This release is a musical journey that leads from the darkness of Golgotha to the light of the Resurrection. AD LUCEM is a musical project composed and performed by Paolo Palazzo and inspired by the paintings of the brothers Krzysztof and Michal Powalka. The sacredness of the Latin texts, taken from the Tenebrae and from other writings based on the same subject, blends with a cinematic and multiform sound. The vocal pieces, performed by the sopranos Cristina Fanelli and Graziana Palazzo, with the featuring of the cellist Gaetano Simone with the kamanchech in the piece "Rex Israel", and the interpretation by the organist Leonardo Carrieri of the toccata "Velum templi scissum est", crystallize the faith and sentiment of pious women and disciples; the instrumental pieces instead refer to the violence of Jesus' persecutors on Calvary.

Romantics Robert Schumann and Franz Schubert alongside contemporaries Jörg Widmann, Wolfgang Rihm, and Helmut Lachenmann show, through a play of reflections and an intergenerational aesthetic dialogue, a multifaceted and "augmented" reality. In the program, divided into two parts as if they were two Lieder cycles without a singer, the listener/wanderer, accompanied by the detailed and precious narration offered in the booklet by music historian Benedetta Saglietti, is invited to explore an imaginary enchanted forest where reality is repeatedly torn apart by uncanny fantastic hallucinations. In the first half of the album Robert Schumann's nine Forest Scenes (1849) are punctuated by five of the Eleven Humoresques (2007) by Jörg Widmann. The second half is based on a selection of seven Lieder from Franz Schubert's Fair Maid of the Mill (1824) (in August Horn's essential piano transcription), which are commented on first by Wolfgang Rihm's dreamlike Ländler (1979) and then by Helmut Lachenmann's Five Variations on a theme of Franz Schubert (1956).

The transition between these two cycles is provided by Boccuzzi's interlude for solo electronics Im Wald (2022). In this piece, conceived as the soundtrack to an imaginary short film inspired by the fantastic visions evoked by the Romantic writer Ludwig Tieck, the piano is first "timbrically extended" and then "filtered through electronics", revealing a new acoustic space. The program is multidimensional: the interaction between the real and the fantastic, already present in the poetics of Romantic composers, is "augmented" by the hallucinatory visions of contemporary composers and finally extended further through the electronic acoustic space.

In every moment of history, music is so different. Often it is difficult to draw shared meanings from compositions written close together much less works written across distant times. Connecting across time is the profound meaning of this project, De l’Infinito, in which the idea is to clothe the voice and the word: in Monteverdi the voices of the Mass In Illo tempore are, so to speak, renewed by the non-literal doubling of the violas, according to a usual practice in the sixteenth and seventeenth centuries and not practiced today; in Cresta it is the electronics, created in real time, that accomplish this process of revealing further and different possibilities of the human voice.

emory, research and modernity are the key elements that follow a unique path in terms of effects and sounds. Honoring the past in order to have a dialogue with the present is the ambitious goal of this duo. Dario Doronzoat the Soprano Flugelhorn and Pietro Galloat the Piano propose 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.

The recording project combines two greatest passions that synthesize Chiara Fabbri's personal history: the classical guitar and her hometown, Ferrara, Italy. With this music Fabbri pays homage to Ferrara's rich history, art and literature. This year is the five hundredth anniversary of the first publication of Ludovico Ariosto's epic poem Orlando Furioso. Ariosto was a central figure of the Italian renaissance, and as innovator of the chivalrous poem his literatury presence at the Este court was symbolic of Ferrara's cultural importance. Although the pairing of music and poetry was only fully realized in Italy at the end of the 16th Century, during Atiosto's time public readings of Furioso were likely accompanied by courtsan music. The guitar was not a Renaissance instrument, so this program does not intend to replicate the music performed at the Este court.

À Claude stems from a profound admiration for Claude Debussy and his legacy, a composer who thanks to his intense aesthetic, formal and timbral research has been a fundamental pillar and turning point for the 20th century's musical production. The program aims to be a family reunion, an ancestral tree starting with Claude Debussy and branching out into all the subsequent generations: Olivier Messiaen continued Debussy's research, merging it with his personal interest in color and non-European cultures; the Japanese Toru Takemitsu who pays homage to Olivier Messiaen and his rich harmonies; the American George Crumb, whose work takes the piano towards unheard-of timbres and considers Claude Debussy his greatest teacher; the Romanian Diana Rotaru, who pays tribute to the two great masters with her Debumessquisse and finally Benedetto Boccuzzi attempting to condense this legacy in his short piano piece (quasi) Notturno. Benedetto Boccuzzi (New York 1990) is an eclectic musician: pianist, composer, improviser and teacher. His repertoire as a solo pianist and chamber musician ranges from Frescobaldi and Purcell to the most recent contemporary compositions via Schubert, Debussy and Shostakovich. He performs regularly in Italy and Europe and collaborates with the flutist Alessandra Rombolà, Equilibrio Dinamico Dance Company (Bari) and La Chambre Magique Theatre Company, for which he composed and performed the stage music for Oscar Wilde's Salomé (directed by Michele Suozzo - Teatro Palladium, Rome). He specialized in the performance of the contemporary repertoire working with the Zahir Ensemble in Seville and the Teatro Lirico Sperimentale in Spoleto, he also worked as a piano accompanist at the Escola Superior de Música in Porto.

The project of establishing a worldwide harp orchestra was conceived during the COVID-19 pandemic in 2020. Due to the lockdown, the Italian harp orchestra, chaired by Albarosa Di Lieto, could no longer carry out its normal concert activity. Nonetheless, everyone strongly agreed upon the idea of continuing performances. The ensemble shared the willingness to overcome the issue and carry on making music and sharing emotions with the audience. We came to a decision to perform remotely, from musicians’ homes. This initiative let the orchestra set up a collaboration with harpists from all over the world. Although current hardship, our performances have been enhanced by the renewed structure of the orchestra. It definitely encompasses the philosophy and the strong symbolic significance of the formula “So far but so close”. The Italian Orchestra of Harps (unique in the world) founded by Albarosa Di Lieto is currently made up of over 50 harpists from various italian regions. The Orchestra made its debut on October 2010 in the Auditorium "Guarasci" of Cosenza for the opening night of the II International competition of Harp" Marcel Tournier". The Orchestra has held concerts in various Italian cities enjoying acclaim and success. 18 composers write for the Orchestra.

Voies(x) de femmes is an album grouping twenty-six pieces for soprano and piano, performed by the soprano Theodora Cottarel and the pianist and composer Tiziana De Carolis. It also includes a piece for choir and piano performed by the choir Florilegium vocis, conducted by Sabino Manzo, and accompanied by the pianist Maria Gabriella Bassi. The works which make up this album have one thing in common and that is they are all composed by women; past and present composers who have succeeded through sheer willpower in making their voices (voix) heard and in following their artistic paths (voies), despite prejudice and masculine predominancy in the musical world. The album Voies(x) de femmes desires to reveal to the general public pages of music of great quality, often unpublished, unknown or underestimated.

OFFICIA is an interesting recording project that helps to remove from oblivion the compositional genius of a Molfettese musician and priest who lived in the eighteenth century: Antonio Pansini (1703-1791). He formed musically between Molfetta and Naples studying with Gaetano Villani, Francesco Durante and Leonardo Leo. He was Organist and Master of the Chapel of the Molfetta Cathedral from 1754 until his death and gained fame in his city and throughout the province also taking care of the design and testing of the organs. The Chapter of the Cathedral of Molfetta did perform his compositions for the Holy Week, presumably composed in the first half of the eighteenth century, at least until the twenties of the twentieth century, a sign of a deferential respect towards the musical teaching of Pansini. Digression Music in collaboration with the soloists of the Cappella Musicale Corradiana has recorded the Proprium and the Ordinarium of Missa in Coena Domini and the three Responsory and the three Lamentations of the First Night of Good Friday. The Mass and the Responsory are for two Sopranos, Basso and basso continuo; the first and second Lamentation are for Soprano and Basso continuo, while the third Lamentation is for Basso and Basso continuo. The recording was curated by Antonio Magarelli, director of the Cappella Musicale Corradiana, in collaboration with Annamaria Bellocchiosoprano, Ester Facchinisoprano, Michele Dispotobass, Gioacchino de Padova viola da gamba, Gaetano Magarelliorganist and curator of the critical edition of the works of Pansini. The recording was carried out in the parish church of San Bernardino in Molfetta (Ba) where a precious pipe organ was built by Giuseppe Rubino in 1767. This instrument has greatly contributed to the aim of restoring a historically informed musical performance with instruments not only ancient, but even coeval to the composer.

For the 250th anniversary of Luigi Giuseppe Capotorti’s birth (Molfetta, 1767), the Association devised, designed and began to carry out a research and rediscovery project which would assign true value to the Molfettese composer and his works. Certainly, a challenge to oblivion as well as an act of knowledge we owe to younger generations for future memory. Maestro Luigi Capotorti was a talented musician and a leading composer in the Neapolitan music scene. He was successful and achieved fame in the first half of the 19th century and together with the many Apulian musicians who studied and worked in Naples, he was part of the “trading activism” which characterized the dynamism in music typical of the time, as the critic Moliterni remarked. His works, performed and greatly appreciated by the public of his time and recognized by his contemporary critics, still today deserve great attention. The content of this album does not focus on Capotorti’s theatre music, but rather on some of his sacred and instrumental compositions, performed in original version following philological editions and avoiding arrangements and transcriptions. The chosen sources are rare, some hardly known, some autographed, all enshrined in Italy: “Nuova Messa per solennità festiva” in the Diocesan Historical Archive in Molfetta; the arietta “Innocente Verginella” in the Convent of the Benedictine nuns in San Severo; “L’Augurio del Santo Natale” and “Sinfonia scritta a piena orchestra e ridotta per P.F.” in Biblioteca di San Pietro a Majella in Naples; “Divertimento grazioso” in Fondo Noseda Conservatory in Milan.

In the works of Antonio Magarelli (composed from 2009 to today, but to understand the stylistic canons of Magarelli it is useful to remember also a brief motet from 2007, Pater si non potest, an icon of his style) it seems to be latent, a timid but pervasive curvature towards dissonance, which nevertheless assumes the appearance of a philosophical construct, since such is the prudent use of it that shines through the pieces. As for Schönberg, there is the awareness of the emancipation of dissonance: «eternal fall [...] and backwards, from the side, forward, from all sides [...] is the rejection, even in music, of hierarchies, of centers of reference, of the schemes that become absolute. This means that no sound is fundamental, but every sound can be fundamental» (A. CAPUTO, L’arte nonostante tutto, Roma 2012, p. 65). Magarelli, even when taking up obsolete and outdated compositional canons from the late-nineteenth-century aesthetic (for example in Domine, tu mihi lavas pedes?) unexpectedly becomes postmodern due to the wise taste of quotation and erudite contamination, for the sound layers and I would say historical layers that come from his active assimilation of music history, understood as a history not only of monumenta, but also of documenta.

Born in Venice in 1777, Filippo Trajetta was the son of renowned opera composer Tommaso Trajetta, and Russian artist Elizabeth Sund. After Filippo studied counterpoint with Fedele Fenaroli and composition with Niccolo Piccinni, he settled in Naples, joined the revolutionary movement, and composed patriotic hymns, which eventually caused his arrest and detainment. Upon his release, he boarded a ship destined for Massachusetts, and landed in America in 1800. Italian based ensemble Modus String Quartet performs these works. The ensemble is Serena Soccoia, Pantaleo Gadaleta, Teresa Laera, and Gaetano Simone.

Born in Pescara, in Abruzzi, Gabriele D'Annunzio (1863-1938) was a prominent figure of the Italian poetry at the turn of the 20thcentury. Before the Italian Unification in 1861, Abruzzi, just like Apulia, was part of the Kingdom of the two Sicilies with Naples as its capital. In Naples, where the memory of the Bourbons was still alive, in 1891 D'Annunzio met Niccolò van Westerhout (1857-1898), an Apulian composer born in Mola di Bari. The long and tormented life of D'Annunzio meets Apulia through the numerous encounters with Apulian composers who set many of his lyrics to music. This discographic project ideally keeps this past bond alive by offering contemporary Apulian composers the opportunity to set lyrics and texts by D'Annunzio to music. The result is this double record which continues the journey of collaboration between Traetta Opera Festival (ITALY), Digressione Music (ITALY), Idea Graphics (USA) and Tokyo Musica Association (JAPAN) in the spirit of Music, ideal bridge across Nations.

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.

CARNE E POESIA caresses dichotomies, contradictions and oxymorons, emphasizing nuances and details, with the care of a craftsman and the precision of a knife thrower. A record that sheds light on the stumbling blocks, fears, weaknesses and frailties of the human being, enhancing them with meaning and poetry. Stories of life really lived; stories of men on the margins of society, but still inhabited by a tenacity and an unequivocal hope; emotions that reveal the sacredness of small and simple gestures. "Carne e poesia" trusts in man, in the possibility to forgive or understand each other, in values and - above all - in his courage to stay, leave or start again.