Tactus
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Giardini: Chamber Quartets
Gorini: Works for Strings & Piano
Pianist and composer Gino Gorini, a pupil of, amongst others, Gian Francesco Malipiero from 1934-40, was an inheritor of the monumental piano style of Busoni and Petri. Gorini admired Busoni as a virtuoso but did not like his ardent expressiveness and disagreed with the personality cult aspect. Gorini was a neoclassical pianist; his objective notion of performance, his anti-romantic attitude and his non-exhibitionistic virtuosity reflected Malipiero’s ideas. There was no distinction between Gorini the performer and Gorini the composer: the two activities were interdependent.
Rewritings for Solo Violin / Cazzato
This unique work by Alessandro Cazzato gives us a glimpse of interesting contemporary authors whose work for solo violin have roots that lie deep in musical tradition. A past that leaves it's traces in new sounds, a revisited past with new signs and gestures, a new type of music, deeply influenced by the past; this is the theme of this project, forcused on "rewriting."
Colonna: L'Assalonne
Among the thirteen oratorios by Giovanni Paolo Colonna, more than half are connected, by origin or tradition, to the court of Francesco II d’Este. Although in the early modern period the sacredness of monarchy was indisputable, it cannot be taken for granted that an oratorio was offered to a monarch in order to praise him unconditionally. Oratorios were often an instrument of admonition. This aspect is fully expressed in L’Assalonne, concerning familial and power entanglements between father and son. Maria Luisa Baldassari leads Ensemble “Les Nations” and a cast of 5 vocal soloists.
Claudio Merulo: Toccate D'intavolatura D'organo, Complete Edition
Claudio Merulo (1533–1604) enjoyed great renown in his time. +
His famous Toccate expresses most vividly his considerable skill in the practice of intavolare diminuito. + These world premiere recordings present the entire corpus of Merulo’s Toccate: the 9 Toccate contained in the First Book of Toccate d’intavolatvra d’organo (1598), the 10 Toccate contained in the Second Book of Toccate d’intavolatura d’organo (1604) and the 7 manuscript Toccate drawn from the Nuova intavolatura d’organo tedesca.
Strozzi: Capricci da sonar, Op. 4
Morandi: Sonate per organo a Quattro mani
Lo storico organo Alari dell'Abbazia di San Matteo
Tartini e la scuola delle nazioni
• A 1767 Tartini autograph memoir contains a report about his income over the last forty years. He also mentioned his activity as a music teacher in Padua, started in 1727. What Tartini was referring to was his “School of Nations” private tutoring activity. The name was given to Tartini’s school because he taught music to countless violinists who came to Padua practically from all Europe. Thanks to these students, Tartini’s violin technique and style were disseminated all over Europe."
Carissimi: Oratorio della SS vergine - Jonas
Gaslini: Flute Works
• Milan-born pianist, composer and conductor Giorgio Gaslini is a jazz musician of international fame, who to his credit has given more than 3,000 concerts, recorded 100 CD's and is a ten-time Critics Award winner. The flute works were composed between 1955 and 2011. Their performer and dedicatee is Roberto Fabbriciani, with whom Gaslini has had a long collaboration."
Vitali: Varie Sonate alla Francese e all'Itagliana a Sei Str
Di corte in corte: Umanesimo in musica / Anonima Frottolisti
The splendor and cultural heritage of Humanism contain an intricate network of intuitions and revolutions – that are often local or have developed in geographically or politically well-defined areas – of culture and of its representation in society: an unlimited theatricalisation of reality, in which each gesture, symbol and behavior is transformed into an active component of the greatness and beauty of the Court and of its main actuators. In a picturesque fresco of this rich era - musical heir of the Middle Ages - the Anonima Frottolisti ensemble offers a cross-section of the main aspects that characterized it: power, love, celebration, dance, and faith, through an imaginary journey in the wonder of the Italian courts of the fifteenth century.
Carulli: Unpublished Works for Guitar
Monti: Miserere & Nelle ore desolate di Maria SS.ma
The Ahrend and Brunzema Organ
Paganini: Opere per violino e chitarra / Roberto Noferini, Donato D'Antonio
From the brilliant and impetuous personality of one of the most emblematic musicians of history, Roberto Noferini [former performer of the world premiere recording of the 24 capricci on historical violin: Tactus TC781690] on violin, and Donato D'Antonio on guitar, here present a chamber music program that highlights all the passion that bound Paganini to these two instruments. The composer's skill in using the technical and expressive characteristics of the violin and guitar gives space for great virtuosities that reach the physical limits of the instrument and the performer, without ever betraying that operatic and theatrical feeling that will become increasingly dominant with the inexorable rise of melodrama and "belcanto".
Respighi: Works for Flute and Orchestra / Fabbriciani, Paszkowski, Abruzzese Symphony Orchestra
This album is dedicated to the works for flute and orchestra by Ottorino Respighi - a leading exponent of the “Generation of the Eighties” and a very refined composer, gifted with an excellent skill in the use of instrumental timbres - includes the world premiere recording of two works for flute and strings that came back to light after a long oblivion (and now published by Roberto Fabbriciani for the editors Suvini Zerboni). Fabbriciani can also be considered the first interpreter ever, given that there is no evidence of performances in the period in which they were composed. The “Suite” and the diptych “Melodia” and “Valse caressante” are in fact works dating back to the composer's first prolific period, remaining until now manuscripts in custody of the Museum of Music in Bologna and the Fondazione Cini in Venice. The Serenade for small orchestra and the suite “Gli Uccelli” complete the production, expanding the vision of Respighi's compositions to the writing in his full maturity.
Rossini: Il Barbiere di Siviglia nella trascrizione per Harm
The second half of the 18th c. and beyond witnessed the widespread popularity in Germanic and Hapsburg regions of a particular type of wind ensemble of varying forces known as Harmonie. The repertoire consisted of divertissements, cassations, serenades and nocturnes, performed for the most part outdoors, as well as “dining music” played at important banquets, and Harmoniemusik heard at parties and ceremonies. Original pieces were performed together with transcriptions of celebrated works, such as this adaptation by Wenzel Sedlak of Rossini’s Il Barbiere di Siviglia.
Bossi: Complete Four-Hands Piano Works
This CD includes the world premiere recording of Marco Enrico Bossi complete works for piano four hands. As shown and evident in the Suite de Valses op. 93 and the transcription of the magnificent Suite for Large Orchestra op. 126, while maintaining an original mark, Bossi’s compositions for four hands seem to be inspired by Brahms and by the Hamburg chamber music transplanted in Vienna. Pianists Paolo Borganti and Giulio Giurato have used original editions and manuscripts, revising and correcting them even by comparisons of the transcriptions to the orchestral scores.
Carissimi: Mottetti e sacri concerti
Spontini: L'opera vocale da camera completa
A complete edition of all Gaspare Spontini’s vocal chamber-music pieces currently known is presented here for the first time. These pieces were composed for all sorts of purposes and performed in the circles of private drawing rooms. This recording, which is the outcome of an extensive, meticulous work on the sources, includes the collections, the independent tunes and, in the appendixes, the modified or translated pieces, the drafts and sketches, and the original contemporary arrangements.
Perti: Il Mosè conduttor del popolo ebreo
Vitali: Sonatas, Op. 5 (1669)
Mancini: XII Solos, London 1724 / Armonia Delle Sfere [2 CDs]
The flutist and researcher Daniele Salvatore, leader of the Armonia delle Sfere ensemble, in this double album presents the most ambitious instrumental work by Francesco Mancini, renowned composer of operas and oratories, typical representative of the Neapolitan tradition. Mancini is also a perfect example of the close cultural and musical connection between ‘Italy’ (a land united solely from a territorial aspect at that time, otherwise made up of several smaller kingdoms with different rulers, laws and economy, and significantly different culture, music and language),and London in that era: he claimed recognition with the opera Idaspe Fedele, played for the first time at the Haymarket Theatre of London on March 23rd in 1710,an opera which, together with Almahide (by anonymous author, debuting in January of the same year) was among the first ones in London to be sung entirely in Italian language. Mancini’s contribution to opera and sacred music is considerable, and his music is easily found all over Europe's many libraries, proving their author's popularity, however, the same can not be said about instrumental pieces of music written by him, of which we know just a few, such as the two toccatas for harpsichord featured on this recording, probably composed to be used for didactic purposes.
