Percussion, helped also by alternative playing techniques and amplification, enabled true exploration of the uncharted depths of sound. They revealed a world in constant transformation, where every sound is no longer conceived as a fixed and immutable entity (no longer limited to the notion of "note"), but contains within itself, in it's becoming, multiplicities. An organic yet unstable ensemble in which it is possible to find all the elements necessary for elaborating compositional processes and diverse musical solutions. The pieces presented in Indeterminate State fall within contemporary musical experimentation, as each composition arises as an investigation of the ancestral sonorities of indeterminatepitch percussion, relying on multiple opportunities offered by electronic and digital technologies. The works, commissioned by Keyhole and Loxosconcept for the MA/IN Festival, were realised during an artistic residency in the municipality of Brienza (PZ), where a heterogeneous group of six composers - Maurizio Azzan, Giulio Colangelo, Stylianos Dimou, Marta Gentilucci, Sarah Nemtsov, and Cesare Saldicco - collaborated directly with percussionist Fabio Macchia. The relationship established between composers and performer represented a key element of a shared creative process, typical of contemporary music, developing through a virtuous dynamic. The compositional path originates from the musical language and finds reflection in the instruments used, mutually influencing the stylistic expression of each author and, consequently, the form of each piece. This process, nourished by a multidirectional exchange of knowledge and intuitions, takes shape from the interaction between the composers' imagination, the performer's technical skills, and the percussion ensemble, initially proposed by the musician and later expanded in the compositional phase. The entire path is further enriched by the integration of electronic technologies, resulting in an open map of sonic experiences revealed over the time of listening.

Classical Music

Classical Music

At the beginning of the nineteenth century, the eruption of Romanticism was not only a disruptive element which was capable of distorting the aesthetic and conceptual canons of the music of the time but it also brought about a series of noteworthy technical improvements in the organological sector. Without this change a number of instruments could not have expressed what was requested by composers and performers involved in this new cultural and artistic revolution - a revolution that, within a few decades, was able to build new cathedrals on the ruins of European Baroque. This record is a tribute to the extraordinary adventure of the flute through the nineteenth century, which is when this instrument increasingly assumed a stylistically independent connotation, which allowed it to become part of that group of musical instruments (such as the violin and the piano) which appealed to the cultured and well-off middle classes. This was in particular due to it's capacity to "challenge" the human voice, the lyrical singing, reviving, through transcription, the famous lyrical works, the arias, well known and loved by both the aristocratic class and the humblest people alike. The choice of these compositions, therefore, focuses on the "belcanto" repertoire revised in light of the potential of the transverse flute.

Manuel Maria Ponce was born in Fresnillo, Mexico on 8 December 1882. He began his musical studies in Aguascalientes and later moved to Mexico City where he enrolled at the National College of Music. In 1904, Ponce travelled to Europe to complete his studies, in Bologna with Enrico Bossi and Luigi Torchi and in Berlin with M. Krause. After returning home, he held a variety of teaching posts at the National College of Music in Mexico City where he had once studied. Ponce was never one to rest on his laurels and although he had already done a great deal of composing and teaching, after World War I he decided to return to Europe to resume studying. In Paris in 1925, he took classes with French composer Paul Dukas, who held his student in the greatest esteem - Ponce was awarded full marks - and made no secret of it. The quality and quantity of Manuel Ponce's compositions for the guitar makes them one of the major bodies of work in music in the first half of the twentieth century, although he wrote practically all of them in a period of just nine years, between 1923 and 1932. Ponce was constantly spurred on and encouraged by the ever-enthusiastic Andrés Segovia, who applied himself to each new piece in rehearsal and in concert with a zeal and commitment unmatched by even the most forward-looking proponent of the avant-garde. And so, in this short period of time, Ponce produced five sonatas, three themes and variations, a cycle of twenty four preludes, two suites in baroque style, a sonata for guitar and harpsichord and some ten small-scale pieces which were no less inspired in character than their bigger brethren.

This delightful new release from Stradivarius features keyboard works from Wolfgang Amadeus Mozart, one of the most virtuosic composers for keyboard that has ever lived. In many of Mozart’s first editions, the titles bear the French indication Sonatas pour le Clavecin ou Forte-piani. That is, the works were to be performed on either the harpsichord or the fortepiano. For this release, the rarer option has been chosen: the harpsichord. Basilio Timpanaro and Rossella Policardo make up The Harpsichord Duo. The duo has been engaged in the Italian concert scene for many years, earning public and critical notoriety.

Classical Music

From the introduction by Giacomo Susani: "Recording and ricordare (remembering): two terms, in two different languages, with two different meanings, which share a single etymological root. And this is precisely from whence comes the meaning of my first recording: a sort of 'sound-stop' while studying, researching, and working with my instrument."

Vincenzo Capirola is only slightly less of a mystery figure. It has been revealed that he was from Brescia, born into a wealthy mercantile family in 1474 and that he lived a long a life until he was in his mid-seventies. He is last recorded alive in 1548 when he was seventy-four. His parents died while Vincenzo was still young: his father when he was two, and his mother later in his youth. Documentary evidence confirms his presence in Brescia in 1489, 1498, and 1548. He was in Venice in 1517, there has been unconfirmed speculation that he may have travelled extensively in Europe and that he may even have been the same renowned Brescian lutenist who was at the English court of Henry VIII in 1515. The music of this lute book reveals Capirola as a consummate lutenist who had already attained a high level of stylistic maturity. This can be seen in all the musical genres in his book, especially in his intabulations of vocal polyphony that transform their models into attractive idiomatic solo lute music, and in his ricercars that assimilate inherited styles into engaging and coherent rhetorical narrative.

Classical Music

Classical Music

Sviatoslav Richter was the first pianist of international repute to create in his repertoire a reasonable balance between Haydn, Mozart, Beethoven and Schubert, the quadrumvirate of the Wiener klassik. No other concert pianist has ever included in his repertoire such a conspicuous number of Viennese compositions, nor gone back so far (the early Haydn sonatas are from the 1760s) in his research info the Wiener klassik.Richter is far more interested in the pre-Beethoven aspects of Haydn than in the pre- Schubert ones. The use of the terms “pre-Beethoven” and “pre-Schubert” does not signify that such aspects are exclusive to these composers, merely that we are used to identifying them thus, despite the fact that they are the foundations of the Viennese classical period. Richter has rarely performed Schubert since 1986 - although his interpretation of the Sonata in G major astounds and stupefies those who hear it - and equally rarely performs Mozart; only the Fantasia K475, the Sonata K457 and the Sonata K 533/494. His interpretation of the drama of the Fantasia and the Sonata K457 draws parallels with the darkest moments in Don Giovanni.

The universe of Stefano Bulfon appears to find its poetic necessity in offering a harmony of contrasts which only music can exemplify as an oxymoron. It is this kind of interworld, which has ceased to draw dramatic boundaries between lyric subjectivity and the dull setting of man. The Divertimento Ensemble, founded in 1977 brings Bulfon's works to life with their internationally-renowned soloists. The ensemble is strong dedicated to music education as well as the promotion of young people's creativity.

Although little known, the literature for two violins has an ancient history, that on one hand refers to the educational purpose of playing together and reciprocally listening to each other, and on the other hand refers to folk tradition. The compositions featured on this album truly move within all these different perspectives: they are in part folk music pieces, in part pieces with a didactic aim, but above all they are dialogs with a high chamber music value. Bartók and Prokofiev, with the Forty-four duets and the Sonata for two violins gifted us with two cornerstones of the literature for these instruments in the narrow space of two years, 1931 and 1932, opening this repertoire to new textures and new languages.

Classical Music

A wonderful new program combining Tchaikovsky's solo piano piece the Seasons with the twenty-four miniatures of the Children's Album, which took shape in April 1878 nearly a year after his tragic marriage to Antonina Milyukova.

Classical Music

Classical Music

Under the name Wanderer - the iconic figure of Romanticism - the guitar duo formed by Giacomo Copiello and Michele Tedesco makes its debut with a recording containing an exceptionally romantic repertoire. The performers' careful choice of instruments offers the listener a varied range of historic guitars sounds: early 20th century instruments for the transcribed repertoire of Brahms, Schubert and Franck while the works of Mertz are played on the traditional 19th century romantic instruments they were originally intended for.

Classical Music

It is impossible to talk about Sviatoslav Richter and his mastery of the piano in normal terms of speech. Each time an article on him comes out, it is liberally dotted with superlatives, reminiscent of an ecclesiastical way of speech fathered by the church and which now seems to be going out of fashion. Both critics and concert-goers associate Richter's name with expressions of wonder and enthusiasm. It would therefore seem that Richter appeals to the soul of his listeners rather than to their intellect. The present release features Grieg’s Lyryske Stikke and Debussy’s Six preludes, recorded live in Athens, Kozani, and Cosenza

Classical Music

Agoraphilia is an invitation to raise awareness and love for open spaces, spaces of Being and visual spaces. This is the reason why this work offers a strong synergy between musicians, eras, repertoires and literary hymns, responding to the particular situation of closure and forced introversion caused by the pandemic events. The Duo Agorà, formed by Domenico Luciano on Saxophones and Eugenio Catone on Piano, was born in 2008 with the aim of exploring new repertoires, starting from sharing the urban sound space and from the sensorial message that the languages of new music bring to the modern society. Defined by the critics as two courageous pioneers (criticaclassica.it) and exceptional virtuosos (Novi List), they propose original works composed by living artists, but also pieces composed by themselves or dedicated to them, using different types of saxophones and electronic instruments during their concerts. They received numerous awards in international chamber music competitions including TIM competition, Rovere d'Oro Award, Zinetti Award.

“I literally embraced the harp at the age of eleven after studying piano. I had been nurtured on music since I was born, for in my family music reigned supreme. It was a choice dictated by circumstances but intrinsically natural, as the piano and the harp have certain characteristics in common. This album, therefore, tells my tale as a harpist, beginning with a comparison of the most well-known composers, from whence it’s fair to say I then followed other paths, although remaining very attached to the extraordinary and expressive virtuoso lessons that they embody.” (Simona Marchesi) Simona Marchesi is a passionate and diverse artist who is particularly interested in developing the next generation of harpists. In addition to teaching, she performs both as a soloist and alongside prestigious international ensembles.

Born sometime between 1480 and 1500, Alberto De Rippe (Da Mantova) enjoyed extraordinary celebrity during his life. Alberto De Rippe’s name was associated with the Divine Francesco da Milano, which is confirmed by the 1574 publication “Thesaurus Musicus,” in which six of De Rippe’s fantasies are printed. Performing these works is lute player Gabriele Palomba.