular songs; but of particular interest are his two Oratories, the two Great Cantatas for Choir and Orchestra, as well as Masses and motets. He was a man of high perspicacity, a concrete visionary, able to see things in depth and projected into the future; acute intellectual, he has always fought, driven by the insatiable need for knowledge without ever giving up the ancient.

The work "REBIRTH" is composed of 11 unpublished works for piano, through which the author has tried to convey perceptions and emotions lived in intensely vivid moments of life, in the continuous search for an intellectual, sentimental and moral rebirth of the soul. Antonio Di Fonzo (1979) began studying piano at the age of seven with M� Antonio Patella, continuing his musical studies under the guidance of M� Carlo Grante, a pupil of M� Kerzeradze Pogorelich and brilliantly graduating with him at the State Conservatory of Music "Umberto Giordano" of Foggia. Since 2003 he attended international specialization courses in Italy and abroad, carrying out an intense concert activity both as a soloist and with Italian and foreign orchestras. In 2007 he obtained the II level Specialist Academic Diploma in musical disciplines, Piano course, at the State Conservatory "G. Paisiello" of Taranto under the guidance of M� Paola Bruni and in 2009 the II level Academic Diploma, teaching course, at the State Conservatory G. Paisiello" under the guidance of M� Monaldo Braconi. In 2013 he graduated in Jazz Music at the State Conservatory "E.R. Duni" Matera. He is the winner of numerous national and international piano competitions.

Digression Music responds to the national and international echo of the debut album of the Duo Re-Imagine, positively reviewed by the most important music publications, with the launch of the Gold Vinyl (limited edition) of the homonymous album signed by Dario Doronzo at the Flugelhorn and Pietro Gallo at the Piano. The Duo proposes a wide-ranging repertoire that finds it's roots in the complex and elegant reinterpretation in a modern key of compositions and arias of the cultured sphere. A continuous dialogue, without ever dropping tension, between spaces, dynamics, virtuosities, colors, synergistically merging into a music of new breath that finds in the revisitation the fulcrum of it's knowledge. Fil rouge is the theme of the "re-reading", a stylistic and aesthetic figure suitable for joining two such different worlds as classical music and the more fluid modern Jazz. "Disassemble" and "reassemble" works of a classic type with modifications and variations on a melodic, harmonic, timbric and rhythmic level leads the listener to fully savor the true value of Opere which, after about four hundred years, still move the mysterious strings of our soul.

This 3-album set proposes an unexpected and compelling itinerary. It contains recordings of fifteen students of the same teacher, Pasquale Iannone, who belong to different generations united by the same school: in the absence of more imaginative definitions, let's call it the "Apulian piano school". That it is a real school is demonstrated both by the extraordinary concentration of talents, initially formed in Bari and then radiated towards the nearby didactic poles, and by the excellent results achieved by masters and students over the years. It is quite easy to trace the origins of this school: the catalyst was Nino Rota (Milan, 1911 - Rome, 1979), the protagonist of the transformation of the Liceo musicale of the Apulian capital into the conservatory "Niccol� Piccinni", of which he was the director from 1950 to 1976. Together with other teachers, Michele Marvulli (Altamura, 1929) and Marisa Somma (Bari, 1941), he made numerous talents grow and mature, between the rigor of study and the daily relationship with music. Another source of nourishment for the rhizome has been for many years the attendance of Aldo Ciccolini (Naples, 1925 - Asni�res- sur-Seine, 2015), a master as prestigious as far from any academicism, with whom Pasquale Iannone, like other colleagues, has continued and perfected his training from 1985 to 1995 and with whom he performed in duo the Concerto for two pianos by Francis Poulenc.

Listening to Fenaroli's Stabat Mater - a piece quoted by every historiographer of Fenaroli makes us realize how diminishing it is to speak of Fenaroli only in terms of his didactic production. The perfection of the pieces and the religious inspiration emanating from them merge with the composition technique of the Italian tradition, that had created such beautiful patterns and, above all, unparalleled melodies. Fenaroli is doubtless one of the best representatives of this tradition. Morevoer, listening to the pieces included in this album confirms his value and urge us to learn more about this composer, who has been neglected for so long, but who has left us a cultural legacy we want to reassess fairly. Arvo Part's Stabat Mater was composed for a soprano, countertenor (or contralto), tenor, violin, viola and cello, was commissioned by the Alban Berg Foundation to celebrate the centenary of Alban Berg, for which ten composers were invited to write a piece for a string trio. To get a better balance, Arvo Part had the idea of using two trios in his work: an instrumental trio and a vocal trio. Based on the trochaic rhythm of the text, the relationship between long and short syllables became the key element of music. The text comes from a liturgical sequence, where the grieving Mother of God weeps next to the cross of her crucified son. The composer described the piece as follows: "It is just like the contact of opposite elements, such as lava erupting from a volcano, flowing into water. It seems impossible that such different elements could ever be encountered; however, exactly what happened in this piece. The text presents us with the simultaneous existence of immeasurable pain of this event and potential consolation."

Michele Carelli (1838 - 1911) was an Apulian composer called "Cantore del dolore" because his existence was marked by the purpose of understanding the meaning of suffering. His artistic work, therefore, consisted in his own life and his art was the representation of this painful sense of life. The tracks on this record are some of the master's most famous "Funeral Marches", chosen despite the fact that Carelli's production touches different musical genres. The choice was made because these compositions are the highest representation of his artistic style and they are universally recognized as the "soundtrack" of the tradition and of the processions that take place during the "Settimana Santa of Bitonto", the town where the master was born. The record contains the Funeral March No.1 in FA minor (composed in 1880) and the Funeral March n. 14 in FA minor (1891), which were probably inspired respectively by the first and the fourteenth Station of the Via Crucis. The N� 14 (besides being the most loved march by the people from Bitonto), is the highest expression of the production of the master Carelli and the composition to which he was more linked. The original manuscript from which the modern score was transcribed was made available by the de Palo-Ungaro Foundation in Bitonto, where it is in storage together with the Funeral March N�6. In the work of transcription for modern organic, we tried to respect as much as possible the composer's will, intervening only on the points where manifest mistakes appeared, avoiding radical interventions that could distort the content of the manuscript. Along with these two recordings, the album contains a live recorded during the XV edition of the Concert "Passionis Tempora", played at the Cathedral of Bitonto.

The Organ School of “Nino Rota” Music Conservatory of Monopoli wanted to realize this project, that arises two objectives: First of all, the valorization and documentation of the organ heritage of our land, full of examples and testimonies of a story that tells us the love of our ancestors towards music in the liturgy, in rites and in religious traditions; In the second place we want to present, in addition to the jewels of the past to the registration, and which represent the witnesses to which the teachers provide instruments, executive art and all the knowledge and skills acquired in a life of teaching. The Pugliese organ heritage is enormous and to date only partially classified. The Pugliese organ is commonly derived from the constructive and phonic tradition of the Neapolitan positive, a model to which even the instrument of Saint Francis can be assimilated. That model remains almost unchanged until the middle of the nineteenth century, even if the organ evolution of the Central and Northern-Italy is also felt in Puglia; however, the presence of great instruments with more keyboards and “concert” recordings remains an exception, the prerogative of some great cathedrals and extra ordinary events, which with some exceptions does not take hold in the small but active circle of the southern organ, always loyal to the Neapolitan model, in deference to the seventeenth-century polyphonic tradition.

Nando Di Modugno writes: “…I was unaware of the rest of Bolling's production and his qualities as a pianist, improviser and arranger. Considering my difficulties and my ignorance on the subject, I "jumped" into the reading of Bolling's autobiography, combining my reading with some more listening of his music, as the author's stories, considerations or anecdotes solicited my curiosity. Therefore, I suddenly felt thankful to the Adriatic Guitar Quartet (AGQ) who, with its unusual request, allowed me to deepen the knowledge of the creative and rich universe of one of those rare talents, who are often underestimated. Bolling's music is pervaded by a certain happiness (or "bohneur" in French) which, I believe, comes from an unconditional and disinterested passion for music. Indeed, this absolute and total passion is a pattern we find in most of the events of Bolling's biography. It is a passion captured in his enthusiastic words for other musicians (his model Duke Ellington, above all), and it is perceived in his performances (with his Big Band, with Stephane Grappelli, in the duets with Oscar Peterson or with Michel Legrand). The passion in his music turns into a sense of positivity, expressed in different ways and nuances. For this recording, the Adriatic Guitar Quartet has ventured into a hard and brave challenge: making a transcription of the "Concert for Guitar and Jazz Piano trio" by Claude Bolling. The mission was accomplished: the whole piece seems to wear a tuxedo instead of the usual mismatched suit proper of the guitar quartet, it acquires timbre uniformity, without losing its musical and expressive peculiarities. The album is an original choice, far from intellectualistic conjectures and mediatic opportunism, because it follows the same approach as Bolling’s: the pleasure of making music. A pleasure that, surely, will be also shared with the audience.”

The artists write: “In this project we want to bring to the fore the complete figure of the great musician Josè Bragato, firstly by enhancing the figure of the composer and then his best-known role as arranger of the pieces by Astor Piazzolla. Few people know that José Bragato was an Argentine cellist of Italian origin, born in Udine in 1915, conductor, arranger and musical archivist, today counted among the greatest Argentine musicians. In addition to his involvement in classical music, he has also performed for many years in numerous ensembles, the most famous fù Nuevo tango (New tango) by Ástor Piazzolla, where his cello solos, which had never been present in tango, have highlighted the figure of virtuoso cellist. It was the same Piazzolla to recognize the great talent of the great musician to the point of dedicating various songs to him including “Bragatissimo”, and appointing him the official arranger of his music, in fact it is thanks to the arrangements of Josè Bragato that Piazzolla's music arrives in the classical field and above all chamber music, which today is considered on a par with the great sacred monsters of Classical Music. Just think that the “Four Seasons”, in the version for trio that we propose, is the most played Astor Piazzolla's work in the world, thanks to this wonderful arrangement by Bragato. The real purpose of the project is to show how the two great Italian-Argentine friends Bragato-Piazzolla influenced each other and marked the history of Argentine folk music, bringing Tango, Milonga and Chacarera to the highest levels of expression, and the all immersed in the rigor of the great classical form.”

The seventeenth issue of the collection of Greeting Cards op. 170 is the Ricercare sul nome di Luigi Dallapiccola, another of the dearest friends and colleagues of Castelnuovo-Tedesco, with whom, even at a great distance, the human and spiritual correspondence was interrupted only by the death of Mario. “Gigino,” defined “my old friend, and musician for whom I have the highest consideration,” was the dedicatee of this work, of which the author was proud as the best of all his ""Pezzi Alfabetici"" and which was printed by the Florentine publisher Forlivesi in 1959. Preceded by the illustration of two musical transpositions of the letters of the alphabet (one with chromatically ascending notes, the other descending) and identified the corresponding ""musical mottos"" forming the name and surname of the dedicatee, Castelnuovo-Tedesco builds a Prelude, a Fanfare and a monumental Fugue on these melodic cells, creating a contrapuntal structure of great complexity and expressive variety, as well as of considerable instrumental commitment.