The mezzo-soprano Elena De Simone and the Ensemble Il Mosaico are the interpreters of this production that continues the journey of Tactus in the precious rediscovery of various female characters forgotten by history, that played a fundamental role in the cultural and musical panorama of their time. One of these cases concerns the Milanese Maria Teresa Agnesi, a precocious musician and composer - she starts writing music and performing in the academies of her city already at an early age - who dedicated her works to the major political authorities of her world. The “Arie con Istromenti” dated 1749 are in fact dedicated to His Royal Highness Maria Antonia Walpurgis Symphorosa, wife of the heir to the throne of Saxony, educated and enlightened (both she and her husband were part of the Accademia Romana d'Arcadia), that deeply admired the work, thanking Agnesi on a letter with a heartfelt praise for the compositions.

The figure and work of Bernardo Storace are particularly fascinating because of the aura of mystery which surrounding both. The only information we have on this remarkable composer for keyboard instruments is printed on the frontispiece of his one known work, the “Selva di varie compositioni d’intavolatura per cimbalo ed organo by Bernardo Storace vice Chapel Master of the Illustrious Senate of the Noble and Exemplary City of Messina”. The continuous earthquakes that afflicted Messina right up to the beginning of the twentieth century destroyed any existing evidence of Storace and his works. The one example of the Selva, which has fortunately survived, was printed in 1664 in Venice, then a very important printing centre, but is without the editor’s name or a dedication. This vast florilegium is made up of a wide range of variations based on nearly all the popular themes of that time, as well as two courantes, two toccatas and canzonas, two ricercari and a pastorale. Francesco Cera, renowned early music specialist, here uses three different historical instruments: organ, harpsichord and spinetta, for a refined and competent performance, supported by Fabio Tricomi at the percussions.

The Venetian musician Ettore Bonelli has always been known as a violinist, a teacher and revisor, but less so as a composer. Precisely the conspicuous amount of revisions, over a hundred, (the famous version of the Concerto for Oboe by Benedetto Marcello, in fact, composed by Alessandro Marcello, published by Zanibon in Padua) to which Bonelli mainly dedicated himself after World War ii, had over-shadowed his rich activity of composition which had occupied him since 1918. He had abandoned this for thirty years and had taken it up again only in the '70s. With pieces with a didactic aim dedicated to the violin, oboe, double bass, and the flute- harp duo. This recording promoted by Alessandro Curri (violist, nephew of Ettore Bonelli, and son of the harper Ilde Bonelli) represents a first glance to the composer's chamber music production focused on works for violin and piano and for viola and piano. With Giuliano Fontanella on the violin and pianists Tania Salinaro and Giovanni Dal Missier, this world premiere recording is revealing a solid and decisive craftsmanship, which inherits and reworks the styles in vogue in the first half of the twentieth century in Italy, without excessive experimentalism yet with skilful refinement.

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 Barucab�, 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 it's fretboard can be tilted by means of a peg connects it with the best Legnani-Stauffer tradition.

A cross-section of the Italian production for cello and piano, conceived during the hazy beginning of the twentieth century, shows us how the most varied influences – coming from all sorts of styles: Gregorian, Monteverdi, operatic, German and French late-romantic, avant-gardist, Franco-Russian impressionist, French symbolist, veristic – are absorbed and remoulded, accepted and rejected, by various personalities of the world of composition. In this cultural ambience, a crucial role was played by the so-called Generation of Eighteen-Eighty, whose components, Casella, Malipiero, Pizzetti, Respighi, friends and collaborators, stood out for their pursuit of innovation and their aim to create a character peculiar to Italian music; this quest was accompanied, at least in their artistic choices, by a certain lack of political commitment. Within this recording, cellist Roberto Trainini and pianist Stella Ala Luce Pontoriero are delivering an anthology of precious musical gems as necessary testimony to the great value of some obscured and forgotten Italian early twentieth century repertoire.

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.

While for the most celebrated instrumentalists who defined the period straddling the seventeenth century and the eighteenth, the subsequent interest in the magnificence of late Baroque music promoted their relaying and study, this fate was not shared by Martino Bitti. After having been relegated on the fringe of the history of music, and perfunctorily accused, in the earliest, scanty biographic notes, of lacking in originality and innovative qualities, only in recent times did he begin to be the object of in-depth investigations and writings on the analysis and cataloguing of his works (see Michael Talbot’s ground-breaking essays).

In any case, what emerges from an examination of the sources relevant to Bitti’s biography is the figure of a musician who was fully integrated in one of the contexts that were most lively and stimulating for the Italian musical production between the end of the seventeenth century and the beginning of the eighteenth: the court of Prince Ferdinando de’ Medici (Florence 1663-1713), eldest son of the Grand Duke of Tuscany, Cosimo III de’ Medici.

The recording of the Sonatas presented here is the final stage of a work of in-depth research that began with the study of the first editions and the experimentation of timbres and interpretations on copies of the early instruments, leading to the creation of a historically informed product.

Carlo Agostino Badia was one of the many Italian musicians making his fortune at the court of Vienna where he was hired as a composer in 1694.

We have no news about his education, but the musical historiography is mentioning about his great compositional period lasting forty-four years at the service of the emperors Leopold I and Joseph I, in which he produced in large quantities cantatas, melodramas and oratorios greatly appreciated at the Austrian court.

From his musical writing it is clear how he was a 'ferryer' of that late Baroque (followed by Antonio Caldara who succeeded him at the Viennese court) anticipating the forms of the imminent galant style.

In this recording, the attention is directed to the profane cantatas, from the collection Tributi Armonici – published in Nuremberg in 1699 – which represent precisely the transition from the traditional style (in particular the Venetian one) to the new eighteenth-century style. The great variety of writing that distinguishes the cantatas is well rendered by the ductile voice of the soprano Raffaella Milanesi accompanied by RomaBarocca Ensemble, under the direction of Lorenzo Tozzi.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music