Franco Corelli, along with Mario Del Monaco and Carlo Bergonzi, is universally recognized as the greatest Italian tenor of the last century. This edition of his performances is based primarily on the early recordings he made for the Italian Cetra and includes a selection of great scenes from his repertoire, including a crucial, high-quality live version of Don Carlo, which Corelli never recorded in a studio.

With the exception of the Sonatina No. 25, long considered a minor work, this box set contains the last Piano Sonatas of the Titan of Bonn. In a recording landscape already rich in this repertoire, this release focuses entirely on the performances of Carlo Levi Minzi, who, in his artistic maturity, delivers his personal vision of these works: refined, meditative, exquisitely personal. In addition, the Klavierst�ck WoO 61a.

This box set concludes the recording of all 18 String Quartets by Gaetano Donizetti, who loved these works as if they were his own children. The Mitja Quartet is the first Italian ensemble to have recorded these works in their entirety.

The music that celebrates the agony of Romanticism, lives on a mysticism whose traces our materialism has rendered legendary. Around the artists of Art Nouveau (Liberty), is a proliferation of esoteric movements, in search of that link between soul and cosmic forces, which, in music, becomes sound.

Renata Tebaldi's discography is one of the most complete and perfect ever recorded by a singer. A whole series of roles that the great soprano never staged or released in disco, were recorded in studio on different occasions. This double CD collects the unusual repertoire that Renata Tebaldi did not record in the complete operas. These are rarities that, although well-known, are now hard to find on the market.

This publication completes the entire oeuvre of cello sonatas composed and published in London by Emanuel Siprutini between 1756 and 1774 as Op.I, III, V, VI and VII. Born in Holland or Portugal into the Jewish family of Shiprut, he came to England following the "Jewish naturalization act" established in 1753 by King George II of England, settling in London as a wine merchant, virtuoso cellist and cello teacher. Little information about him comes from the letters of Leopold Mozart, who met him in London in 1764 during his stay in England with his prodigious son, still a child. John Crosdill, the most famous English cellist of the eighteenth century, was Siprutini's student until his debut as a concert performer.

The name of Father Vallotti, a Conventual Franciscan, esteemed musician and valuable teacher, is still known nowadays particularly for his speculative works. He was considered by Bonifazio Asioli, "the greatest of the Italian harmonists", and his appointment at the Berlin court confirms he was appreciated not only in his homeland. His harmonic knowledge and uncommon compositional virtue have given us pages of rare elegance where the liturgical and sacred aspect is distilled in every chord.

In the official Fricsay studio discography the Samson does not appear. For this reason the present recording is so rare. Originally from a 1955 radio source and restored by Urania Records, it is a real rarity.

The manuscript Ms XIV 8751 H.1 came to the Library of the Civico Istituto Musicale Gaetano Donizetti in 1916. It consists of 92 pages entirely in the hand of William Babell, who was Handel's principal copyist from c.1711 until his death in 1723. While none of the movements in this volume is attributed to any composer, internal evidence indicates that most, if not all of the music, was composed by or adapted from George Frideric Handel. If so, this volume represents the most important addition to the corpus of Handel's keyboard works since the publication of the Aylesford manuscripts in 1928.

Giordani's activity was indeed fashionable, having success both with operas and with instrumental music. The composition of these flute concertos dates back to an unspecified period of the 18th century, but their structure is unquestionably within the golden classical principles of the sonata form, allowing us to place them temporally between 1765 and 1775. The concertos offer the listener a realistic glimpse of the flute technique of the time that would soon see the Romantic Era blossom. In this recording, the instrument used is a copy of a mid-eighteenth-century C. Palanca, with a diapason of about 420 hz.

Mjaskovsky and Shostakovich: two giants of the music of the XX Century, two survivors from the stalinism. In their own works they both use technique to triumph over the heaviness of evil: the art of continuous modification, to annihilate the eternal present of violence. These two superb Sonatas are songs of captivity and, together, anthems of resurgence.

Those who have been following the discography of the Milan Symphony Archive for years will know that Atalanta Fugiens has already released three discs dedicated to the music of Brioschi. That will be the subject of a future re-release by Urania; this album, on the other hand, contains previously unrecorded pieces and is the natural continuation of a work of rediscovery undertaken years ago.

The series devoted to Vladimir Delman continues with this second album: in the first one Mahler's Symphony No. 9 in D Major; here, by the same composer and in the same key, the Symphony No. 1.

Karel Ancerl was one of the most tragic Conductors of the Twentieth century: he survived the Extermination Camps, in which he lost his wife and children. After the war, with Vaclav Talich, he was certainly the greatest Bohemian Conductor. Known above all for his recordings of Smetana and Dvorak, he stood out for his interpretations (early 1960s) of the great European repertoire of the 19th century. This double CD testifies to his approach to three very different, and significant, composers such as Mahler, Sibelius and Janacek. High quality Studio recordings.

Richard Moohr's recording of Ernani in Rome for RCA in 1967 was the first stereo recording of this Opera. It featured an exceptional cast with Carlo Bergonzi and Leontyne Price under the conduction of Thomas Schippers. Since then there have been no more than four recordings of this work, and this version is still considered one of the most significant in Verdi's discography. It has not been available on the market for several years. For this reason we have made it available in our catalogue.

Dvorák: The Great Symphonies

ORCHESTRAL WORKS

In Mosaici di Piazza Armerina, Semini takes up the cloistered music by Respighi with Vetrate di chiesa. The evocation of the figures in coloured pieces is translated into a use of continuously overlapping motifs, which creates a rotating, cyclical effect and alludes to the eternity of art, perpetually capable of dying only to rise again. On his side, Hindemith created 'music of use': art from workshop and craft, bound to live beyond the romantic myth of transcendental inspiration.

Among the various recordings of H.v. Karajan of Beethoven's Missa Solemnis and Mozart's Requiem (no less than 4 for each of them), the 1958 and 1961 recordings stand out among critics as perhaps his most important interpretations of this repertoire. The Missa, never released by EMI, was made available by Testament more than 20 years ago. It has not been available on the market for some time. It is actually one of the most extraordinary interpretations of Beethoven's religious masterpiece, also due to the extraordinary sound quality achieved by the Columbia technicians of the time. Mozart's Requiem was Karajan's first recording of this work. Even this production, which has always been available in the DG catalogue, is currently very difficult to find.

Georg Philipp Telemann belongs to the auroral phases of the Enlightenment, a musician with an inexhaustible and perhaps unparalleled creative vein in terms of the breadth of his catalogue. Johann Michael Bohm was skilled in the violin as well as the flute and oboe; Johann Friedrich Fasch was a very industrious music craftsman, although reluctant to publish his own work, which appeared posthumously. The embarrassment that seizes some commentators is due primarily to little familiarity with the music included in this album, informed by a sound "individualism" and a systematic spirit, yes, but still little inclined to the rigid regularities that perhaps only the late-Romantic school imposed on the view of music.

Old Russian folk melodies; the traits of human life (joy, love, illness, poverty, death, religion); a high aesthetic-musical realism as a compositional commitment. These are the ingredients in Musorgsky's Lieder, already appreciated by Liszt and Debussy, and now available in this box set.

PIANO CONCERTOS

This in the second Album of the collection dedicated to Balsassare Galuppi Hapsichord Sonatas by Alvise de piero. About the first releases, it has been said: � As for the performance, harpsichordist Alvise de Piero does these works proud. His pace is always appropriate for the music, and his touch on the instrument can vary from decisive to delicate. His registral variations on this two manual instrument work very well for the music and give a nice expression to Galuppi's often lyrical voice �. (Bertil van Boer, Fanfare Magazine)

I always considered Karl Weigl as one of the best composers of the old school; one of those who continued the glittering Viennese tradition. He truly preserves this old culture of musical spirit which represents the best of Viennese culture.

Classical Minimalism