Dallapiccola / Asszonyi / Kaftan - Il Prigioniero - COMPACT DISCS [CD]

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE. After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound. With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time),... Everything is in this record. For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After. Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives' energy and fans' joyful vibes going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It's an exploration of an everlasting summer, reaching it's climax in the very final seconds of the track Corsica, making us want to press play and dive

The first Recording of the complete songs by Dallapiccola, one of the most influential composers of 20th century Italy. His political engagement and his experiments with the 12-tone technique established him firmly in the European Avant-Garde. The main work on this double CD are the transcriptions he made of 17th and 18th century Italian songs, by Monteverdi, Caldara, Carissimi, Caccini, Durante, Stradella, Legrenzi and others. He wrote brilliantly dry and essential, making intelligent use of counterpoint and canon, with exquisite taste for vocal timbres and polyrhythm. In that sense they are far more Inch20th centuryInch than similar transcriptions by other composers (Respighi, Busoni a.o.) who romanticized the original early works. Also included are the two original song cycles by Dallapiccola Rencesvals and Quattro Liriche di Antonio Machado, fascinating testimony of his unique style, both severe and warmly emotional. Beautifully performed by 4 excellent Italian singers who already recorded successfully the songs by Jolivet and Ravel. Scholarly written liner notes by the pianist, Filippo Farinelli.

Alexei Kornienko writes InchAt the center of our present recording lies the InchromanticInch perception and since strictly speaking, only Brahms can be counted to the romantic period, it is much rather the interpretation of very personal and intimate pieces, Bach and Beethoven included. In my personal opinion there is no so-called authenticity in interpretation, which explains the maybe not so traditional but rather romantic approach to Bach and Beethoven. From an early age on, I developed a special relationship to Brahms, played and performed many of his works, and in this context it was very interesting for me to create my own cycle of his Intermezzi. Although they are from different times from Brahms's life and thus from different emotional phases, it feels to me that they harmonize ideally with each other, as well as in the overall program. They form the core of the idea for this album. Specifically, the Partita No.6 by Bach has a very personal touch - even the Fuga does not sound as strict as one is used to it otherwise, but rather leads to the romantic empathy. Stylistically, the work differs from the romantic, but in spirit it is very similar... Each program has a heart and this is basically a concert program and not a classic album production. So I would like to encourage you, my dear listeners, to actively respond to the programmatic content and especially to the soul of the music.Inch