Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Felice Giardini was born in Turin in April of 1716. He studied violin with Giovan Battista Somis, former pupil of Arcangelo Corelli and founder of the Turin violin school, and at 20 he joined the Orchestra of the Teatr Regio in Turin; then he undertook a series of trips taht ook him to Germany, France and finally to London, where he lived for 35 years. There, in a very short time he became famous as a skillful and stylish violinist and began attending the cultural and noble atmosphere of the city, obtaining the license by King George II for the release of nine collections of works. As witnessed by Charles Burney in his pioneering music history, Giardini fame spread to Italy and Germany, and its activities as violinist, composer, impresario and choirmaster, flourished until 1790, when he began his downward spiral, which led him, almost eighty years old, in 1792, to undertake one last trip to Russia, where four years later he died, forgotten and in poverty. Within this album the Mirus Quartet accompanied by fine soloists are rediscovering his quartets, perfect examples of Giardini great music that led him to win the English aristocracy of his days.

Classical Music

The distance separating the composer's pen from the ears of the listeners is an emotional journey. The audience's wish, notably of contemporary music, is to comprehend the way of approaching a new work. On the other hand, the composers' wish is to be understood, welcomed, and anticipated, especially in those precious moments preceding the applause at the end of a performance. So, this time, let's try: let's try to go deep inside, going back from the composer's pen to his mind. Let's go back that meter of route from the mouth of the hand to the source of creativity, and let's try to understand the inspiration, the intuitions, and also the emotions that light up Paolo Cavallone's mind. It is possible to do this with his music, because his scores show a vitality condensed in the form of a poetic language, even in the abstraction of his musical thought. The greatest interpreters of the contemporary world scene collaborate in this world premiere recording by the Abruzzese musician.

Anonima Frottolisti Ensemble, a group specializing in Early and medieval music, confronts a little performed yet interesting repertoire: the “contrafacta”, compositions in which the lyrics and the melodies are a blend of the sacred and profane. Starting from the 12th c., these two seemingly opposed worlds diverged in the custom of secular text usage on sacred melodies. Later, the trend is the opposite: popular melodies in vogue at the time are filled with liturgical and spiritual texts, thus becoming an effective means of leading people to faith and knowledge of the scriptures.