Virgin Steele - Noble Savage - COMPACT DISCS [CD]

Older VS title now available once again through SPV

Roffredo Caetani (1871-1961) prince of Bassiano, last duke of Sermoneta, composer and patron of the arts, developed a marked musical talent from an early age. A decisive factor in this respect was certainly the influence of his father, a close friend of Franz Liszt, who in turn would be an exceptional godfather and, later, teacher to Roffredo. Caetani completed his Sonata for Violin and Piano in 1898, and the work was first performed by the great Turinese violinist Teresina Tua and pianist Francesco Bajardi. The Sonata's three movements are decidedly broad and there is a particular evocation of the Baroque in the Adagio and Finale, as in Ferruccio Busoni's Second Sonata for violin and piano in E minor, Op.36. The first movement begins with a brief, slow and expressive introduction, almost enigmatic, somewhat reminiscent of the great Sonatas of the classical period (such as Beethoven's Kreutzer Sonata), and then it gives way, in an almost impetuous manner, to the Allegro, full of themes following one on another, urged on by a pressing rhythm. In the Adagio, counterpoint is much more than a technique, it becomes an expressive tool. Written in ABA ternary form, the central part of which has a faster tempo (Più andante), the second movement consists of a combination of elegiac chants entrusted to the violin with chromatic counterpoint to the piano. The Finale of the Sonata is a three-voice fugue whose theme is developed from the very first notes of the movement and whose character is incisive and brilliant.Guido Alberto Fano (1875-1961) was an Italian composer, conductor and pianist of Jewish origin, a survivor of the Holocaust. He began his musical studies with Vittorio Orefice, later undertaking piano studies under Cesare Pollini. In 1894, he was invited by Giuseppe Martucci to be his piano and composition student at Bologna, where Fano graduated in 1897. Fano's Fantasi

Sometimes it's enough to look at the cover art, logo and band photo to know exactly what to expect. Add to this an album title like InchSavage OverkillInch and all is perfectly clear. KÖMMAND from Seattle play raw and uncompromising black/thrash in the old ways - the only right ways. The constant onslaught of atonal riffs and real drums is what it's all about. Awesomely ugly, gritty and snotty vocals interspersed with eardrums-piercing speed metal screams and just enough of InchUGHsInch are guaranteed to make any real old school metalhead grin in delight. The attitude seeps and pure filth spreads around with every note on this album. It's bound to rip some heads off and send wimps home crying! These US kömmandos stand for stubborn, ancient sounds and keeping metal dangerous and unwanted, just as it was meant to be, while sending a big InchF**k offInch to all the safe and sterile bands out there. They worship at the altar of DARKTHRONE, BATHORY, AURA NOIR, INFERNÖ, BEWITCHED and NOCTURNAL BREED, being boozebrothers in arms with BARBARIAN, BUNKER 66, SARKE, RUST, OMEGA and the like.