22 Results for : instrument's

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    Flos Campi/suite/violakonzert
    BBC National Orchestra of Wales - Martyn Brabbins (Dir) // Lawrence Power has established himself as the most sought-after violist of his generation and his sumptuous tone and persuasive interpretations have lead to many comparisons with the pioneering British violist Lionel Tertis. Indeed, the three works on this disc were written for Tertis, who did so much to broaden the instrument's musical repertoire and raise its status to an accepted solo instrument.
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    Art Of Classical Guitar Transcription
    Christophe Dejour's arrangements of music by Albéniz (8.557064) and Granados (8.557709) performed by Trio Campanella have won much acclaim. For this recording he has made three pioneering arrangements that further expand the instrument's repertoire and compass.
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    Klaviersonaten Vol.1-sonaten 5/11/12/26
    This is a disc of exceptional quality, confirming the impression I got from the other disc in this series that Jonathan Biss is a very fine Beethoven player. The recording itself is very good indeed: the piano sound is very well reported throughout the instrument's compass. The pianist himself has written the booklet note and this is lively and informative.
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    Englische klassische Klarinettenkonzerte
    The Parley of Instruments - Peter Holman (Dirigent) // The clarinet began life as a poor relation to the oboe and flute. Players usually doubled roles, and it was not until the 1770s, nearly eighty years after the instrument's invention, that any significant dedicated repertory developed.
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    Gestire lo Spazio
    GESTIRE LO SPAZIO With only an electric bass... as simple as that A disc like no other: all the beautiful pieces in this album have been composed and played by Tiziano Zanotti on a solo electric bass, with the supplement of a few and quite singular electronic effects and the unexpected and fleeting "injection" of an acoustic piano. All tracks are by the musician himself, except tracks 6-13 by T.Zanotti/N.Ciarmatori. Track 14 is dedicated to Bruno Maderna. --------------------------- EXTRACT FROM PRODUCER'S LINER NOTES: 'This solo bass project had been around for quite a long time, initially just as a live show... It was certainly a big challenge for Tiziano Zanotti to show that the electric bass can be a valuable instrument in it's own right on a whole disc, able to hold the listener's attention with no support other than a few and unobtrusive effects and percussion sounds. Can the bass be a full solo instrument, as powerful and expressive as a piano or a guitar? Well, after listening to this CD, I believe it can. I was transported by it's beautiful melodies, with Jazz, Blues and Classical (even Renaissance!) influences, and was completely amazed by the different sounds and shades produced by a 6-string bass... The musician told me that he first had to structure the basic shape of most of the pieces in writing - just like a classical composer, as he so deeply is, and then improvised to develop his musical ideas, modify balances, explore new harmonies, all the time seeking to exploit the instrument's full potential. In the end, one thing stands out: this inspiring work by Tiziano Zanotti presents us with a new and very personal way of experiencing and playing the electric bass.' (A.B.) --------------------------- THE ARTIST BIO Bassist, double bassist and composer, after completing his classical studies, Tiziano Zanotti has attended several jazz and rock music master classes, becoming also a skilled guitar, piano and cello player. He has studied with: Marc Johnson, Furio di Castri, Palle Danielsson, Bruno Tommaso, Pat Martino, Ubaldo Fioravanti, Trilok Gurtu, Gianluigi Trovesi, Peter Erskine, John Taylor, Giancarlo Gazzani, to name just a few... He has played in several symphony orchestras like Orchestra Filarmonica Antonio Guarnieri of Adria, Orchestra Filarmonica of Udine, Euterpe and Musike groups, collaborating with chamber music groups such as Diapason and Octandre in Bologna (contemporary music), Gruppo Amadeus in Bologna (baroque music), and the Guarnieri Basses Ensemble (double bass quartet). He has also played with outstanding artists like Claudio Lolli, Nicola Piovani's Oracoeli Orchestra, Andrea Bocelli, Franz Campi, Josef Alessi, Andrea Giuffredi, Parto delle Nuvole Pesanti (among many others), and in several jazz and rock bands. His live experiences include the participation to such festivals as Clusone Jazz Festival 2007, Rock in Rho, Primo Tributo a Frank Zappa 2006, 41° Festival Pontino, Disma Music Show, Autunno Musicale Nonantolano, Organi Antichi, Scandellara Rock Festival, Bologna Sogna, Musica Attuale Brescia, Note d'Autore, Summertime in Jazz, Maggio Musicale Massese, Manà Jazz Festival, Eurocreation: progetto Pépinières, IV Festival Nazionale di Ottoni "G Corsini", Percorsi in Villa, Populart Jazz, Eroticamente, Marghera Estate Village, Circoli e Cortili, Sonica, Festival della Letteratura Poliziesca, L'assassino è il Chitarrista, Tam Tam Suoni e Culture dal Mondo, SummerFest in Dresden... He has been involved in several recording productions as a performer, arranger and artistic producer, while as a leader he has published the CDs "Minimized" (CFM 1998), "Tarabuk" (Velut Luna 2006) and 'Influences' (Echoes 2007), acclaimed by both the public and the specialized press. He is also a well-known music educator. He has taught at Teatro alla Scala in Milan, Fondazione Arturo Toscanini in Parma and Idea in Bologna. In 1996 he founded the 'Centro di Formazione Musicale' in Bologna, where he worked as director and teacher of bass and double bass, publishing a number of manuals and multimedia CDs translated into English and French. His latest instructional manual, "Bassista contemporaneo" (Echoes 2006), is now a sales success. His upcoming projects include a disc for voice, double bass and effects, and the development of the Influences duo (double bass and soprano sax), with the production of a new album with original pieces and the collaboration of other instrumentalists.
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    Clarinete Solo. Mexico Vol. 1
    SOLO CLARINET Mexico Vol. 1 Javier Vinasco Fifty years of music for solo clarinet. Mexico (1957-2007) Composers born in the 20th century To record a CD for solo clarinet with pieces by Mexican composers has been an arduous, difficult, and at the same time rewarding undertaking. On this journey we have investigated a variety of routes and paths that composers had taken and have come to recognize that there is an ample compendium of creators dedicated to writing for the clarinet. These composers have explored languages that range from the acknowledgment of tradition to less conventional experimentations, demonstrating both significant evolution and compositional maturity. Our efforts have resulted in an anthology that shows a glimpse of the variety, quality, and expressivity of the ample spectrum of compositions that, in this case, were selected with an inquisitive spirit from archives, catalogs and private collections. At the same time, this CD presents two new compositions written especially for this project by Alejandro Colavita and Fernando Cataño. Mario Lavista (1943- ) wrote Madrigal (1985), in collaboration with the clarinetist Luis Humberto Ramos, to whom the piece was dedicated. It is a work articulated in two contrasting sections: the first calls to mind the medieval form of the madrigal with the use of a single pedal and two voices, one superior and the other inferior, thus creating an illusion of polyphony within the instrument's monophonic possibilities. The second section, on the other hand, makes use of non-conventional fingerings to achieve different colours of the same note as well as to produce two or more sounds simultaneously. Lavista then re-elaborates this resource, for the piece's conclusion, in an organum, and so, achieves coherence and unity. Elegía (1962) by composer, Manuel de Elías (1939- ), is a piece in a single movement of lyrical nature in which there is a perceived motor impulse from beginning to end. In Imago (1977), the composer liberates the metric and delves deep into the use of technology external to the instrument, in this case the echo chamber, affecting the clarinet's sound. This device provokes in the listener an alternate perception of sounds from the direct source with other moments in which one can detect their reflection. Divertimento (1985) by composer, Gabriela Ortiz (1964- ) and dedicated to Luis Humberto Ramos, is a piece written in a single movement that retains a rhythmic preeminence and that has it's roots in popular music. Although this is one of her earliest compositions, it is possible to recognize -by the construction of phrases and her ample dynamic palette- an efficient combination of technique and intuition. The náhuatl legend of the 'five suns' is the background for the piece titled Macuiltonatiuh (2007), by the composer, Alejandro Colavita (1973- ). This composition was worked closely with the clarinetist, Javier Vinasco, to whom it was dedicated. Macuiltonatiuh is comprised of five continuous movements in a contemporary language that makes use of the extensive gamut of expressive resources in today's clarinet technique. It is possible to discern a search for timbres which, in turn, determine each movement's structure, as well as the overall form of the piece. It is a pursuit that initiates in the depths of the lowest register of the clarinet (shalomuo register) and slides, in continuous ascent, to the instrument's highest limits. Clamoreo (1991) for clarinet and magnetic tape, by the composer Víctor Rasgado (1959- ) is a fragment from his opera Anacleto Morones. Here, the composer carries out a timbrical exploration by combining an acoustic instrument with electronic sounds. It is written in a single movement in which the clarinet presents two motives that persist throughout the entire piece, thus reacting to the changes generated by the tape. Tres Epigramas (1999), for their part, are movements elaborated as independent and self-contained units in which one can appreciate the influences of serialism. The first and third were dedicated to Guido Arbonelli while the second was dedicated to José Luis Nieto Bustamante. Fernando Cataño (1928- ) wrote Llanuras and Ternura in 1957 and 2006, respectively. Both pieces are composed in a single movement in which the inspiration originates from a mystical search undertaken by the composer. Through contemplation, Cataño explores themes related to Mexico's religious syncretism. In these searches, the composer exalts mestizo spirituality within a nationalist frame, and so, demonstrates congruency throughout his pieces with the use of common elements present from his earliest compositions. Up to this point, Llanuras had remained unedited, while Ternura was composed especially for this project. In this recording both pieces make their first public appearance. Cuatro estudios (1975) by composer Jorge Córdoba (1953- ) have a didactic purpose insofar as they develop the musician's technical abilities while exploring different musical elements in each one of them. In the first, articulation works in function of the phrasing, in the second, rhythm is explore by combining measures in simple and compound time, the third fosters perfection of the legato technique, while the fourth contrasts with the previous one, by emphasizing the use of staccato notes. Javier Vinasco is currently one of the most distinguished clarinet players in Latin America. He devotes a significant amount of his work to the interpretation and diffusion of his continent's music, as can be appreciated in his recordings with Música de Cámara Latinoamericana and Cero Records. His warmth and depth of sound, his pure technique and his refined musicality have led diverse composers - among them, Diego Vega, Jesús Lara, Nathan Bounviri and Alejandro Colavita- to write pieces specifically for him. His presentations -including chamber concerts, soloist appearances with orchestral accompaniment, master classes and courses- have been received enthusiastically by critics and public alike in Colombia, Mexico, Argentina, Venezuela, Panama, Italy, the United States, Canada and Japan. Javier holds a Bachelor's degree from Colombia's Universidad del Valle, perfectionism of clarinet studies from the Conservatorio Otorino Respighi in Italy, and his Master's from the UNAM in Mexico City. Throughout his musical career, Javier has studied with Emilio Montoya, Francesco Belli, Roberto Mantilla, and Luis Humberto Ramos.
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    Kosmogonia
    PIANO DIARIES OF A MUSICAL ALCHEMIST Every single composition on this CD represents a time capsule from my life. Each piece I played and recorded on a different piano, in a different city, and in a different period of my life. In all of the pieces I applied the method I call 'preparation in real time'-the personal performance practice I often use in my live performances. It implies using devices, easily movable objects, and different fingerings to temporarily shift the instrument's timbre from that of the piano to that of a harpsichord or clavichord. For instance, in Genesis (2009) and Kosmogonia (Cosmogony) (2005), following the proverb 'necessity is mother of invention,' I came up with a vibrating glove. When placed on the piano strings, the electromagnets stuffed into the glove's fingertips helped create the sostenuto-sounding strings, mockup flute sounds, and bass clarinet I needed. Mappa della Memoria, for acoustic baby grand piano, was recorded live during my recital at the Bogliasco Foundation in Genoa, Italy, where I held a composer's residency in 2004. Based on the eponymous work by the ingenious Italian visual artist Mario Fallini, the Memory Map is a fitting piece to start this album with. Like a traveler who retraces his own footsteps, Fallini draws his version of the iconic medieval allegory of memory, traditionally depicted as a portly matron in elaborate dress, by 'stitching' the titles of his own works in each fold of her sumptuous attire. Sonatina No.1 was composed in 1996 and recorded in 1997 on an upright piano after I rescued it from the local bar and somehow fit it into the kitchen of my studio apartment in Manhattan. I dedicated this piece to Morpho, a large, mysterious South American butterfly with iridescent wings who lives for only a day before being sealed for eternity into a pendant by a jewelry maker. Sonatina No.2 and Sonatina No.3 were composed in 2004 and recorded on an amplified Chinese-made baby grand piano I purchased at a liquidation sale at the San Francisco Opera. In the already-mentioned Genesis, I wondered what it sounded like when God went about making the world. During my college years, while sitting in the symphony orchestra and counting numerous empty bars in my harp parts, I entertained the idea of getting a job in a planetarium. I recalled that fantasy many years later in Kosmogonia, where I explore the ways to depict in sound the mindboggling theory of the ever-expanding universe. This album is dedicated to my dad, Dr. Vladimir Jordano MD. Victoria Jordanova Los Angeles, May 2012 Notes by Dean Suzuki Victoria Jordanova, an American composer born in Kragujevac, Serbia, is probably best known for her magnificent Requiem for Bosnia for broken piano, harp and child's voice. The current CD is her first for piano since the release of the Requiem in 1994. Unlike the Requiem, which exists only as a recording and cannot be performed live (the namesake broken piano no longer exists), Kosmogonia is comprised of works that can be performed in concert. Born in Serbia, a longtime San Francisco resident, and now living in Los Angeles, Jordanova's aesthetic forebears include West Coast American experimentalists and mavericks, Henry Cowell and John Cage. She is inspired by their innovative piano compositions, and especially by Cowell's 'string piano' (when performers bypass the piano's keyboard and play directly on the strings, variously plucking, strumming, rubbing and otherwise manipulating them), as well as his generous use of tone clusters, and Cage's 'prepared piano,' inspired by and extrapolated from Cowell's string piano, in which items such as screws, bolts, bits of rubber and other materials are inserted and wedged between the strings, thus dramatically transforming the instrument's timbre. It should be no surprise that other important influences on Jodanova include Krzysztof Penderecki and György Ligeti, both composers who experimented with and explored sound masses, unorthodox timbres, and unconventional musical textures and techniques. In an undergraduate class taught by composition professor Dr. Jere Hutcheson, Jodanova encountered Penderecki's Kosmogonia (1970) (a work that inspired her own work of the same title found on this CD), Threnody for the Victims of Hiroshima (1960) and Ligeti's Atmospheres (1961). The music left her awestruck. Such inspiration is borne out when Jordanova states that she uses a computer and MIDI-instruments to compose, 'But whenever I really want to test an idea, only the piano will do. I open it, knock on it, touch every part of it, play it inside and out, amplify it to hear it's softest whispers, and present it with all kinds of toys and devices to coax every possible sound out of it. And it always gives back more than I expect, surprising me with new sounds and possibilities.' Jordanova's wide-open ears are on a never-ending quest for new sounds, timbres and sonorities. She says, 'Some of the best times of my life were spent with pianos. I have played many pianos in my life and I've never found one I didn't like. From the old upright, which never could be tuned properly, that I rescued from a local bar and worked on in my Manhattan apartment, to the one that fell down two flights of stairs in the French-American International School in San Francisco, which I used to record my Requiem-all gave me something unique. Sometimes I feel that there is more at play than a mere material object, as in the medieval concept of Anima mundi--a pure, ethereal spirit diffused throughout all nature that animates all matter in the same sense in which the soul was thought to animate the human.' She concludes with a rather cunning and insightful proposal: 'Maybe the piano participates in my compositions as much as I do.' In her Sonatina no. 1 for upright antique piano, Jordanova coaxes beautiful sounds from an instrument that would have horrified Chopin and would be considered beneath contempt by contemporary concert pianists (can one imagine Lang Lang performing on an upright piano, much less an antique one?). Instead of regarding the faults of the antique piano as shortcomings, she views them as opportunities for sonic exploration. Indeed, the Sonatina would be a completely different and much less successful work were it played on a pristine concert grand. Those familiar with the string piano and prepared piano, and with works by composers such as Stephen Scott who also use extended techniques on the instrument, including 'bowing' the strings (for example, strands of rosined nylon fishing line are threaded under the strings then drawn back and forth to excite the strings), will recognized the instrument as a piano, but may be bewildered by the manner of sound generation in Genesis and Kosmogonia. These compositions require a vibrating glove, in which small electromagnets are placed in the fingertips. Jordanova does not insert her hand in the glove to stroke or massage the strings. Rather, she uses the glove as a holder for the electromagnets, which are placed directly on the strings. Further manipulation, including use of the keyboard, sustain pedal and touching the string with the fingers, changes the overtone structure for the purpose of discovering new timbres and advancing the music. The amplification employed in several works on this CD is used only to precisely reveal the subtleties and nuances of the piano, rather than to increase power and volume. By running the sound from the microphone directly into the computer input, the normal recording studio problems of trying to accurately capture acoustic sound are circumvented. The amplification and recording techniques allow the listener to hear everything--harmonics, partials and other acoustic phenomena--in a way that would not be possible using traditional recording methods. As a result, one hears the music differently and in a way that enhances Jordanova's compositions and reveals her special gifts. Dean Suzuki Associate Professor of music
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    Son Et Lumiare
    Review of Son et Lumiere by Gordon Lewin, CASS A CD of familiar fare played with brio and confidence by MP, possessed of an enviable technique and a nimble tongue. The Debussy receives virtuoso treatment, with it's lyric poetry well contrasted with the Gallic scamperings of the Solo de Concours. The tone is warm and expressive, tho' sounding a trifle forced in fortissimo - (recording balance?). Poulenc and Saint Saens are played with panache and great assurance, and full opportunity is taken to explore the more virtuosic passages. Legato sections come over with a pleasing freedom of phrasing, as does the first of the Stravinsky Three pieces. From this point on it is flamboyance all the way. W. Josephs' Sonata, one of the most individually melodic and rhythmic works to appear in the clarinet lists of works in recent years, is interpreted in glittering style. The CD ends with impressively virtuosic performances of Caneval of Venezia, and Flight of B. Bee. These two technically demanding classics positively bubble with exuberance held under fine control. A CD of stature from a fine exponent of the instrument. Review of Son et Lumiere June 2002 issue of 'The Clarinet'. ICA International Clarinettists Association Released in 1996, Son et lumiere features an excellent first recording of Wilfred Joseph's attractive Sonata No. 2 for clarinet and piano, and concludes with two virtuosic showpeices. Brittish clarinetist Martin Powell, born in London in 1962, won a scholarship at the age of 16 to study with Georgina Dobree. From 1981-85 he continued his study with Dobree at the Royal Academy of Music, where he won the Geoffrey Hawkes Prize, the John Solomon Wind Soloist Prize, and placed both first and second in the Nicholas Blake Ensemble Prize. He was also awarded the Leslie Martin Scholarship and a major award from the Ian Fleming Trust. His other teachers have included: Bill Ducker, Richard Addison, Guy Deplus, Thea King and David Campbell. A runnerup in the International Clarinet Congress Competition, Powell has performed in Germany, Austria, France, Italy and Spain. He appeared as soloist with the New English Orchestra performing Mozart's Concerto in Salzburg, Seining and London, and in 1999 he was a finalist in the Haverhill Sinfonia Soloist Competition. Pianist Stephen Robbins studied with Hamish Milne and Alexander Kelly at the Royal Academy of Music. He holds a M. Mus. degree from the University of Surrey. The opening selection is a technically polished perormance of Claude Debussy's Premiere Rapsodie. Powell plays with a well focused sound throughout the instrument's range, adding just a hint of vibrato at times. Andre Messager's Solo de concours, written for the Paris Conservatory's 1899 competition, is one of the more frequently performed pieces of this genre. Much of this performance emphasizes technical brilliance. The 'andante' is beautifully played with a nice sense of rubato. The cadenza is performed with exuberance, and the final 'allegro vovo' flies. Both Poulenc's Sonata (1962) and Saint-Saens' Sonata (1921) are given solid performances by clarinetist and pianist alike. Powell plays with fine control and lyricism in the slow movements and remarkable technical facility in the fast movements. Igor Stravinsky's Three Pieces (1919) are given convincing performances, although the brilliant final piece loses much of it's rhythmic drive and vigor because of the excessively fast tempo. The appearance of an inexplicable piano chord at the end of the first line of the second piece is certainly an error in editing the CD. Wilfred Joseph's compelling Sonata No. 2 was composed in 1988 for Martin Powell, who gave it's first performance with pianist Stephen Robbings at the Harrogate International Festival in 1990. Josephs' Sonata No. 1, Op. 148, composed only a few weeks before this work, was also dedicated to Powell. The works of Josephs (born Newcastle, England, 1927, died 1997) include 12 symphonies, 22 concertos, overtures, chamber music, operas, ballets, vocal works, and more than 200 scores for television and film. His Sonata No. 2 (publishedby Lengnick in 1990) for clarinet in A is approximately 12 minutes in length. Powell and Robbings fully capture the charm of this appealing work in this recording. Together they bring out the lyric beauty the opening 'moderato' with it's broad flowing lines, the rhythmic inventiveness of the delightful 'intermezzo,' and the rhythmic drive of the concluding 'vivo leggiero.' Martin Powell's playing is at it's best in this work. His tone is resonant and well focused, the rhythm precise, and his high register playing is excellent. The work is characterized by long phrases, perpetual motion effects, and a scarcity of rests all handled expertly by Powell. Powell exhibits a fine sense of hubato and virtuostic technical ability in Giampieri's brilliant Il Carnevale di Venezia. The concluding work, The Fight of the Bumble Bee, Transcribed by H.Wl Davis, is played at breakneck speed and displays Powell's remarkable technical facility. While the recorded sound is somewhat bright,the instruments are nicely balanced and the overall quality is good. Program notes are included. Martin Powell is a remarkable clarinetist and I recommend this recording. Review in the Australian Clarinet and Saxophone, Volume 5, Number 1 March 2002 Son et Lumiere Music Concertante MCCD1 Martin Powell - Clarinet Stephen Robbings- Piano The literal translation of this disc's title, Son et Lumiere, is sound and light. Martin Powell set out to break the barriers of both when he considered tempos for the recording. This is not to say that his metronome is permanently calibrated 10 notches above the rest of the world, for he is very good at sustaining interest and line at a slower pace, but he is not reserved when it comes to unleashing his formidable technique through liquidity of tonque and fingers. He is an artist of extremes, often striving toward the limits of dynamic range, tempo ( both slow and fast) and at one or two places, towards extremes of good taste - if such a thing can indeed be measured. For all these reasons I have grown to enjoy this disc, honouring it with repeated listening. The repertoire is a satisfying and mostly familiar compilation, including the Sonatas of Poulenc and Saint-Saens, the Premiere Rhapsodie and Solo de Concours from Debussy and Messager, Stravinsky's Three Pieces and the inherently flamboyant Il Carnevale di Venezia of Giampieri. Concluding the recording is Rimsky-Korsakoff's Flight of the Bumble Bee. A special treat on this disc is the inclusion of Wilfred Joseph's Calrinet Sonata No 2 Op. 149. Josephs' first sonata was written for Martin Powell in 1988. Like Brahms, Josephs loved the sound of the clarinet so much that he began work on a second sonata immediately. Sonata No.2 was prepiered in 1990. The first movement is beautifully enigmatic exquisite lyrical lines that interrupt a recurring darkness. The interplay between Powell and pianist Robbings is excellent. Powell displays some delicate articulation in the buoyant and playful second movement and movement three is infectious and charming. There is on intriguing addition to the performance of Stravinsky's Three Pieces for clarinet solo. Early in the second piece is a random and oddly placed piano chord which had me on the reverse button a number of times. A devilish image comes to mind of someone accidentally leaning on the keyboard during Powell's best take. Not for a second should this oddity overshadow Powell's playing, which is brimming with skill and character, a statement that could be made about his performance in general. He exhibits sensitive softer playing in the Debussy, Poulenc, Saint-Saiens and particularly the Josephs. At the other end, a strident tone was sometimes the result of pusing for mazimum contrast. This desire to push for extremes is exactly why this disc is appealing. The communication between the p
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    Kingdom of Ibbi Obbi
    Stefano Sciascia was born in Turin, on 7th September, 1960. He began studying double bass at the age of sixteen. He soon began playing with various orchestras, including Turin Orchestra della RAI,Claudio Scimone's Solisti Veneti and the Chamber Orchestra Orchestra da Camera di Padova e del Veneto, performing throughout Europe and North America (at the Edinburgh Festival, Wien Musikverein, Amsterdam Concertgebouw, Milano Teatro La Scala, and in Boston, New York, Washington, Los Angeles, San Francisco,...). At the same time he devoted himself to researching new music and transcribing it for double bass, enriching thus his instrument's solo repertoire. In 1994 he recorded his first CD for the record label Rivo Alto: - Opere per contrabbasso e pianoforte G. Bottesini. In the few following years more records were released: 1996 Rivo Alto - Gran Quintetto in do minore e Sonate a Quattro G.Bottesini, G.Rossini 1998 Rivo Alto - Quella Fiamma G.B. Pergolesi, A. Vivaldi, N.A. Porpora, B. Marcello Arie del '700 per contrabbasso e pianoforte 1999 Rivo Alto - Concerto D.Dragonetti, S.Koussevitzky,G.Bottesini 2000 Rivo Alto - Elegie E. Bloch, G. Faurè, F. Poulanc, C. Debussy, ... 2002 Rivo Alto - Songs of the World Canzoni tradizionali da tutto il mondo 2004 Stefano Sciascia Production - Mantra 22.22 Meditazione per contrabbasso solo. In 1999 King Records Japan includes two tracks from "Quella Fiamma" in the compilation" King of Bass". In January 2003 the same record label releases a Japanese version of "Songs of the World" with the title "Contrabbasso!". The record is distributed internationally through multinational companies such as Virgin Megastore and Tower Records. In June 2003 double bassist Yoshihiro Utsumi founded the S.E.J. (Sciascia Ensemble Japan) in Kobe. This ensemble of musicians bearing Sciascia's name is very active and performs throughout Japan. In June 2001 Stefano Sciascia made his debut in the USA: he performed a recital at the Butler University of Indianaplis during the I.S.B. (International Society of Bassist) Convention. Two years later he received a standing ovation at the university of Richmond -Virginia-, during the I.S.B. Convention of 2003. On June 2005 he performed at the Big Hall of Western Michigan University in Kalamazoo, I.S.B Convention . In fall 2004 the magazine "Double Bassist" dedicated a long article to him. The article consists of an interview by editor Maggie Williams and deals with his career, concentrating especially on his release: Mantra 22.22. In September 2004 he was invited in Japan where he taught master classes and played concerts in Tokyo, Osaka and Kobe. He recorded in 2005 a CD dedicated to G. Bottesini, "Adagio Melanconico e Appassionato", and it features the precious collaboration of pianist David Giovanni Leonardi, who has been playing with Sciascia ever since their first recording together, ten years ago. The Sciascia-Leonardi duo has been performing in Italy and abroad since 1994. His Last recording 2007 is a Tale : The Kingdom of Ibbi Obbi . Double Bass and piano with a narrator and a 32 pages booklet with 16 oil paintings . Music by Rachmaninov Chopin Tchaikovsky Mussorgsky Scriabin Saint Saens Popper Jenkinson . He performed at the last ISB Convention,June 2007, a program of Hebrew, Klezmer and Classical Music . Stefano Sciascia is head teacher of the double bass class at the Conservatorio di Musica "G. Tartini" in Trieste. He plays an eighteenth century Italian Bass of the Brescian school.
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    Out of Italy
    Karl Wohlwend's second solo guitar recording, 'Out of Italy,' features music by the composers Francesco Molino, Luigi Legnani, Giulio Regondi, and Marco Aurelio Zani de Ferranti. Though the classical guitar is often considered to have strong associations with Spain, the instrument's deepest roots come from the Italian-speaking lands. This rich tradition of repertoire has been unduly neglected - one doesn't need to dig very far to unearth delightful and masterfully-crafted music that is full of passion, drama and lyricism. Those familiar with the well-worn material of Fernando Sor, Mauro Giuliani, and Dionisio Aguado will find here a pleasant surprise. The recording is best heard in it's entirety, with the tracks played in order. The brief-but-inventive Preludes of Molino make excellent 'antipasti' for the 'primi' found in the dramatic Caprices of Legnani, which in turn, prepare the palate for the most satisfying 'secondi' of the highly refined Etudes of Giulio Regondi. The Opus 11 Caprices of Marco Aurelio Zani de Ferranti have never before been committed to record. These pieces represent the virtuoso repertoire of the 19th century guitar in all of it's flash and glory.
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