Notre monde scientifique est l'héritier de l'oeuvre de Galilée. Et pourtant, trop peu nombreux sont les physiciens qui savent en quoi il faut rendre justice à ce héros de la science. Nul n'ignore qu'a vécu, au XVIIe siècle, un dénommé Galileo Galilei, dont la condamnation reste l'image même de l'injustice et de l'arbitraire. Toutefois, les tribulations de ce génie torturé ont trop souvent occulté les vraies raisons d'une notoriété méritée.
Italian violinist Enrico Gatti has made various recordings of the late Baroque violin repertory with Ensemble 415 and other groups, and his booklet notes, as encrusted with decorations as the music itself, are always part of the attraction. Here he holds forth, in English, French, and German translations of the original Italian, on Giuseppe Tartini's life and career, heading his reflections with an Emily Dickinson poem (unfortunately somewhat less effective in German) and diverging into such avenues as an attack on daily newspaper journalism as it pertains to Baroque music.
Two absolutely superb piano players from different musical worlds: Bruno Canino, as a representative of art music, and Enrico Pieranunzi, as a representative of jazz. Two Americas, the Northern one and the Southern one, and some of the greatest composers from both. To what extent is music beautifully gifted with making a universal language flow out, beyond genres, places, artists, composers, performers? Listening to Americas one is again led to realize that apparent contrasts are actually bonds consisting of irresistible mutual attractions, common points, osmotic relations. The Americas project has been conceived for two pianos intertwining like cultures and musical worlds do. Here, between Canino and Pieranunzi, it matters little who is playing “what” and “when”.