Orchestra di Padova e del Veneto & Marco Angius – Henze: Reinventions Arrangements of Mozart, C.P.E. Bach & Vitali (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 57:41 minutes | 524 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Brilliant Classics
German composer Hans Werner Henze’s (1926–2012) admiration for the great masters of the Baroque and musical Classicism manifested in compositions born from a desire to transcribe, rework and transform 17th- and 18th-century masterpieces into new orchestral textures. The project Travestimenti (Disguises), managed by conductor Marco Angius and the Orchestra di Padova e del Veneto, from which this CD was created, makes reference to Henze’s ‘reinventions’ of masterpieces by Mozart, C.P.E. Bach and Vitali, clothed in new, modern fashion.
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Orchestra di Padova e del Veneto & Marco Serino – Morricone: Cinema Rarities for Violin and String Orchestra (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 55:39 minutes | 1,05 GB | Genre: Classical, Soundtrack
Studio Masters, Official Digital Download | Front Cover | © Arcana
The idea for this album came about during the recording of its predecessor Cinema Suites (BBC Music Magazine’s “Screen Choice”, Album of the Week on WDR3 etc.), when the Morricone family sent Marco Serino a number of rarities that they hoped could also be recorded, particularly “Dedicated to Maria” (from the film The Sleeping Wife ) that the composer had dedicated to his wife. These works, along with others that Serino rediscovered in his own archives, make up the backbone of Cinema Rarities , an ideal sequel to the previous recording. After twenty years as Ennio Morricone’s chosen violinist, Serino continues his exploration of the compositions for violin and orchestra, but this time with a particular focus on pieces that, besides being less well known to the wider public, all share a degree of “Italianness”.
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Orchestra di Padova e del Veneto, Marco Angius & Angius Marco – Wagner: Wesendonck-Lieder, Siegfried Idyll, Träume; Sciarrino: Languire a Palermo (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:36 minutes | 1,11 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Brilliant Classics
Richard Wagner began composing his Wesendonck Lieder during a stay in Zurich between November and December 1857. Originally conceived for female voice and piano alone, the five songs were later orchestrated, first by the Austrian conductor and composer Felix Mottl in 1893, and then later in 1976 by the German composer Hans Werner Henze, in a chamber setting. In fact Wagner had already orchestrated a version of “Tr”aume” to be performed by chamber orchestra (with violin playing the voice part) on the occasion of his wife Minna’s birthday in 1857. Later, in 1870, for his second wife Cosima’s 33rd birthday, he enacted a similar gesture. Mixing new motifs with themes from his Ring cycle, he composed the Siegfried Idyll and had it performed by a small orchestra as a birthday surprise.
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Orazio Sciortino, Orchestra Di Padova E Del Veneto – C.P.E. Bach – Piano Concertos & other works for solo piano (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:08 minutes | 1,40 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © haenssler CLASSIC
Carl Philipp Emanuel Bach and the keyboard concerto—a lifelong relationship, challenging and exhaust¬ing, altogether fruitful, brilliant, and even spectacular into the bargain. As a 19-year-old (under the eyes of his father, so to speak) he wrote in Leipzig his first keyboard concerto; at the age of 74 in Hamburg he finished, in the year of his death, his last example of the genre. In-between lies a treasury of fifty keyboard concertos, colossal and fathomless.
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Orchestra Di Padova E Del Veneto – Nicola Sani: Tempestate & Other Works (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 58:50 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Stradivarius
The dramaturgy of the perception of the work in time and space, with a clearly evident attention to the instrumental emission. Sani does not come back. He does not sterilize art music in a smug, celibate stylistic game with the risk of marginalizing it, in the context of global reception, as an expression of a wealthy minority of the western white bourgeoisie. He outlines a possible contemporary humanism, in which the creative relationship with technology proves to be necessary and fertile, not submissive or idolatrous. It invites you to remember that, in the history of music, the highest moments came when the creators climbed the crest of the wave of the contemporary thought, confronting it, whether it expressed utopias or crisis, despair or hope. Finally, the compositions collected in this album invite you to rethink and remodel the listening spaces. This music crosses over, goes beyond mere confines. Composers, per-formers and institutions cannot escape this challenge again, as if it were not their problem. It is, and Tempus fugit.
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