Sylvia Schwartz - Canciones Espanolas - COMPACT DISCS [CD]

A French title, Italian repertoire, a Swedish manuscript... The manuscript of a certain InchGeorg GerdinInch provides insight into the ramified travel routes of good music in the 18th century. Nothing is known about Mr. Gerdin himself, only that he signed his manuscript InchA Upsale le 8 d'Aout 1758Inch. In his manuscript, Gerdin compiled four sonatas by Pietro Castrucci and two by the now largely forgotten Francesco Geminiani, probably drawing on an edition printed almost fifty years earlier in Amsterdam and London, which had adapted the sonatas originally conceived for violin for the recorder. The recorder player Tabea Schwartz presents these exciting and extremely virtuosic sonatas of the highest quality in a Swedish InchreadingInch. Her congenial accompanist, the harpsichordist Thomas Leininger, combines them with short miniatures on well-known English melodies from a collection published in Sweden around 1770 by an unknown composer named Frederick Nussen.

Four consecutive #1's; eight Top 10 Pop hits; Top 10 solo hits each from Michael and Jermaine Jackson; some of the best known Motown hits ever! All of the above are presented on this one specially priced, digitally remastered collection featuring new essay and rare photos. Includes InchI Want You Back,Inch InchABC,Inch InchThe Love You Save,Inch InchI'll Be There,Inch InchNever Can Say Goodbye,Inch InchDancing MachineInch and more!

Guido Alberto Fano's vocal chamber works form an important part of his musical output and mark the three crucial phases of his artistic growth. His earliest songs date from the last years of the 19th century, during his period of training and the start of his musical career in Bologna, using texts by local poets such as Angelina de Leva, Luigi Arturo Bresciani and Giuseppe Lipparini. Then, during the first fifteen years of the 20th century, his most InchexperimentalInch years, Fano began to draw inspiration from some of the most distinguished names in Italian poetry, including Boccaccio, Carducci and Pascoli. Finally, his last creative period, after the 1930s, saw a return to the vocal genre with seven pieces on poems by D'Annunzio and one by Carducci, all written in 1945. Fano usually calls his vocal compositions InchcantiInch, a choice often shared by his colleagues of the so-called Inchgeneration of the eightiesInch. On the whole, Fano's music reveals a commitment to avoid stereotypes and surrendering to the vestiges of easy appeal, demonstrating the composer's sensitivity in responding to the ethical demands of modernity, with that determined solicitude which characterised the inner workings of the great composers of the early 20th century. - Vitale Fano