Marini - Opera Settima - COMPACT DISCS [CD]

Album Tracks 1. Il Griman 2. Se Nel Sereno Viso 3. Le Carte in Ch'io Primier Scrissi E Mostrai 4. Il Seccho 5. Vezzosi Augelli Infra Le Verdi Fronde 6. La Grilla 7. Perché Fuggi Tra' Salci 8. La Roccha 9. Non Te'n Fuggir Deh Spira 10. La Bombarda 11. Perché Credi O Mio Core 12. La Malipiera 13. S'io Non Ti Toglio Un Bacio 14. La Cominciola 15. Questi Languidi Fiori 16. La Rossa 17. Deh Non Coglier Più Fiori 18. La Scistina 19. Misero Me Son Morto 20. La Finetta 21. O Care Stille Hor Che Pietà VI Scioglie 22. La Philippi 23. Anzoletta Del Ciel Senza Pecca' 24. La Rizza 25. Chi Quella Bella Bocca

Marino Marini left many unforgettable melodies to our musical heritage, thanks to his light, soft and timeless songs. He was the 'high priest' of a Neapolitan variety of Italian music that reigned in the Fifties and Sixties, with hints of jazz, rock 'n' roll, rumba and the twist. It's no surprise that Marini's songs spread worldwide. For this set, Jean-Baptiste Mersiol has chosen the best of this Italian singer's work, and included rare titles that have never been released before now. The result is an astonishing insight into the richest moments of what was once called Inchinternational pop.Inch Album Tracks 1. Jaqueline 2. L'unico Ammore 3. Ero Cow Boy 4. Troppo Giovane 5. Escuha El Mambo 6. Un Vestido de Bolero 7. Amor y Mas Amor 8. El Mareito 9. Casanova 10. Buongiorno Tristezza, Bonjour Tristesse 11. Sophia 12. Mister Sandman 13. Il Mazzo Di Mammole 14. Stu Mambo Cha Cha Cha 15. La Panse 16. Lettre À Virginie 17. MÉ Qué MÉ Qué 18. Scapriccitetellio (Tu N'as Pas TRÈS Bon Caractère) 19. Shine on Harvest Moon 20. Appriesso a Tte 21. L'amuleto Magico (Non, Ne Dis Pas Non) 22. Guaglione (Bambino) 23. Hernando's Hideway (Amour, Castagnettes Et Tango) 24. Le Roi de Chez Maxim's 1. La Piu Bella Del Mondo (Mama, la Plus Belle Du Monde) 2. Rico Vacillon 3. Que Sera Sera Du Film (L'homme Qui en Savait Trop) 4. Petronio 5. Chella 'Lla (Oh la la!) 6. Rock Around the Clock - Du Film (Graine de Violence) 7. Malaguena 8. Donne E Pistole 9. Lisboa Antigua 10. Hagi Baba 11. Marianto 12. Parata Di Giocattolli 13. Sweet and Gentle 14. Cocaine Bill 15. Che C'e Conce 16. Basta Un Poco Di Musica 17. Il Piccolo Tamburino 18. Serenatella Sciu Sciue 19. Primma Siconda E Terza 20. Aummo Aummo 21. Capricciosa 22. Nanassa 23. L'amore Non Conosce Confini 24. Bebe 1. Nel Blu Dipinto Di Blu (Vol

The most comprehensive survey ever made of Reger's organ music, on a range of superb Austrian, German and Swiss instruments a fitting tribute to the composer on the 150th anniversary of his birth. With just under 30 of 146 opus-numbered works and 15 further pieces and collections, organ music represents an impressive proportion of Max Reger's oeuvre, comparable to his chamber and piano music, but far more influential in shaping his image. Around 1900, Reger achieved his breakthrough as a controversial composer with his organ works. Organ works kept interest in him alive in times of oblivion and won him lasting international renown. Roberto Marini's feat of performing Reger's entire output for organ in Italy within a single year (2002) was followed in 2011-13 by this remarkable achievement on record. On the basis of authoritative new critical editions compiled by the Max Reger Institute, Marini recorded the works on historical instruments of Reger's time, which with their orchestral richness of colour and dynamic possibilities correspond to the soundworld of an epoch that believed in progress in every dimension and embodied a kind of striving heroism as an attitude to both life and art. As a teenage student, Reger demonstrated a comprehensive practical knowledge of Bach's organ music which naturally fed into his own early compositions such as the Organ Suite Op.16. In his 20s, Reger adapted and enlarged the chorale fantasia into larger-scale forms filled with intense Romantic expression and chromatic harmony. All the same, the Prelude and Fugue in C minor op. 29 (1898), dedicated to Richard Strauss, demonstrates that modern writing and expressive content are perfectly compatible with Baroque forms. In the Fantasy and Fugue on B-A-C-H op. 46 (1900), he ventures to the extreme limits of harmonic and technical possibilities on the Romantic organ. There are richly evocati