Duality as essence The fullness of an almost empty space within which only two presences distil their separated essences; the completeness of only two subjects representing all the rest; the awareness in subordinating oneself to the magnetism of the subtracted and the missing; the consistency of silence, immobility and timelessness; the essential value of otherness. Each of the titles of these duets, all of a single word, carries semantic potentialities inherent in duality, a contradiction resolved in the ideal of recomposing dualism into unity. Ali (Wings), equivalent laterality as duality, which divides in two and equally holds together; Diade (Dyad), couple, duality, and in biology the chromosome of germ cells formed by two homologous chromatids united, maternal and paternal; Talea (Cutting), in botany the birth of a life through another that mutilates and grafts itself; Appulso (Appulse), in astronomy the apparent approach of a star to a planet, so that the star seems to touch it; Giano (Janus), the twoheaded god, who can look at the two entities future and past but not at the present, in charge of thresholds, of passages, who presides over all beginnings; Specchio (Mirror), the reflecting "other", in the mutual comparison of every couple or duo; Cenere (Ash), matter inclusive of the original fullness - simulacrum of what it was - and of it's dissipation, emblem of the invisibility to come; Gemina (Twin), that which is double, an adjective declined here, in Italian, in the feminine, leaving open the interpretation (double musical expression?, a double union of performers?... ), and in genetics the "bivalent pair" of chromosomes, which merges and then splits; Stati (States), in addition to being a noun - the word that in Italian in one of it's meanings is related to staticity, from the Latin status, "that which stands still" -, is also a past participle that makes the subjects exist in the same time for how they are now and for what they have "been", "stati" (thinking of this piece, divided into three parts, in the sequence stasismotionstasis: �You alone knew that motion is not different from stasis.� Eugenio Montale, from Satura); Stigma (Stigma), explicit imprint of an implicit owner of it, but also, in botany, the part of the pistil destined to receive and germinate; Etra (Air), a kind of air that, here, makes physical wind and metaphysical wind copresent, which mix in a haunted vortex... Osvaldo Coluccino

Storyville Records proudly announces the release of Never Say Yes - 1986, a previously unreleased live-in-studio recording by the Doug Raney Quartet, captured in Studio 3 at the Danish Broadcasting Corporation on January 9, 1986. The album features Doug Raney on guitar, Ben Besiakov on piano, Jesper Lundgaard on bass, and Finnish drummer Jukkis Uotila. Set for release on October 24, 2025, Never Say Yes - 1986 offers seven tracks of inspired modern jazz, full of interplay, elegance, and technical brilliance. Doug Raney, the son of jazz guitar legend Jimmy Raney, carved out a distinctive path of his own, particularly within the vibrant Scandinavian jazz scene, where he lived and worked for decades. This recording, unearthed from the archives of the Danish Broadcasting Corporation, captures Doug in strikingly fine form following a return to health, backed by some of the most intuitive players on the Scandinavian scene. "He had an incredibly refined technique on the guitar, I'd almost call it organically innate, " writes bassist Jesper Lundgaard in the liner notes. "His playing felt like an extension of his personality, effortless, and yet grounded in a deep understanding of jazz's inner architecture, which is so difficult to truly master. Doug had a special ability to voice chords, and in my opinion, there was a beauty in his soloing that only very few possess." The session was the culmination of a brief Danish tour and showcases Raney's wide-ranging repertoire, from the burning drive of John Coltrane's Giant Steps to the aching beauty of I'm Old Fashioned and a soulful take on Nat Adderley's title track. Raney's melodic instinct, rhythmic command, and harmonic depth shine throughout, with dynamic support from Besiakov, Lundgaard, and Uotila. Despite his remarkable talent, Doug Raney remains a somewhat overlooked figure in modern jazz. With this release, Storyville Records shines a new light on a singular voice whose artistry remain as vital and moving as ever.

Mario Castelnuovo-Tedesco (1895-1968) was an Italian composer and pianist, widely admired for his melodic gift, refined craftsmanship, and versatility across genres. Although best known for his large output for guitar, his works for solo piano reveal a distinct and highly personal voice that bridges tradition and modernity. Castelnuovo-Tedesco studied composition with Ildebrando Pizzetti and was influenced both by his Italian heritage and by the French Impressionists, particularly Ravel and Debussy, whose colors and textures often echo in his keyboard writing. His style is influenced by Neo-Classicism, vivid, brilliant, with the occasional odd dissonance, strongly rhythmical and full of catchy melodies. He fled Anti-semitism before WWII and settled in Hollywood where he successfully composed film music for more than 200 films. Apart from his importance as a guitar composer Castelnuovo-Tedesco created a small but appealing oeuvre for piano solo. This new recording presents a selection of these evocative and tuneful works, which deserve to be played more often in the concert halls. Excellent performance by young Italian pianist Adriano Murgia. He has participated in masterclasses with internationally renowned pianists, including Aldo Ciccolini, Maurizio Baglini, Artur Pizarro, Boris Petrushansky, Boris Berman, and Roberto Prosseda, with whom he earned his Master's Degree in Piano Performance at the Venezze Conservatory in Rovigo.

English composer William Shield was famous for his operas and pantomimes. He was admired by Haydn who was to prove a lasting influence, and rose to become Master of the King's Music despite coming from a relatively poor background. His String Trios from 1791 were written in Rome and mark a striking new level of compositional attainment in the English chamber music repertory of the time. Shield's scores are studded with an enlightened cosmopolitanism, encoding Spanish, Russian, Slavonic and Haydnesque elements, cast in his ingenious and lyrically attractive blend of styles.

Provocation! Anarchy! Scandal! All too often we encounter Arnold Schoenberg in writings as an enfant terrible, as a radical innovator who sacrificed late Romantic tonality for his highly complex system of "composition with twelve tones related only to each other". In this edition, the Berliner Philharmoniker and chief conductor Kirill Petrenko demonstrate that in Schoenberg's music "heart and brain" - as the composer entitled one of his essays - are in fact in balance, and that the twelve-tone technique is also entirely at the service of expression. Released in the aftermath of the 150th anniversary year of the composer's birth, it presents five central works that illustrate all of Schoenberg's stylistic periods.

Argentina has been a very prosperous nation specially in the first half of the XX Century when in Argentina there was an excellent standard of life even better than Europe where two world wars were fought. Consequentially even the the guitar studies and culture have benefited of these period of prosperity and great cultural vitality. It was in the historical phase that lots of important guitarist reached international success. IDIS release, the seventh of the serie Master of guitar " present an accurate selection of these performers many of these are nowadays rare and very difficult to find. In our anthology are present and stand out some female guitarists among them the greatest of all Maria Luisa Anido 1907 -1996 and with her there others may be less known but lot talented as Maria Angelica Funes 1916-1998 and Nelly Ezcaray 1920-1975. Roberto Lara worked not only as performer but also as as arranger and duo made by Graciela Pomponio 1927-2007 and Jorge Mart�nez Zarate 1923-1993 can be considered as a different and valid otion to the one formed by Ida Presti and Alexandre Lagoya.

Son of the better-known Georg Muffat, Gottlieb was also hawked around the courts of Europe by his father as a boy wonder of music, anticipating the course of Mozart's early years under the self-interested care of Leopold. However, when at home, Gottlieb Muffat grew up in Vienna under the careful tutelage of Johann Joseph Fux, master of music at the Hofkapelle, a relationship which deepened once Georg died in 1704, when Gottlieb was just 14 years old. In due course Fux pulled strings to get his talented pupil an official post, and this album of keyboard partitas offers ample proof that his faith in Gottlieb Muffat was justified. Their date is uncertain: during his lifetime, only two collections of his music were published, and after 1739 he seems to have broken off composition, focusing his energies on performing and teaching at the Hofkapelle. Listeners familiar with the keyboard partitas by JS Bach will find a certain degree of common ground in the elegant sequence of French-style dances which are headed by a more exploratory Prelude. Muffat's counterpoint may not be so rigorous, but his ear for a well-turned melody offers satisfying reward in it's own right. The use of French, English and even Spanish titles to individual movements underlines the imaginative and fanciful qualities of the collection: see for example Postillon in the Suite in F major; Coquette in the Suite in A major; a Hornpipe in the Suite in D minor and the Intrada to the Suite in F. As well as enthusiastically received albums of Pasquini, Gabrieli, Vivaldi and above all Frescobaldi, Roberto Loreggian has previously recorded the 1739 collection of Componimenti Musicali to which this new recording forms a sequel. Of his collection of Partitas by Telemann, Fanfare commented: 'Without seeming driven, his playing is lively and well-articulated, and he is always sensitive to Telemann's stylistic variety, whether it is tending, at any given moment, to the courtly or to the common.'

The two cello concertos in this volume (Cello Concerto No. 1 is on 8.579142) reveal both the lighter and darker sides of Alexey Shor's musical imagination. Concerto No. 2 was composed during a Covid-19 lockdown, and for all it's lushness and soaring melodies, displays a profoundly melancholic element rare in Shor's oeuvre. The Cello Concerto No. 3 is a captivating, lyrical and harmonically rich addition to the repertoire. The charming Humoresque is an early work bridging Classical tradition with contemporary sensibility.

Engelbert Humperdinck's music for the pantomime of Karl Gustav Vollmoeller's arguably most important stage work impresses with it's deeply Romantic sound and large-scale choral scenes and had so far led an unforgivable shadowy existence in the composer's oeuvre. Premiered in London in 1911, none other than Max Reinhardt adapted this work for film (1912) and staged numerous performances with hundreds of actors, singers, and dancers - finally also at the Salzburg Festival in 1925. This recording represents the first complete recording of this deeply Romantic masterpiece.

Carlo Mannelli (Rome, 1640-1697) spent the major part of his life in Rome where he also worked during the opera performances and religious events. As a violinist nicknamed Carlo del Violino and Carluccio di Pamfili, he played the first violin in the most famous Roman musical ensembles of the period. Arcangelo Corelli, who often played under Mannelli, described him as one of his most influential teachers. For several years, Mannelli was leader of the famous Congregetione di S. Cecilia. The Trio Sonatas Op. 2 consists of 14 Sonatas. They are in 4, 5 or 6 movements. They display a freshness of melodic invention and sometimes daring harmonic surprises, a great tonal richness and unexpected, highly expressive chromatic phrases. The Ensemble Giardino Di Delizie is a Roman female Baroque group, founded in 2014 by the violinist Ewa Anna Augustynowicz, researching and performing forgotten treasures from the Italian and Polish Baroque. They played in such ensembles as Europa Galante, Les Elements, Quatuor Mosa�ques and others. Their previous recordings of instrumental works by Lonati, Stradella, Colista and Leonarda met with enthusiast critical acclaim in the international press: 'The performance sounds completely natural, full of spontaneity and bursting energy. It's clear the group really likes this music and does not merely try and lecture it. ' (Lonati, 95590 theclassicreview. Com). 'Giardino di Delizie... take an energetic and imaginative approach to this fine music... playing with sensitivity and considerable musicality. ' (Colista, 96033, earlymusicreview. Com). 'A garden of delights, sensitively and beautifully performed, perfect for any lover of the Baroque. ' (Gems of the Polish Baroque, 95955, MusicWeb International) Critical praise for Giardino di Delizie: 'Ewa Anna Augustynowicz and her plaintive Baroque violin are the stars here. Nevertheless, she is in like-minded and similarly capable company. ' Fanfare (Stradella, 96079) 'Wonderfully engaging, especially when played with such imaginative musicality as it is here. ' Early Music Review (Stradella, 96079)

Anton Rubinstein (1829-1894) was a towering figure in 19th-century music: a virtuoso pianist, conductor, composer, and educator whose influence extended well beyond his own works. Born in Russia, Rubinstein gained international fame as a pianist of almost legendary ability, rivaled only by Franz Liszt. He was also instrumental in establishing a Russian school of music, founding the St. Petersburg Conservatory in 1862, where he trained a new generation of composers and performers. As a composer, Rubinstein was remarkably prolific, writing symphonies, operas, chamber music, and countless works for piano. While his style is rooted in the German Romantic tradition, particularly Mendelssohn and Schumann, Rubinstein's music often reflects his own expansive temperament, with a combination of lyrical expressiveness and dramatic power. Among his chamber works, the two cello sonatas hold a special place. The Cello Sonata No.1 in D major, Op.18 (1852) reflects the youthful Rubinstein's energy and lyricism. Written in three movements, it showcases both the cello's singing qualities and the pianist's virtuosity. The writing is full of warmth, charm, and soaring Romantic melodies, though some critics have noted it's more traditional, German-influenced character. Still, it demonstrates Rubinstein's gift for crafting heartfelt, expressive music that gave performers a chance to shine. More ambitious is the Cello Sonata No.2 in G minor, Op.39 (1857), composed only five years later but revealing greater maturity and depth. Structured in four movements, it has a broader scope and darker, more dramatic character. The interplay between cello and piano is more intricate, with the instruments treated as equal partners. It's passionate themes, stormy climaxes, and lyrical slow movement make it a more compelling work, often considered Rubinstein's finest chamber composition. Though not as frequently performed today as works by Brahms or Chopin, Rubinstein's cello sonatas remain valuable contributions to the Romantic repertoire, offering a glimpse into the artistry of a composer who bridged Russian and European traditions. Played with passion and tenderness by Matilda Colliard and Stefano Ligoratti.

The Isabella Scelsi Foundation promotes the production of contemporary music in a broad and wide-ranging manner, with particular attention to the work of it's founder, Giacinto Scelsi. This is the direction taken in the Scelsi Collection, a series of recordings produced in close collaboration with the Stradivarius label, which presents the Maestro's works performed by leading musicians and renowned vocal and instrumental ensembles. We are pleased to present this new CD, which further enhances the collection and encompasses many features of extraordinary interest. Fabrizio Ottaviucci, the distinguished pianist who, through his contact with Giacinto Scelsi, had the opportunity to deepen his interpretation of the great composer's piano music. Here he presents large-scale work, previously unpublished, rediscovered thanks to the research carried out on the Foundation's Historical Archive, as described in detail in the CD presentation. A further point of interest is undoubtedly the fact that the CD is the result of a live recording, allowing listeners to immerse themselves and enjoy that unique and unrepeatable moment experienced during the performance, which took place in a concert organized by Area Sismica, a noteworthy association for the promotion of new music. Gianni Trovalusci President Fondazione Isabella Scelsi

Hyung-Ki Joo is a pianist, composer, and musical entertainer. Born in England in 1973 to South Korean parents, he is a remarkable musician whose artistry spans piano performance, composition, and whimsical stagecraft. A graduate of the Yehudi Menuhin School and the Manhattan School of Music, Joo has studied under notable mentors and cultivated a deep versatility in both solo and chamber music forms. Collaborative ventures lie at the heart of Joo's approach. As one half of the celebrated musical comedy duo Igudesman & Joo-alongside violinist Aleksey Igudesman-he fuses top-tier classical performance with sharp humor and theatrical flair. But Joo is more than a performer-he's a champion for music's accessibility. His compositions have been commissioned and performed by world-class orchestras and soloists, and his music is published by reputable houses like Universal Edition and Modern Works. This new album contains original piano works by Hyung-Ki Joo: Childhood (an album of 10 pieces), Chandeliers, and Funk Yeah, for piano 4-hands. This recording also contain the Joo's arrangements of Billy Joel's Fantasies and Delusions, as well as Soliloquy Op.1. Played by Sun-Hee You. Born in South-Korea, she moved to Italy, graduating with honors from the Conservatory of Santa Cecilia in Rome. She continued her studies with the legendary Lazar Berman and Valentina Berman, and refined her artistry under the guidance of Bruno Canino, Oxana Yablonskaya, Boris Petrushansky, and Paul Badura-Skoda. She recorded for Piano Classics piano works by Kapustin.

Dusan Bogdanovic, an award-winning guitarist who gave his highly acclaimed debut recital at Carnegie Hall in 1977, has been described by Guitar Review Magazine as 'a composer of masterful craft with a genuine clarity and purity of vision'. Bogdanovic sees this recording as a 'multidimensional diary' of his works from 1977 to 2024, from the Balkan folk influences of the early Sonata No. 1 via the jazz and world music of his middle period, to the emotional and spiritual reconciliation of joy and sorrow in Lux et umbra, a work dedicated to guitarist Daniela Rossi.

The history of large-scale works for clarinet, cello and piano began with the two trios composed by Ludwig van Beethoven in 1797 and 1803. Soon after Beethoven's trios were published, several of his contemporaries were also inspired to compose trios for these instruments. Adalbert Gyrowetz (1763-1850), a prolific Bohemian composer active in Vienna, wrote chamber music that aligned with the elegant, balanced style of the Classical period. His clarinet trios often follow the model popularized by Beethoven and others: clarinet, cello, and piano. They highlight the clarinet's lyrical qualities while maintaining a conversational equality among the three instruments. Gyrowetz's music tends to favor charm and clarity over dramatic intensity, providing insight into the salon culture of early nineteenth-century Vienna. Johann Heinrich Volckmar (1770-1840), though less widely remembered, contributed to the clarinet trio genre with works that blend Classical formality with touches of early Romantic color. His trios display a clear sense of melody, often assigning the clarinet bright, song-like lines while the piano provides both harmonic support and moments of virtuosity. Volckmar's writing exemplifies how regional composers outside the central canon engaged with the clarinet's expressive potential, even if their works remained on the periphery of mainstream concert life. Ferdinand Ries (1784-1838), a student and close associate of Beethoven, represents a later stage in the trio tradition. His clarinet trios show a more Romantic sensibility, with broader structures, heightened contrasts, and more demanding instrumental writing. Ries imbues his works with dramatic flair and lyrical warmth, reflecting both Beethoven's influence and his own individual voice. Together, the trios of Gyrowetz, Volckmar, and Ries trace the clarinet's evolution from Classical elegance to Romantic expressivity within the chamber music setting. Played on period instruments by the Trio Origo. Trio Origo was formed for a performance of Beethoven's Trio Op.11 in 2004 when it's members were students of the Sibelius Academy. The trio has since then focused on performing Classical and Romantic works on period instruments. Trio Origo's recording of two trios by Beethoven was released in 2020 on Brilliant Classics (BC, 96215).