Various Artists - Pasqua - COMPACT DISCS [CD]
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Born in Molfetta (Italy) on June 21, 1931, don Salvatore has undertaken the priestly life uniting it deeply to the musical one. Together with the ecclesial experience of assistant FUCI (Italian Catholic University Federation) in the post-conciliar years and that of director of the Schola Cantorum of the Pontifical Regional Seminary of Molfetta, he built his musical training with the masters Armando Renzi (composition), Nicola Samale (conducting), Michele Marvulli, Marcel Couraud (perfecting choral conducting), Luigi Celeghin. He has taught at the Conservatories InchE.R. DuniInch in Matera and InchN. PiccinniInch in Bari; he has been at the head of the Choir and Orchestra InchJ. SalepicoInch, an institution born within the Association and Popular School InchA. DvorakInch of which he was founder and president until his death. He has been Maestro di Cappella of the Cathedral Chapter of Molfetta. Graduated in composition, conducting, piano and specialized in choral and organ conducting, he wanted to make up for the scarce musical and liturgical knowledge of the people, dedicating himself with passion and sacrifice to the young generations of his territory, building an associative and training experience so deep to constitute a generation of musicians that still today recognize him as their mentor and teacher. The fruits of his artistic genius are numerous and of various kinds, from oratorios to popular songs; but of particular interest are his two Oratories, the two Great Cantatas for Choir and Orchestra, as well as Masses and motets. He was a man of high perspicacity, a concrete visionary, able to see things in depth and projected into the future; acute intellectual, he has always fought, driven by the insatiable need for knowledge without ever giving up the ancient.
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- GenreClassicalDescriptionBorn in Molfetta (Italy) on June 21, 1931, don Salvatore has undertaken the priestly life uniting it deeply to the musical one. Together with the ecclesial experience of assistant FUCI (Italian Catholic University Federation) in the post-conciliar years and that of director of the Schola Cantorum of the Pontifical Regional Seminary of Molfetta, he built his musical training with the masters Armando Renzi (composition), Nicola Samale (conducting), Michele Marvulli, Marcel Couraud (perfecting choral conducting), Luigi Celeghin. He has taught at the Conservatories InchE.R. DuniInch in Matera and InchN. PiccinniInch in Bari; he has been at the head of the Choir and Orchestra InchJ. SalepicoInch, an institution born within the Association and Popular School InchA. DvorakInch of which he was founder and president until his death. He has been Maestro di Cappella of the Cathedral Chapter of Molfetta. Graduated in composition, conducting, piano and specialized in choral and organ conducting, he wanted to make up for the scarce musical and liturgical knowledge of the people, dedicating himself with passion and sacrifice to the young generations of his territory, building an associative and training experience so deep to constitute a generation of musicians that still today recognize him as their mentor and teacher. The fruits of his artistic genius are numerous and of various kinds, from oratorios to popular songs; but of particular interest are his two Oratories, the two Great Cantatas for Choir and Orchestra, as well as Masses and motets. He was a man of high perspicacity, a concrete visionary, able to see things in depth and projected into the future; acute intellectual, he has always fought, driven by the insatiable need for knowledge without ever giving up the ancient.ArtistVarious ArtistsTitlePasquaFormatCDLabelDigressione Music
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Born in Molfetta (Italy) on June 21, 1931, don Salvatore has undertaken the priestly life uniting it deeply to the musical one. Together with the ecclesial experience of assistant FUCI (Italian Catholic University Federation) in the post-conciliar years and that of director of the Schola Cantorum of the Pontifical Regional Seminary of Molfetta, he built his musical training with the masters Armando Renzi (composition), Nicola Samale (conducting), Michele Marvulli, Marcel Couraud (perfecting choral conducting), Luigi Celeghin. He has taught at the Conservatories InchE.R. DuniInch in Matera and InchN. PiccinniInch in Bari; he has been at the head of the Choir and Orchestra InchJ. SalepicoInch, an institution born within the Association and Popular School InchA. DvorakInch of which he was founder and president until his death. He has been Maestro di Cappella of the Cathedral Chapter of Molfetta. Graduated in composition, conducting, piano and specialized in choral and organ conducting, he wanted to make up for the scarce musical and liturgical knowledge of the people, dedicating himself with passion and sacrifice to the young generations of his territory, building an associative and training experience so deep to constitute a generation of musicians that still today recognize him as their mentor and teacher. The fruits of his artistic genius are numerous and of various kinds, from oratorios to popular songs; but of particular interest are his two Oratories, the two Great Cantatas for Choir and Orchestra, as well as Masses and motets. He was a man of high perspicacity, a concrete visionary, able to see things in depth and projected into the future; acute intellectual, he has always fought, driven by the insatiable need for knowledge without ever giving up the ancient.
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Franziska Holscher on the freedom enjoyed by the composer and the difficulties faced by the performer Felix Schmidt InchIt would seem that the works in album programmes are usually chosen for popularity; originality and artistic quality are often bypassed to optimize sales. On this album, however, you have made no concessions to popularity... Regardless of what other people may think, popularity is not a criterion for me. I want to draw listeners' attention to these works, which, in my opinion, are among the most important compositions of their time... Berio's Sequenza VIII for Violin was my point of departure. As one of the essential 20th century works for violin, it occupies a central place in my repertoire, and has been part of my life for many years. Every time I come back to it, the Sequenza reveals new dimensions of sound. We can likewise note a certain tension between contemporary and early music in the works of Berio's compatriot, Salvatore Sciarrino. His distinct style often explores the boundaries of timbre; Sciarrino's typical nervousness in fast movements is reminiscent, in turn, of the music of Robert Schumann. And Sciarrino's figures of rhetoric hark back explicitly to Baroque music. Schumann's sonata likewise associates Baroque forms- specifically, a chorale- with progressive techniques of composition and means of expression. Thus, the relation between the present and the past is the central theme connecting all the works on this album... Inch Album Tracks 1. Sonata XVI Passacaglia in G Minor for Violin Solo 2. 6 Capricci per Violino Solo~No. 2. Andante 3. Sequenza VIII per Violino Solo 4. 6 Capricci per Violino Solo~No. 5. Presto 5. Große Sonate d-Moll für Violine und Klavier (No. 2), Op. 121~I. Ziemlich langsam - Lebhaft 6. Große Sonate d-Moll für Violine und Klavier (No. 2), Op. 121~II. Sehr lebhaft 7. Große Sonate d-Moll für Viol
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To Renaissance court of Ludovico Sforza, the Duke of Milan, arrived an eccentric thirty year old man from Florence. It was 1482. He was a mathematician, anatomist, philosopher, constructor, astronomer... But not many people know, that he was also a musician. One of his 16th century biographers wrote, that the Sforzas hired Leonardo not as a painter nor architect, but - what might surprise us - as a musician and a party organizer of impeccable manners. Leonardo called music a worse sister of painting, because a painting lasts forever and music has no material form. It exists only in the moment of the performance, moreover - it dies in the moment of the birth. That's why music couldn't stand comparison to architecture or sculpture. None of Leonardo's musical compositions survived, but apart from many drawings and fragments of treatises, in his notebooks there are also rebuses and... musical riddles, all written in mirror reflection. In at least 18 riddles, Leonardo da Vinci used musical notation. These musical InchgamesInch were not only notes, but they created sentences, because according to solmisation, a method created by Guido of Arezzo, every note has it's own name - 'ut' (later replaced by a much easier to pronounce 'do'), 're', 'mi', 'fa', 'sol', 'la', 'si'. When put into shape, with decoded meaning of the text, they turn out to be incredibly powerful, hypnotic and nostalgic melodies. The present presents music inspired by Da Vinci's enigmas. Album Tracks 1. Re la Sol Mi Fa Sol 2. Trionfo de Bacco E Ariadna 3. Ostinato Vo' Seguire 4. Amore LÀ Sol Mi Fa Remirare 5. Dilla Dal Aqua 6. Cavalier Di Spagna 7. Calata Alla Spagnola 8. Venere InchVera la SchiumaInch, Canto Ad Lyram 9. Romanesca - Chi Vuol Bevere - Pesaro Ms 10. Ben Venga Maggio 11. Mille Regretz 12. Amore Mi Fa Solazzare 13. Ingenio Musicale 14. Non E Tempo D'aspettare 1
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Album Tracks 1. Vexilla Regis (Hymnus) 2. Domine, Exaudi (Tractus) 3. Crucem Tuam (Antiphona) 4. Improperia II 5. Oratio Jeremiae 6. Exultet (Praeconium Paschale) 7. Cantemus Domino (Canticum) 8. Surrexit Dominus Vere (Antiphona Cum Psalmo Invitatorio 94) 9. Alleluia. Haec Dies (Antiphonae) 10. Haec Dies. Confitemini (Responsorium-Graduale) 11. Alleluia. Pascha Nostrum 12. Victimae Paschali Laudes (Sequentia) 13. Exsultemus Et Laetemur (Cantus Responsorialis) 14. Aurora Lucis (Hymnus) 15. Benedicamus Domino, Alleluia (Ad Dimittendum Populum)
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