Fabio Tricomi – Al Qantarah – Abballati, abballati! – Songs and Sounds in Medieval Sicily (2021) [FLAC 24 bit, 96 kHz]

Fabio Tricomi – Al Qantarah – Abballati, abballati! – Songs and Sounds in Medieval Sicily (2021) [FLAC 24 bit, 96 kHz]

The pieces from this disc come mainly from two collections: th 12th century “Troparium de Catania” conserved in the National Library of Madrid (ms. 19421) transcribed by David Hiley, and the “Corpus of Sicilian Folk Music” (Palermo, 1957) wich contains pieces collected directly from the peaple by Alberto Favara about a century ago. The use of these sources guarantees a good assortment of contexts, ranging from the religious to the lay, from the cultured to the polular tradition.

Duo Hayashi – Eduard Grieg & Bohuslav Martinu (Remastered) (1987/2023) [FLAC 24 bit, 48 kHz]

Duo Hayashi – Eduard Grieg & Bohuslav Martinu (Remastered) (1987/2023) [FLAC 24 bit, 48 kHz]

The record coverts two musical centuries, the nineteenth and the twentieth, presenting two composers who epitomized European music of that period: Edvard Grieg and Bohuslav Martinu. These two figures shared common ground in that lived through the final stages of German romanticism and used its influence in their own works.

Salvatore Accardo, Giorgia Tomassi – Beethoven: Sonatas Op. 47, Op. 24 (2009) [FLAC 24bit, 96 kHz]

Salvatore Accardo, Giorgia Tomassi – Beethoven: Sonatas Op. 47, Op. 24 (2009) [FLAC 24bit, 96 kHz]

Violin Sonata no. 9 in A major, commonly known as the Kreutzer Sonata is a violin sonata Ludwig van Beethoven published in 1802 as his opus 47. It is known for its demanding violin part, unusual length (a typical performance lasts slightly less than 40 minutes), and emotional scope – while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant.

Salvatore Accardo, Bruno Canino – Brahms: Violin Sonatas (2001) [FLAC 24 bit, 96 kHz]

Salvatore Accardo, Bruno Canino – Brahms: Violin Sonatas (2001) [FLAC 24 bit, 96 kHz]

Internationally acclaimed violinist Salvatore Accardo pairs with pianist Bruno Canino for a brilliant delivery of Brahms’ sonatas for violin and piano on this expertly recorded audiophile album.

Brahms was a severe critic of his own work, often assailed with uncertainty and reluctant to publish works he considered immature or incomplete. With the exception of the Scherzo in C flat for the Sonata F.A.E. he made his first violin solo work known to the public at only the age of 45 with the publication of the Concerto in D major, op. 77. Cheered by the great success he had had in the summer of that year, 1878, he set to work composing the first of his three splendid violin sonatas. They are the only ones we know, as three previous similar sonatas were destroyed by the composer himself. Brahms wrote these three masterpieces during three happy and fruitful summer holidays which he spent away from the city, inspired by the mountain scenery. Sonatas op. 78, 100 and 108 are full of lyricism and a lied quality which rarely gives way to virtuosity (in particular the first two), although they clearly reveal Brahms’ mastery in shaping thematic material, while at the same time creating a harmonious balance between the violin and the piano. The composer felt supremely confident with the piano and the instrument often takes the lead in melodic construction.

Alexander Lonquich, Nikita Magaloff – Wolfang Amadeus Mozart & Franz Joseph Haydn (Remastered) (1989/2023) [FLAC 24 bit, 48 kHz]

Alexander Lonquich, Nikita Magaloff – Wolfang Amadeus Mozart & Franz Joseph Haydn (Remastered) (1989/2023) [FLAC 24 bit, 48 kHz]

Wolfgang Amadeus Mozart: In terms of the subtlety of many of the instrumental passages, the originality and perfection of form, and the intensity of its expressivity, the concerto in A major, written during the draught of “Figaro”, is one of the aristocrats among Mozart’s concertos, and is therefore set as a pinnacle of his creativity. The delicacy with which Mozart defines the character of the first movement from the outset, the painful solitude with which the wonderful Adagio is voiced, the return to life, with its inkling of nostalgic fun, of the Finale, kaleidoscopic in its tunes and rhythms, estranges this masterpiece from the genre of brilliant and mundane entertainment, and transforms it into a private space, a sphere wherein one could say that Mozart himself is colloquising with the music. Through this concerto we leamed, as in few other works, that if his music would seem to be extraneous to the motions of renouncement or romantic confession, it is not through a kind of sentimental modesty, but rather because in this music there lives an absolute identification between the words of subjectivity and musical language. …