Mario Panseri was an Italian composer and musician born in Rome in 1945. His first self-titled album was released on RCA in 1970. In 1973 came the album "Adolescenza", a suite of music crossing into the progressive realm inspired by a novel called Agostino by writer Alberto Moravia. The critically acclaimed album Adolescenza is a moving piece of music in the soft-prog field, music that will appeal to fans of the beautiful side of RPI rather than the difficult side. Gentle vocals, flute, beautifully played piano and acoustic guitars sparkle throughout. Occasionally a band sound comes in with some electric lead guitar and the bass/drumming will be very tight and well mixed.
Mario Biondi on a hunt for new talent introduces the "talent album: a unique project from the beloved artist who gives space in his new album for other artists, most of them just emerging. "Due" is a double cd of 20 songs (13 of them unreleased until now) featuring collaborations between the catanese crooner and twenty artists of the finest new jazz and talent from Italy and the world.
Hypnotic Beats (1990). The title "Hypnotic Beats", happily, doesn’t mean that this album, Schönwälder’s second since 1990, has something to do with modern rhythms, though, the music is more rhythmic than on its predecessor "The Eye Of The Chameleon". This recording has a great sequence, some nice rhythms, and, on top of this, a lot of atmosphere…
The father of the Baroque period, Johann Sebastian Bach is one of the greatest composers of all time. His works, covering a wide range of instruments and voice types, continue to flourish to this day, forming a core part of musical learning. This special disc brings together the Trio Sonatas BWV525–530, works that originally appeared in a manuscript of works for organ. In this form, the pieces naturally became part of Bach’s teaching – a notable contribution to his oldest son Wilhelm Friedemann’s virtuoso organ technique.
No more than a handful of pieces represent the entire musical heritage for baroque lute by Johann Sebastian Bach – not a lot when we consider the enormity of the composer’s total output. Although it is not known whether Bach himself played the instrument, the seven works which are ascribable to it continue to enjoy extraordinary attention on the part of musicians due to their exceptional quality, and indeed the majority originate from the areas of Germany that were home to the lute’s greatest exponents – musicians who we can be almost certain the composer came into contact with. This recording thus presents four compositions in suite form and three pieces of a different nature, all belonging to the florid repertoire of the courtly Salonmusik that was in vogue among the German upper classes at the time. Performing them is acclaimed Italian lutenist Mario D’Agosto, whose changes in tonality aim to better serve the capacities of the instrument and whose embellishments are testament to the high level of ornamentation which played such an intrinsic role in baroque performance practice.
The Violin Concerto No. 2 ("The Prophets") by Mario Castelnuovo-Tedesco is rarely played, and the Concerto Italiano of 1924 here receives its world premiere on recordings. Chinese violinist Tianwa Yang makes a good case that both should be heard more often. Castelnuovo-Tedesco termed the Concerto Italiano "almost Vivaldian," largely on the strength of the crystalline middle movement; the first movement is a big piece of Romantic heroics.