This is the original debut album by pianist and composer Edoardo Bruni and his modal musical writing technique - in this way disconnected from the rules of tonality or other note's succession systems experimented until now - 'expanded' to the extreme of it's possibilities. A full-bodied chamber trio for clarinet, cello and piano, and seven tracks for solo harp constitute the content of this album that is the first stage of the Ars Modi project, based on the principle of the "pan-modality" with which the composer forges a new and personal sound aesthetic.

Classical Music

The cult and devotion to Mary have been among the greatest and most important sources of inspiration for all the arts in the history of humanity, and in the history of music they have given rise to a myriad of compositions that have spanned the centuries since the beginning of Christianity to the present day. Within this record the ensembles Vox Poetica and Nova Alta directed by the master Sabino Manzo offer to us some examples of the most significant Italian composers of the Renaissance and Baroque period, starting from the "divine" Claudio Monteverdi, a milestone in the history of music, up to Alessandro Scarlatti, a leading exponent of that Neapolitan school that in the eighteenth century exploded in all it's shining vitality, passing through Girolamo Frescobaldi, "monster organist" whose fame as a composer and keyboardist went across the Italian borders.

Artists who fitted completely into their place and time, their schools and background of peers, are fairly plain sailing. The starting point is one and the same, like a word that begins in basic form before being overlaid with individual aesthetic, professional and productive connotations. It may not be that easy, but it certainly remains so. None of this applies to Luciano Simoni (1932-2010 who lived and thought in lofty style at Bologna, Italy, across the second half of the twentieth and into the twenty-first century without kowtowing to principles or any contemporary rules of art or life - which may be well and good, but are not to be taken on board a-critically. Unlike many a colleague, Simoni approached classical music from every possible angle. Which of them, for example, threw themselves enthusiastically into sacred music? Simoni did, and among other things produced a full-scale Missa solemnis for chorus, orchestra and soloists. His fondness for chamber music was, of course, less unusual: he left some memorable scores such as those collected on the present album whose program includes three of the nine quartets and one trio for strings and piano.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Taking the advantage of two great historical instruments [the Giacomo Bazzani e Figli, 1832, organ of San Lorenzo in Cavazzana (RO) church, and the Gaetano Callido 1797, organ of the Beata Vergine del Rosario in Polesella (RO) church], in this double album organist Alessandro Perin offers a significant collection of the works by the Paduan composer Gaetano Valeri, a leading exponent of the late eighteenth century Italian keyboard music scene. Remaining anchored to the 'galante' style, Valeri's sonatas are characterized by great inventiveness, singability, rhythmic variety and formal elegance, and naturally enhance the variegated tonal characteristics of the Italian seventeenth-century organs. With the participation of maestro Roberto Loreggian, to be noted the world premiere recording of the two four-hands works taking to the limit the expressive and technical features of the instrument.

Sisto Reina is one of the many musicians from the Order of the Friars Minor Conventual who have greatly enriched the history of music. The diffusion of his music greatly exceeded the boundaries of the regions in which he was active: works of his are present in the archives of several Italian cities, and in Austria, Germany, Poland, Switzerland and England. The Armonia ecclesiastica, by Sisto Reina, published by Carlo Camagno in Milan in 1653 and dedicated to princess Angelica Luigia Mariana Gonzaga, nun in the convent of S. Paolo in Milan, is exemplary as regards the variety of forms, styles and languages that were typical of Italian seventeenth-century music, particularly in Lombardy. Michelangelo Gabrielli, Renaissance and Baroque repertoire specialist, directs the Concentus Vocum ensemble (from the Como Conservatory of Music) bringing this work to light in a world premiere recording.

Classical Music