Seckou Keita - Cisoko Finch & Keita - COMPACT DISCS [CD]

Album Tracks 1. Cold Pin 1 2. Cold Pin 2 3. Cold Pin 3 1. Catching Net (String Quartet, Piano and Installation) 2. Cold Pin (Cyclorama, Boston - Installation Recording) 3. Collecting Basin (Shreveport - Installation Recording)

Album Tracks 1. Intro Devil Is in the Detail 2. ? (No Diggity) 3. ? ? (Leftover) 4. ? ? ? (Incomplete) 5. Youth 6. ? (Bbusyeo) 7. ? ? ? ? (Rewind) 8. Lion Heart 9. What You Doing? 10. ? ? ? ? ? (I.P.U) 11. Outro Connect with Us

Ildebrando Pizzetti (1880-1968) was an Italian composer, music theorist, and teacher whose work bridges the late Romantic tradition and early twentieth-century modernism. A member of the so-called InchGeneration of the EightiesInch alongside Ottorino Respighi, Gian Francesco Malipiero, and Alfredo Casella, Pizzetti sought to redefine Italian music by reconnecting it with the country's Renaissance and Baroque heritage. Deeply inspired by early polyphony, Gregorian chant, and classical drama, he cultivated a style marked by modal harmony, contrapuntal clarity, and a profound sense of lyricism. Beyond composition, he was an influential pedagogue, teaching at the conservatories of Florence and Milan and later directing the Accademia di Santa Cecilia in Rome.Pizzetti's Piano Trio in A major (1904) is an early work that reflects both his academic training and his emerging individuality. Written while still under the influence of Romantic models such as Brahms and Franck, the trio nonetheless reveals Pizzetti's characteristic Italianate warmth and structural discipline. It's melodic contours often echo the inflections of Italian vocal writing, while it's harmonic palette experiments with modal color. The work's three movements display a balance between lyrical expressiveness and contrapuntal craftsmanship, suggesting the composer's lifelong fascination with vocal polyphony adapted to instrumental textures.In contrast, the Tre Canti for cello and piano (1924) exemplify Pizzetti's mature idiom. Composed two decades later, these three short pieces distill his refined sense of melody and austerity. Each InchCantoInch unfolds as an expressive monologue, the cello singing with quasi-vocal intensity over restrained piano writing. Modal inflections and chant-like phrasing create an atmosphere of meditative introspection, while subtle rhythmic freedom evokes the flexibility of spoken