Valeria Girardello - Pier Francesco Tosi: Il martirio di Santa Caterina - COMPACT DISCS [CD]

Among the musical genres that were most appreciated and cultivated in Vienna in the early eighteenth century, one that stands out decidedly is the chamber cantata. The Italian cantatas, which were favourite compositions for the cultivated entertainment of the court, were abundantly circulated in manuscript form and collected in a great quantity of books that made chiefly between the eighteen-tens and the eighteen-forties. Now these cantatas are scattered in collections and libraries that have been the object of important musicological studies. The six cantatas presented in this recording are all drawn from the Mus. Hs. 17567 manuscript in the Österreichische Nationalbibliothek of Vienna, and were quite probably all composed there around 1710-1712. It is an extremely interesting handwritten-copy collection formed of twelve compositions that are attributed with certainty to Giovanni Bononcini (three), Francesco Conti (three), Antonio Caldara (three), Emanuele d'Astorga (two), and Andrea Stefano Fioré (one). The two symphonies by Caldara (for solo cello) and Giovanni Bononcini are completing the listening of this CD by the Aurata Fonte ensemble, already protagonist of the recording of some great Italian Baroque music discovery (TC670202, TC611990).

Vinyl LP pressing. 2024 . Respected vocalist and guitarist Mike Tramp is back with InchThe Songs Of White Lion - Vol. IIInch, once again the album sees Tramp re-imagining select cuts from his former band White Lion's. Tramp first came to prominence in the music world with White Lion, who formed in 1983. After signing to Atlantic Records, the band enjoyed great success with the of their second album, InchPrideInch. After White Lion, Tramp formed the hard rock band Freak Of Nature, who had a decidedly darker and harder vibe than White Lion. In 1998, Tramp initially started his solo career.

Misattributed in the past to composers such as Pergolesi, the enduring success of Pietro Auletta's L'Orazio saw it staged and adapted so many times over the centuries that it's original 1737 structure is now lost. This is the opera's first revival in modern times. The style of L'Orazio reflects the end of the Baroque period at a time in which refined galant and pre-Classical inflections were taking hold. The work's comic narrative of romantic complications and rivalries take place amidst scenarios in which the music lessons of maestro Lamberto alternate with dubious theatrical engagements and carnival masquerades.