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    Discografia per chitarra

    Henze complete music for solo guitar, Andrea Dieci

    Brilliant Classics pubblica il CD dedicato alla musica per chitarra sola di Hans Werner Henze (1926 - 2012). Interprete il chitarrista italiano Andrea Dieci.
    Numero di dischi: 1
    Formato: CD, Classica
    Etichetta: Brilliant Classics
    ASIN: B01CTMJOC6
    La tracklist:

    Dal sito dell'editore:
    Henze may have been renowned as one of the most prodigious postwar German modernists, but the important position of the guitar in his output reveals the lyric and rhapsodic side to his nature which runs as an undercurrent throughout his music, flowering most fully in the genre of opera to which he was drawn time and again. 
    His first major work for the instrument is a set of three Tentos – or tientos, the Spanish form of the fantasia or ricercar to be found in English and Italian music of the 15th century onwards – extracted from a collection of chamber music for various combinations. ‘They feature in the repertory of virtually every professional guitarist who considers himself worthy of the name,’ as the composer modestly remarked – but with justice, for their brevity is matched by their songful imagination. 
    The two sonatas are much more ambitious in scale, both inspired by the Shakespearean literature which Henze loved so much, and also by the artistry of Julian Bream, who may be counted a Segovia of the latter half of the last century, thanks to the array of composers who realised through his playing the expressive possibilities of an instrument they might otherwise have regarded as having strictly local or picturesque appeal. Characters are portrayed such as the ridiculous Sir Andrew Aguecheek, but also narratives told, such as Gloucester’s relationship to King Lear. 
    The Italian guitar magazine Seicorde has described Dieci as a ‘fine performer with an enviable technique’. His first recording on Brilliant Classics was of the contemporary guitarist-composer Nicola Jappelli (BC9435); according to Seicorde, ‘the skillful balance of dynamics often extreme and sudden, the adoption of an extremely expressive phrasing and varied even in minimalist areas, meticulous articulation of ethereal melodies broken between items: these are just some of the qualities that deserve recognition in the work of Dieci.’ 
    Dieci’s second album comprised popular guitar works by the Argentinian master of the classical tango, Astor Piazzolla, with a selection of music for violin and guitar capturing the spirit of the era, ‘Café 1930’ (BC94896). This, too, was issued to a very positive reception. 
    Hans Werner Henze was one of the most important composers of the 2nd half of the 20th century, and certainly one of the most prolific. He often wrote for the guitar, exploring the evocative potential of the instrument so that it could express a wide range of different emotions and atmospheres. 
    This CD presents the two Sonatas on Shakespearean Characters, an important cycle portraying characters like Lady Macbeth, Romeo & Juliet and Ariel, finding a new dramatic expression in these personifications of timeless human values. 
    Italian guitarist Andrea Dieci, a winner of several international competitions, is called “A true star of the classical guitar” (Corriere della sera) and “an impressive guitarist” (New York Times Herald). He recorded for Brilliant Classics the complete works by Jappelli (BC9435) and guitar works by Piazzolla (BC 94896). 
    Excellent liner notes by a musicologist, in both English and Italian.

    Stephen Dodgson: Guitar Chamber Works

    Il CD Stephen Dodgson: Guitar Chamber Works pubblicato da Naxos raccoglie le composizioni per chitarra in formazioni da camera del compositore britannico.
    Dal CD:
    Sephen Dodgson was one of the most prolific and respected 20th-century composers for guitar. Including a première recording of the ingenious Change-Ringers, the chamber works on this recording make use of a rich palette of tonal colours, taking us on an unconventional and often witty journey of rhythmic excitement, serenity, dissonance and beauty.
    The Mēla Guitar Quartet share their thoughts on the recording:
    “The project was incredibly special and it has been inspiring to work with such amazing artists as the Eden-Stell guitar duo, violinist Hartmut Richter, cellist Evva Mizerska, Flautist Octavia Lamb, soprano Antonia Gentile and guitarist Michael Butten.
    The music, recorded by master engineer/producer John Taylor, includes some of Dodgson’s most substantial works that include guitar. Due to their size and difficulty these pieces are very rarely played but are absolute gems of the guitar repertoire. Particular highlights include the world premiere of Change-ringers for quartet and Selevan Story, a witty, evocative piece, that illustrates through an imaginative of timbre a quintessential eccentrically English story.”
    La tracklist completa:

    Recensione di David Denton:
    Among Stephen Dodgson’s composition pupils at London’s Royal College of Music was John Williams, and a subsequent meeting with Julian Bream changed his life. To that point, Dodgson had produced a modest output of compositions in many genres, but these joint influences of an up-and-coming and then a legendary guitarist brought the instrument to his attention, and made him one of the most prolific and highly regarded guitar composers of the Twentieth Century. But even more than that—as can be seen from the above heading—he took the guitar into a new world where it became part of ‘conventional’ chamber music, combining with singers and instrumentalists. The present disc spans over forty years of his life, and represents his continued passion for exploring the instrument’s many tonal qualities, while—by and large—employing a traditional upbringing in the world of tonal music. Chronologically, beginning in 1963 with the instrument used as the accompaniment to a high voice—here the soprano, Antonia Gentile—in the Four Poems of John Clare. Harmonically, it is the most adventurous score on the disc, the words of very mixed feelings, ending with a fun story of The Fox. She is also the soloist in Hymnus de Sancto Stephano composed ten years later as a religious piece for soprano and guitar quartet. The following year he combined a solo violin and guitar ensemble in seven short and vibrant pieces to form the Divertissement. Rather more conventional, the brief Intermezzo from 1984 calls for a guitar quartet. The disc opens in 1996 with a guitar quartet imitating bells in Change-Ringers; my favourite track Roundelay combining cello and a guitar quartet, with the longest work, The Selevan Story from 1992 requiring a flute, violin, guitar duo and guitar ensemble. I am sure Dodgson would have lavished praise on the performances captured in a recording of an exalted level of perfection. © 2017 David’s Review Corner
    Dalle note di copertina:
    Stephen Dodgson, born in London, studied at the Royal College of Music between 1947 and 1949. Between 1957 and 1982 he taught theory and composition at the Royal College, one of his pupils being John Williams, at that time a junior exhibitioner. Dodgson became a Fellow of the College in 1981 and in 1986 was appointed chairman of the National Youth Wind Orchestra of Great Britain.
    His output includes many vocal works and orchestral pieces, as well as chamber and instrumental compositions. He also wrote for the harpsichord, clavichord and harp, as well as six virtuoso piano sonatas.
    Dodgson began writing for guitar in the 1950s on the advice of Julian Bream who premiered his Suite for Guitar in a concert at the Wigmore Hall, London, in September 1952. John Williams gave the first performance of Dodgson’s Partita at the Cheltenham Festival in 1963, and Julian Bream played the same work at his Cheltenham recital in November 1965. Many guitar works followed including solos, concertos, guitar duets and trios, works for guitar ensemble, compositions for voice and guitar, and a quantity of chamber music which included the guitar. The selection presented here includes a work not previously recorded and demonstrates the variety and imaginative range of Stephen Dodgson’s pioneering endeavours in this somewhat neglected area of guitar music.
    Change-Ringers for guitar quartet was commissioned by the Dutch ensemble Attacca in 1996. It is a free adaptation of Carillon (1967) for two harpsichords, an imitation of bells, rung at first in orderly symmetry to the motif proposed. As the composer described it: ‘Soon the patterns proliferate, rhythms split up and kaleidoscopic intermingling takes place; fast motifs heard excitedly against slower ones, with interruptions and echoes. A coda in faster time brings a general animation and integration, but an accumulating massiveness slows the piece to its final cadence.’
    Roundelay for cello and guitar ensemble (2005) was commissioned by the National Youth Guitar Ensemble. Roundelay comes from the Middle French word rondelet, a diminutive of ronde. The genre implies the repetition of lines or phrases whether in a musical composition or poem, and the image of dancing round in a circle. The inclusion of a solo cello here adds a characteristic sustained timbre to the texture. The work combines rhythmic vitality with lyrical expressiveness.
    In 1984 Stephen Dodgson was invited by the Toronto Guitar Festival to provide a work for guitar ensemble. To fulfil this commission the composer combined a bowed string soloist with guitar sonorities, hence the inclusion of a violin part in Divertissement.
    The opening Sinfonia was described by Dodgson as being ‘the only substantial movement, having a classical shape in miniature’, the others being dances in accordance with the French title. The composer commented that Scherzo II presents the same music as Scherzo I but ‘turned inside-out’. Thus the violin’s ‘perpetuum mobile passes to the guitars on the second appearance, obliging the violin to struggle with the ungainly steeplechase previously allotted to the guitars. Either way round, the movement has no proper ending.’ At the second appearance, this lack of a proper ending seems the equivalent of not knowing where to go next, an effect exploited in the brief sixth movement. Out of its ‘spluttering fits and starts there finally loom three hugely portentous notes. But instead of heralding some profound utterance, they lead impishly to an innocent Rondo theme, at whose last appearance the music dashes to a sudden breathless finish.’
    Intermezzo (Citharae Chordae pro Pace) for four guitars (1987), written in response to a request for a multimovement and multi-composer work, was first performed at the Esztergom Guitar Festival, Hungary, in August 1987. The score is prefaced with lines from Act V, Scene V, of Shakespeare’s King Henry the Eighth:
    In her days every man shall eat in safety
    Under his own vine, what he plants; and sing
    The merry songs of peace to all his neighbours.
    In 1983, the composer was involved with guitar festivals in Toronto and Esztergom. A feature of the latter was the massed guitar concert given by students at the end of the course in the city’s extremely resonant Basilica. Stephen Dodgson was invited by László Szendrey- Karper, the festival director, to compose a work for solo voice and guitars, dedicated to the Hungarian soprano opera singer Karola Ágai.
    It was decided that a Latin text would provide an appropriate linguistic basis for the song acceptable both to the composer and the singer. Szendrey-Karper therefore brought to Dodgson’s attention the medieval panegyric Hymnus de Sancto Stephano, written in honour of Hungary’s patron saint and king. The Hymn’s four quatrains are introduced and linked by ritornelli, the two central verses forming a reflective middle section between the rapturous acclamations which frame them.
    Four Poems of John Clare (1963) were written for the tenor Wilfrid Brown and the guitarist John Williams, who played many concerts together in the 1960s. The composer has commented that ‘The only reflective song is the second, a self-portrait of Clare. I have presumed the wagtail was spied from Clare’s asylum window, hence the heartache felt in the final verse with its goodbyes. Turkeys catalogues the repertoire of antics and noises colourfully observed in these bizarre creatures, which in music becomes a scherzo. The Fox is a dramatic scene in miniature.’
    The Selevan Story, commissioned to celebrate the 10th Prussia Cove Guitar Seminar in 1992, is based on the legend of St Levan (a variant of Selevan) (born c. 492), who lived in a remote parish in the far west of Cornwall. Various elements of the legend are featured within the five movements.
    Prelude (On the rocks) depicts the favourite rock, situated near the church, from which the saint fished every day. The second movement, Dialogue (Johana’s garden), recalls the story of how one Sunday morning, as St Levan went on his way to fish from his rock, he passed his neighbour, Johana, picking herbs in her garden. Johana severely rebuked the holy man for fishing on Sunday. St Levan replied that it was no more sinful to take his dinner from the sea than for Johana to work in the garden. The woman insisted he was in the wrong. An argument ensued in which St Levan called the woman a fool and proclaimed that in future any child of the parish called Johana would find herself to be as stupid as her namesake. (Hence no baby born in the village of St Levan has been christened Johana ever since.)
    Pastoral (The Saint’s Path) celebrates the exceptionally verdant grass along the path to the rock where the holy man trod.
    Passamezzo (The Saint Levan Stone) refers to a rock on the south side of the Church where St Levan used to rest after fishing. Just before he died he gave the rock a blow with his fist and cracked it in two. He prayed over the rock and uttered the following prophesy:
    When with panniers astride
    A pack-horse can ride
    Through St Levan’s stone
    The world will be done.
    The title Passamezzo is a pun by the composer as if the word could be translated ‘to pass through the middle’, rather than ‘a pace and a half’. The section has the character of a dance.
    The final movement, Concertino (Two fish on one hook) tells a sad and strange legend about the saint. One evening as St Levan fished, there was a heavy tug on his line. Hauling it in he found two chad (bream) on one hook. As he only ate one fish a day he cast them back into the sea. But the same thing happened twice more. Taking this as a sign the saint decided to carry both fish home where he found his sister, Breage, with her two hungry sons. The moment the fish were cooked the children ate them greedily. But they did not remove the bones, which choked them and they died. (Since then this type of fish has been known as chuck-cheels or choke-childs.)
    Stephen Dodgson commented: ‘This marks the point of climax. Mounting animation ceases abruptly, giving way to a brief but heartfelt threnody. As this too passes, the music broadens out into the soft glow of a marine sunset.’
    - Graham Wade

    Russian Guitar Music - Cristiano Porqueddu

    Nel definire il paesaggio sonoro chitarristico di matrice russa ci si ritrova a fare i conti con un corpus musicale sostanzialmente sconosciuto allo sguardo occidentale, dalle ascendenze variegate ma fortemente legate ad un territorio culturale anch'esso sfaccettato e non riconducibile ai consueti parametri consoni al canone, ormai stabilmente sedimentato, della letteratura chitarristica conosciuta.
    Di un viaggio si tratta, attraverso stazioni spesso sorprendenti nella loro peculiarità stilistica, che illumina di un'inedita luce un patrimonio fino ad oggi relegato ai margini del già periferico mondo delle sei corde.
    Sarebbe tuttavia ingeneroso, ed al tempo stesso privo di fondamento, relegare il corpus presentato da Cristiano Porqueddu, al caratteristico o all'esotico, dove invece si ha spesso a che fare con pagine dalle qualità innegabili, quanto distanti dai percorsi già tracciati in un tempo coevo da altre testimonianze cha hanno avuto maggior diffusione.
    I poli, opposti, entro i quali si dipana la cifra stilistica di questi 4 dischi oscilla tra elementi fortemente caratterizzati ritmicamente e momenti profondamente lirici, questo in estrema sintesi.
    La magnifica Sonata di Denisov, le preziose miniature di Asafiev, i due brani della Gubaidulina mi sembrano quanto di meglio si possa chiedere ad un'idea di musica del XX secolo che scova le proprie ascendenze nel ricchissimo patrimonio musicale russo, e che alle nostre orecchie occidentali suona tutto sommato alieno, conscio com'è del proprio diritto a non rinnegare un'idea di bellezza traslata in musica.
    Accanto, spesso, brillano pagine di grande qualità, come quelle di Dzhaparidze, della Poplyanova, sorprendenti nel rivelare il loro peculiare frutto stilistico. 
    In maniera scoperta o meno, legate ad un sapore melancolico che a tratti si rivela sardonico.
    @Cristiano Porqueddu si muove, lungo l'intera raccolta, con la consapevolezza ed il trasporto che queste pagine chiedono all'interprete. La ripresa audio, asciutta e priva di manierismi, permette di gustare la capace ed esaustiva tavolozza timbrica che Porqueddu cava dallo strumento.
    Consigliatissimo, ça va sans dire.
    Alfredo Franco
     

    The Andrés Segovia Archive: Complete Guitar Music, Ermanno Brignolo

    Il Box Set "The Andrés Segovia Archive: Complete Guitar Music" distribuito dall'etichetta discografica Brilliant Classics contiene la registrazione a cura del chitarrista italiano @Ermanno Brignolo dell'intera omonima collana pubblicata dalle Edizioni Bérben di Ancona.
    Il contenuto è il seguente:

    La tracklist dettagliata può essere visionata da questo link.
    Dal sito dell'editore:
    Andrés Segovia, born in 1893 in Linares, Spain, was one of the most important musicians of the 20th century; a virtuoso guitarist whose contribution to modern-Romantic repertoire included both commissions and transcriptions of baroque/classical works. Until recently, a significant portion of his music library remained either unknown or consigned to the depths of history: only in 2001, when the Italian composer, guitarist and scholar Angelo Gilardino was given permission to open the crates containing the maestro’s personal collection of music, did the true extent of his vast repertoire come to light. 
    The collection The Andrés Segovia Archive was thus created with the aim of making available to all the works written for Segovia which remained unpublished (and in some cases never performed) during his lifetime, and here it is played by esteemed Italian guitarist Ermanno Brignolo – himself the dedicatee of numerous works by composers such as Ronca and Porqueddu. From Fenerod Peyrot’s Thème et variations to Arregui’s Piezas líricas, the compilation touches on a number of countries, revealing Segovia’s immense international stature at that time. Brignolo presents an engaging tribute to a precious heritage, one whose range of styles has only served to further enrich 20th-century guitar music. 
    Qui la traccia Passacaille di Alexandre Tansman, etratta dallo stesso Box Set:
     

    British Guitar Music, Graham Anthony Devine

    British Guitar Music è il CD di Graham Anthony Devine registrato per l'etichetta discografica Naxos che contiene una importante selezione di musiche originali per chitarra di autori britannici.
    È stato registrato presso la St John Chrysostom Church, Newmarket, Ontario, Canada, dal 24 al 27 Luglio del 2003 e la registrazione è stata finanziata dal The Rawsthorne Trust
    Recensione di Blair Sanderson per AllMusic:
    Julian Bream urged several British composers to compose for the guitar, to expand both the repertoire and the instrument's possibilities beyond the styles and conventions of Spanish guitar music. Yet it is odd to note how they turned, almost reflexively, to Spanish music for inspiration, and how many of their pieces retained its most salient features. Despite the modernist touches, the Bagatelles (5) by William Walton are not that far removed from the moods or techniques found in flamenco music or in modern concert works by Spanish composers. The same may be said for the pieces by Lennox Berkeley -- the Sonatina, the Theme and Variations, and Pièces (4) -- and Richard Rodney Bennett's Impromptus (5); if played in a blindfold test, it is likely that the average listener would mistake these pieces for Rodrigo or Ponce, so strong are the similarities. Exceptions to this stylistic imitation may be found in the folk-ish Farewell to Stromness by Peter Maxwell Davies, and in the fairly abstract Elegy by Alan Rawsthorne; but these short works do not represent significant departures, and do little to alter the strong Iberian flavor of this CD. Guitarist Graham Anthony Devine plays the works with sensitivity and great technical control, and Naxos offers its usual fine sound quality.
    La tracklist del CD:

    Ascolto in anteprima su iTunes: https://itunes.apple.com/us/album/british-guitar-music/id56531354

    Fernando Sor Studi per Chitarra, Enea Leone

    Seguendo le istruzioni questa è la mia prima segnalazione di un cd per chitarra...  spero di aver fatto le cose giuste!!
    Questo triplo-cd contiene la registrazione di tutti gli studi di Fernando Sor. Il chitarrista è Enea Leone. L'etichetta è Brilliant. Il cd è stato pubblicato nel 2014.
    I brani registrati sono elencati qui: http://www.brilliantclassics.com/articles/s/sor-complete-studies-for-guitar/
     

    Anton Stingl - Ausgewählte Werke für Gitarre solo, Andreas Stevens

    Il CD Anton Stingl - Ausgewählte Werke für Gitarre solo del chitarrista Adreas Stevens è dedicato alla musica originale per chitarra del compositore tedesco Anton Stingl (1908-2000)
    La release è distribuita dall'etichetta discografica Aurea Vox
    La tracklist è la seguente:

    Articolo di Piero Viti:
    “Anton Stingl - Ausgewählte Werke für Gitarre solo” ed è interamente dedicata a lavori del compositore Anton Stingl, anche lui compositore della Germania (nato nel 1908 a Costanza e morto nel 2000 a Friburgo), figura originale di musicista che in gioventù affiancò una laurea in Matematica e Fisica alla sua formazione chitarristica condotta in pratica da autodidatta, seguendo i metodi di Heinrich Albert. 
    Perfezionatosi in seguito in chitarra in Austria, a Vienna sotto la guida di Jacob Ortner, uno dei pochi docenti di chitarra che all’epoca insegnavano lo strumento ufficialmente in conservatorio, nel 1928 Stingl si diplomò con la qualifica di Concertista, perfezionando poi i suoi studi teorici a Friburgo. 
    Sin dagli esordi della sua carriera alternò l’attività di compositore con quella di acclamato concertista (fu esecutore della “prima” di “Le Marteau san Maitre” di Pierre Boulez, e di tutte le numerose repliche che ne seguirono, ed inoltre fu interprete di lavori di Hans Werner Henze). 
    Come compositore Stingl si è, invece, distinto nella sua lunga carriera per un linguaggio chitarristico del tutto originale, attento sia alle nuove tendenze della musica, che rispettoso di un impianto costruttivo neoclassico. La sua musica deve aver destato all’uscita certamente molta attenzione (Luise Walker è stata tra le interpreti più infervorate dalla sua opera chitarristica), ma anche qualche perplessità, come si evince da una lettera del 1952 di Romolo Ferrari, nella quale Ferrari affermava in particolare di non amare troppo la musica del compositore tedesco a causa delle sue armonie “troppo stavaganti”! 
    I lavori presentatici da Stevens nell’incisione ci delineano un ritratto esauriente dell’opera del compositore di Costanza e ci permettono di delinearne tutti i pregi. 
    Si parte con una quasi aforistica Sonatine Op.15a Nach Kinderliedern (del 1936, basata su canzoni popolari per bambini) in quattro brevi movimenti fantasiosi nella loro brevità, nella quale spicca per la sua sospesa atmosfera il terzo tempo una suggestiva ninna nanna. 
    Questa composizione individua subito uno dei punti salienti della vena compositiva del musicista tedesco, la passione per la musica popolare e per le sue rivisitazioni.
    Sulla stessa lunghezza d’onda il successivo lavoro molto suggestivo anche come linguaggio chitarristico, Zwei Sätze zu einem mährischen Wiegenlied Op.15b, sempre del 1936, portato sulle scene numerose volte da Luise Walker nei suoi concerti, basato su una ninna nanna morava, un lavoro davvero delizioso! 
    Segue ancora un brano di grande effetto, Präeludium und Tango op. 9 del 1933 (rivisto dal compositore nel 1992), nel quale gli influssi folklorici sudamericani sono stemperati in un’onirica e indefinita atmosfera quasi fuori dal tempo. 
    Altro amore saliente che guida la vena compositiva di Stingl è legata a Bach e alla musica barocca, cosa questa che traspare in varia misura sullo sfondo nel corso specialmente dei successivi lavori in scaletta, una Parafrasi su una antica danza Op.15d (del 1936), e  due cicli di Variazioni Op.16 (del 1936, rivisto nel 1987), e Op.40 (del 1956, rivisto nel 1987), entrambi su temi popolari di area tedesca. 
    In questi lavori i riferimenti si fanno comunque più ineffabili e a tratti nel caleidoscopico materiale musicale, pur riconoscendosi un impianto di natura classica, emerge quella certa “stravaganza armonica” riconosciuta nella sua lettera da Ferrari che oggi – con il senno di poi – non sembra affatto essere una nota di demerito! 
    Chiude l’incisione un seducente Studio sugli armonici che con la sua aura sospesa ci commiata dal compositore lasciandoci pienamente partecipi del suo variegato mondo.
    Pregevole il lavoro interpretativo di Stevens, che sembra particolarmente a suo agio nelle varie pagine affrontare, sfoggiando padronanza tecnica e un bel tocco, profondo e comunicativo, sapientemente teso specialmente ad assecondare gli abbandoni sonori che si celano tra le righe: complimenti, una bella sorpresa, un disco da avere e da ascoltare!  
    Fonte: http://www.dotguitar.it
    In allegato la presentazione del CD (in lingua tedesca)
    CD_Anton_Stingl_Ausgewaehlte_Werke_fuer_Gitarre_solo_Andreas_Stevens_20141221.pdf

    Guitar Recital, Raphaella Smits

    Il nuovo CD della chitarrista belga Raphaella Smits è intitolato "Guitar Recital" e raccoglie composizioni molto conosciute di Ponce, Barrios e Mompou.
    La tracklist include le seguenti composizioni per chitarra:
    Manuel Ponce (1882 - 1948)
    Suite en La menor (Homage to S.L. Weiss)
    I. Preludio 2:50
    II. Allemanda 3:35
    III. Sarabanda 7:21
    IV. Giga 5:09
    Agustín Barrios Mangoré (1885 - 1944)
    Preludio en La menor 4:26
    Preludio en Do menor 2:36
    Leyenda Guaraní 6:47
    Federico Mompou (1893 - 1987)
    Suite Compostelana
    I. Preludio 3:59
    II. Coral 3:52
    III. Cuna 4:28
    IV. Recitativo 3:57
    V. Canción 2:58
    VI. Muñeira 3:17 
    Qui un video della musicista che parla della release discografica:
     

    Petali neri, Luca Lupi

    Il chitarrista italiano Luca Lupi comunica la pubblicazione del suo CD per chitarra dal titolo "Petali Neri" per l'etichetta discografica LEAD Records. 
    La presentazione del disco è prevista Sabato 11 novembre alle 17.00, presso "La Stanza della Musica", Via dei greci 36, Roma, di fronte al conservatorio Santa Cecilia.
    La tracklist include musiche di Alexandre Tansman, Manuel Maria Ponce e Carlos Pedrell.

    Scheda dell'evento su Facebook: https://www.facebook.com/events/289704694876407/
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