Tactus
399 products
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Bon: Sei sonate per il cembalo, Op. 2, 1757
$18.99CDTactus
Apr 03, 2026TC730202 -
Alessandro & Antonio Rolla: Opere per viola sola
$18.99CDTactus
Jul 04, 2025TC780002 -
Tessarini: Sei Sonate, Op. 14; Il Piacier delle dame
$18.99CDTactus
Sep 05, 2025TC692006 -
Conti: Opere per archi
$18.99CDTactus
Apr 03, 2026TC950304 -
Clementoni: Organ Works & Missa Jubilaris
$18.99CDTactus
Nov 21, 2025TC890302 -
Cilea-Longo: Chamber Music
$18.99CDTactus
Apr 03, 2026TC860005 -
Scattolin: 5 Meditazioni sacre
$18.99CDTactus
Oct 03, 2025TC941904 -
Giardini: 6 Sonatas for violin and continuo, Op. 1, London 1
$18.99CDTactus
Jan 30, 2026TC710704 -
Eleven
$18.99CDTactus
Nov 21, 2025TC920004 -
Pilati: Liriche da camera
$18.99CDTactus
Nov 07, 2025TC901604 -
Works for violin and saxophone
$18.99CDTactus
Jan 30, 2026TC960005 -
Monferrato: Motetti a voce sola, libro primo, Op. 4
$18.99CDTactus
Nov 28, 2025TC611301 -
Panni: Popsongs
$18.99CDTactus
Nov 07, 2025TC941601
Vivaldi: Sonatas for Cello & Continuo
Antonio Lucio Vivaldi was born in Venice in 1678, in a period during which the cello was acquiring popularity in the world of concerts and an important role in musical entertainment. The Red Priest ennobled the soul of the cello. It gave him the inspiration for no less than twenty-seven concertos for solo cello, a concerto for cello and bassoon (rv 409 in E minor), another one for two cellos, string instruments and basso continuo (rv 531 in G minor), a considerable number of works with the indication “violoncello obbligato”, and nine sonatas for cello and basso continuo (in addition to the beginning of a tenth sonata which has been lost). For these works, musicological research has often placed the name of Vivaldi side by side with that of Antonio Vandini, whose six sonatas for cello and basso continuo have been recorded for Tactus by Bologna Baroque in 2018 (TC 692202). For the recording, we used two cellos of the Fondazione Orpheon that belong to Maestro Jose Vasquez: a cello of the Montagnana School (circa 1750) for the solo part and a Simone Cimapane from 1692 (that according to some written evidence had belonged to Arcangelo Corelli’s orchestra) for the basso continuo part.
Paganini: Complete Guitar Works, Vol. 1
The importance of the guitar is evident throughout the span of Paganini’s activity as a composer, and it is possible that as a boy, before he began to practice on the violin and the “chittara francese”, he received from his father his first musical grounding on a “mandolino genovese”, an instrument that had six courses or six single strings, with the same tuning relationship as that of the guitar. The Catalogue’s chronological list ranges from 1795, with Carmagnola con variazioni ms. 1, to 1835, with Variazioni sul Barucabà, an entire cycle of compositions that features the constant presence of a guitar in combination with string instruments. This context contains the compositions for solo guitar, which are divided into three groups: Ghiribizzi, Sonate, and Compositions of various types, including some Sonatine. The recording dedicated to Paganini's opera omnia for guitar is divided in two double CDs volumes, the first volume includes the 43 Ghiribizzi and other various compositions (sonatas, sonatinas and free forms). Mauro Bonelli, for the realisation of this work, used a period guitar with catgut strings, tuned to 415 Hz: nineteenth-century Austrian guitar without a label; the fact that its fretboard can be tilted by means of a peg connects it with the best Legnani-Stauffer tradition.
Bigaglia: 12 Sonate a violino solo, Op. 1
Diogenio Bigaglia, a composer who at present is unknown to most people, was active in Venice in the first half of the eighteenth century, so he was a contemporary of the much better known Tomaso Albinoni, Alessandro and Benedetto Marcello, and, above all, Antonio Vivaldi, whose work shows several evident – and more or less explicit – references to Bigaglia’s production. So he turns out to be a composer who is worthy of interest not only for the intrinsic musical worth of his works, but also for the influence his activity may have had on musicians with whom we are more familiar; this is why musicologists have recently started showing an increasing interest in him. This recording presents the complete "12 Sonate a Violino Solo o Sia Flauto e Violoncello o Basso Continuo Opera prima del Signor Bigaglia Padre Benedettino", as this work is called in the title page of the edition published in Amsterdam by Michel Charles Le Cène around 1722 . Davide Belosio solo violin interprets this world premiere recording accompanied by I Solisti Ambrosiani, already protagonists of a previous release dedicated to the rediscovery of the Venetian composer (v. Diogenio Bigaglia, Cantate per soprano e continuo, Tactus, TC670203).
Castenuovo-Tedesco: Liriche da Camera; Opere pianistiche / Vanini, Coni
The duo formed by Valentina Vanini (mezzo-soprano) and Giuseppina Coni (piano) is the protagonist of this recording dedicated to the Florentine composer Mario Castelnuovo-Tedesco, including chamber lyrics and piano pieces. All the compositions collected in this double CD saw the light in the early twentieth century, more precisely between 1913 and 1928. A kaleidoscopic panorama of impressions and emotions – from the evocation of the childhood world, to the poetic themes of great breadth up, to the pictorial evocations of the great Italian schools of the past – unravels in the succession of pieces, characterized by a very refined musical style, often not simple but incredibly fascinating and evocative. Not conventionally counted as part of the “Generazione dell’ottanta”, in reality Castelnuovo-Tedesco pursues the same ideals and intentions (because of his studies with Ildebrando Pizzetti), which are fully manifested in these compositions, superbly interpreted by the Vanini-Coni duo.
Piani: 12 Sonate a Violino solo e Violoncello col Cimbalo popera prima, Parigi 1712 / Mencattini, Ensemble Labirinto Armonico
Gervasio, Barbella & Cocchi: The Manuscripts for Mandolin of Gimo Collection
The CDs contained in this box set were conceived and produced as part of the project "Il mandolino a Napoli nel Settecento”, coordinated by the University of Bologna in collaboration with the University of Uppsala and the Neapolitan Mandolin Academy (www.mandolinonapoli700.com). The objective of the project was the recording on period instruments of the 19 compositions for mandolin by Neapolitan composers of the eighteenth century, whose manuscripts are collected in the Gimo collection and preserved in the "Carolina Rediviva" Library of the University of Uppsala. The two CDs include the works by Giovanni Battista Gervasio (CD1), and Emanuele Barbella, Gioacchino Còcchi and an anonymous (CD2). The production aims to offer the listener a new interpretation of this repertoire based on an interpretative concept sensitive to the quality of sound, phrasing and aesthetic and compositional concepts of the time, contributing to a more extensive rediscovery of the Neapolitan and southern Italian instrumental repertoire of the eighteenth century. This CD box was born thanks to the fruitful collaboration between the University of Bologna and the Museum of San Colombano – Tagliavini Collection, that hosted most of the recordings and made available the precious instruments of its collection.
Maderna: Hyperion / Panni, Milan RAI Symphony Orchestra
Bruno Maderna always ascribed great importance to insight and imagination, even during the period in which he followed the most rigorous serial procedures. Maderna’s preference for concreteness in sound images, his practical approach to composition problems, and his receptiveness to language diversity explain the extraordinary ascendancy he had over the Italian composers who visited Darmstadt in the Fifties and Sixties, including Nono, Berio, Donatoni, and Clementi. But they also explain his gradual withdrawal from the most radical experiments of the avantgarde, and his tendency, during the last decade, to pursue a constant osmosis between different styles and materials (also through frequent overflows between his own compositions), often ending up in theatrical forms.
The Hyperion has been described as a “Lyric in the form of a show”. It was presented in its first version as a mobile cycle of vocal, orchestral and electronic pieces based on fragments of Friedrich Hoelderlin’s novel "Hyperion, oder der Heremit in Griechenland" (“Hyperion, or the Hermit in Greece”), the only novel written by the German poet. This book, an epistolary novel, was published in various versions, so it somehow could be regarded as a “work in progress” too. This recording represents an important document of the live version, reduced and adapted by the great actor Carmelo Bene, flanked by the RAI Symphony Orchestra from Milan, directed by Maestro Marcello Panni.
Gervasio: Sei duetti per due mandolini, Op. 5, 1786 / Giantucci, De bon parole
Bon: Sei sonate per il cembalo, Op. 2, 1757
Alessandro & Antonio Rolla: Opere per viola sola
Tessarini: Sei Sonate, Op. 14; Il Piacier delle dame
Conti: Opere per archi
Clementoni: Organ Works & Missa Jubilaris
Cilea-Longo: Chamber Music
Scattolin: 5 Meditazioni sacre
Giardini: 6 Sonatas for violin and continuo, Op. 1, London 1
"Degenerated Music" for clarinet & piano
Eleven
Pilati: Liriche da camera
Bossi: Opere per violino e pianoforte
Works for violin and saxophone
Giacobbi: L'Aurora Ingannata
Monferrato: Motetti a voce sola, libro primo, Op. 4
Panni: Popsongs
