Music composed by B. Britten, for choir and harp
- A Ceremony of Carols (Britten Benjamin - 1942)
Music composed by B. Britten, for choir and harp
Musica da salotto di L. Spohr e J.B. Krumpholtz
Raccolta di brani con forti slanci e carica affettiva
Musica legata alla realtà di scambio della città di Genova del 6/700, luogo di arrivo di cultura e di scambio con l'entroterra.
Programme in duo with Fortepiano
Selection of baroque Sonatas
Italian Style sonatas of the 18th century
Pieces that will be played during the Australian Tour in the Irish venues
Group of pieces that will be played in the Australian Tour, inspired to "le grazie del violino"
Sonate del '600 Italiano, a violino violone e B.C.
programma con l'orchestra LVB diretta da Ruben Jais
Oratorio dell'Ascensione BWV 11 e Magnificat BWV 243
Johannespassion by J.S. Bach
Matthew Passion by J.S. Bach
Music related to the wedding between Leopold I and Marguerite of Spain
The most famous Beethoven Sonatas, performed with original instruments
The most famous Beethoven Sonatas, performed with original instruments
B minor Mass
Bach B Minor Mass
The Brandebnburg Concertos of Johan Sebastian Bach
Improvisation written and on the spot in the 17th and 18th cent. style
The power of music is strongly tied to its capability to evoke and in doing this it is necessary to find a language which comunicates the profound meaning of the Act of composition, which, independently of the period of composition, always risks becoming formal due to the inherent compromises and conventions implicit in the writing and in the natural process of handing down music through the ages. The programme “Cantabile Duetto” includes some of the most enthralling compositions of the 17th century written by composers that strongly influenced the history of Baroque music. Arparla will search for the energy hidden within the original manuscripts using a language primarily based on Rhetoric in music and the inherent flexibility of improvising between two musicians and between the artists and the audience, all typical elements of the historically informed performance of the Baroque. This is a starting point: historical research and diving into the past to light the spark that today as in the 1600s incites dreams and touches the inner chords with a language that has no limits.
From the Op. 4 by Gregorio Strozzi "Capricci da sonare cembali, et organi"
Arpa "Newtoniana"
Il Concerto è incluso nelle celebrazioni dell'anniversario di fondazione della chiesa di S. PIo X a Monza
16 Sonate in scordatura di H.F.I. Biber sui Misteri del Rosario composte nel 1674
Music by A. Corelli in the anniversary of his death
Concerto per 4 violini
One of the last composition from Vivaldi
Handel Concerti Grossi, Op. 6
Concerto for Flute and Harp by Mozart. Flute: Wilbert Hazelzet
Concerto per violino solista con 2 orchestre, "per la S.S. Assontione di M.V." in Re maggiore
Concerto per la notte di Natale
The 17th of february 2013 it has been performed the 1st and 2nd movement of the Concerto Grosso n 4 op 6 in D major, in the square in front of the Pantheon in Rome, where Corelli is buried.
Music in the Bologna's area during the 17th century
Rameau's opera Dardanus
http://woodendwinterartsfestival.org.au/events/online-broadcast/
Arparla presents a concert where Music is placed alongside the other ancient Liberal arts of Classical Times: Architecture and Rhetoric.
Contextualising music within an architectural space means literally or virtually, in this case, travelling through the narrative of a performance. What is common in all the Liberal Arts is the use of expressive codes of communication.
Arparla, Davide Monti, violin and Maria Christina Cleary on harp, present a concert from the extraordinary 16th century Villa Verità Fraccaroli outside Verona in Italy. They will perform a variety of musical works by composers including Uccellini, Schmelzer, Trabaci, Leonarda, Döbel, Böddecker where music mirrors the historical architectural spaces.
Ad Arparla si aggiunge Alberto Rasi, grande musicista, violista da gamba, in un programma in cui il dialogo tra gli strumenti è ingrediente principale del linguaggio musicale, in un periodo in cui la forma espressiva sta trovando nuove forme sperimentando le possibilità linguistiche e comunicative del gruppo a due voci, violino e basso, accompagnati dal basso continuo realizzato dall'arpa, strumento che permette alla poesia di esprimersi anche nelle raffinatezze più sottili.
Baroque music embraces the passions, manifestly in such vocal genres as cantata and opera, but no less so in purely instrumental music. In this program of trio sonatas two violins create all manner of dialogue — caressing, questioning, duelling — while the bass line ranges from simple harmonic support to active polyphonic engagement.
Il duello tra due maestri dell'epoca d'oro del violino, Lonati e Biber, la scuola Italiana e quella Austriaca
Il programma Prende spunto dal Brano di Paganini ma gioca sul duetto violino arpa, formazione per la quale L. Spohr ha composto molti brani, dato il suo matrimonio con l'arpista Dorette. In particolare il Pot Pourri sul Flauto Magico di Mozart contiene i brani di quest'ultimo che parlano di amore.
Il programma Prende spunto dal Brano di Paganini ma gioca sul duetto violino arpa, formazione per la quale L. Spohr ha composto molti brani, dato il suo matrimonio con l'arpista Dorette.
Il programma gioca sul duetto violino arpa, formazione per la quale L. Spohr ha composto molti brani, dato il suo matrimonio con l'arpista Dorette. In particolare il Pot Pourri sul Flauto Magico di Mozart contiene i brani di quest'ultimo che parlano di amore.
Il programma gioca sul duetto violino arpa, formazione per la quale L. Spohr ha composto molti brani, dato il suo matrimonio con l'arpista Dorette. In particolare il Pot Pourri sul Flauto Magico di Mozart contiene i brani di quest'ultimo che parlano di amore. In parallelo compone un brano descrittivo della relazione tra due persone, dal titolo "Duetto Amoroso"
The programme take inspiration from the name of the piece of Paganini, put beside with Krumpholtz and Beethoven
Salon music of the end of 18th and beginning of 19th century. It take inspiration from the name of the piece of Paganini, but also from the Potpourri Op. 114 composed by Spohr to celebrate his love with Dorette Scheidler, and based on the love themes of the Magic Flute
Arparla presenta un programma come di consueto, su strumenti originali e con una particolare attenzione ad una esecuzione storicamente informata, che possa evidenziare tutte le caratteristiche espressive e comunicative dei brani in programma.
Il titolo del programma, Duetto Amoroso, prende spunto dal brano di Paganini che racconta la vicenda amorosa di una coppia, ma nello stesso tempo rappresenta il solido rapporto tra Louis Spohr e la moglie Dorette, lui violinista e lei arpista. La sonata Op. 115 è una delle sonate scritte da Spohr per lui e la moglie. Non necessariamente amorosa è stata la relazione tra Spohr e Paganini, che pur essendo contemporanei appartenevano a due scuole violinistiche molto differenti.
La musica di questo programma appartiene quindi alla fine del 18° secolo e inizio del 19°, ed è musica che ancora si propone ad un pubblico non di grandi dimensioni (era presumibilmente suonata nei salotti o saloni privati), un periodo d'oro per l'arpa che trova sempre maggior spazio nella musica cameristica (e più tardi in quella orchestrale sinfonica) grazie proprio a personaggi come Krumpholtz e Bochsa (detto il Paganini dell'arpa), che si occupano della sua evoluzione tecnico/stilistica ed organologica negli anni di passaggio tra l'arpa a movimento semplice a quella moderna a movimento doppio.
Arparla will finish recording the complete chamber music of Louis Spohr this season. Mozart was Spohr's musical mentor, and Spohr strived to write with such lyricism as Mozart. Paganini and Spohr were rivals, meeting just once in Venice and represent two very different styles of expression: the former being the last of the great Italian improvisers and show-man, the latter is the leader of the new 19th school of violin playing. Jean-Baptiste Krumpholtz was the most prolific harpist of the 18th century and wrote in a mix of classical and early romantic style.
Musica Barocca al tra affetti e roccamboleschi colpi di scena
Selezione di brani scelti per rappresentare la scuola "retorica" italiana del '600
Programma diviso in due parti, una italiana e una tedesca. Espressione di intensità e proprietà comunicativa tra lo spirituale e il concreto sforzo virtuosistico.
Theatrical expressiveness in the italian music of the XVII cent.
One of the most famous and experimental collection of Baroque Music in Vivaldi's time
The first Opera written in the history of music
Hispanic music
Foot revolution: Rediscovering the lost pedal techniques on the harps in French music of the 18th century
Una bambina Rom a Bergen Belsen, Liberamente tratto dal libro omonimo di Ceija Stoika. Lo sterminio dei Rom negli occhi e nelle parole di una bambina di nove anni, vittima e testimone. Nel racconta di Ceija Stoika l'indicibile emerge con l'immediatezza che è propria dei bambini, l'insopportabile viene accolto e trasformato nel mondo magico dell'infanzia. Con questo "studio per violino e attrice" vorremmo prendere lo spettatore per mano e andare insieme li: a Bergen Belsen in mezzo ai Rom. Crediamo che - di questi tempi - sia un viaggio necessario.
Spettacolo teatrale con l'attrice Antonella Imperatori Gelosa, per la giornata della Memoria
This programme shows the atmosphere around Spohr and his time.
Programma per voce, viella e arpa assieme con Viva Bianca Luna Biffi
Handel's Opera Giulio Cesare
Music for harp at the end of the 18th century
Harmonic Changes in Music of the Classical Era: The Example of the Pedal Harp
For Solo Voices, Choir and Orchestra
The famous Harp Concerto by Handel
Course of historical harp
Programa con musica del '600 italiano.
Programme note
There are stories that begin badly and end well, and others that go the other way!
I leave it to you to discover the ending of this story. After all, when you enter a labyrinth, you never know if you will escape!
Ariadne knew this when Theseus entered the labyrinth. Determined to see the man she loved return to her, she equipped Theseus with a red string with which to retrace his steps after slaying the mighty Minotaur. Like Theseus, we all enter our own labyrinths of life. We must all navigate through their twists and turns, encountering countless adversities. But our journey through our own unique labyrinths alters us. We grow, as we must, to overcome our individual Minotaurs. And maybe, if like Theseus we’re lucky to have an Ariadne of our own, we can retrace our own path with a red string and emerge from the labyrinth stronger, wiser, and more knowledgable than when we first began our journey.
This performance is a labyrinth, and we enter it together! Throughout the concert strophes from Monteverdi's Lamento di Arianna will be played at four different moments – this is our red string to guide us through the programme. These verses connect everything together, but they also tell a story within themselves, a story of tragic irony and abandonment; upon defeating the Minotaur and emerging from the labyrinth victorious, Theseus sets sail without Ariadne. She is abandoned on the island of Naxos. In life, as in the labyrinth, we can never know what lies around the next corner!
Our journey into tonights labyrinth begins with Benedetto Marcello's Overture from the Cantata Arianna Abbandonata. Then, two more pieces will help us build and experience a labyrinth on stage, reminiscent of an ancient initiatory dance.
Composers have been fascinated with the theme of the labyrinth over the centuries. Benedetto Marcello's keyboard piece plays with a twisted music notation, reversing the right hand with the left, putting the performer in a position to lose themselves in the performance. The piece by Johann Sebastian Bach can be now attributed to another notable musician of the same period: Johann David Heinichen. In this piece, the labyrinth is a harmonic one: the piece moves from the key of C major to very distant keys through a series of abrupt modulations before ending in the original key.
Marin Marais’ Le Labyrinthe brings together the harmonic experience, the discomfort of playing in strange keys, and, as a true story teller, describes adventuous walk through a maze, ending with a beautiful Ciaccona, clearly expressing of the positive end of the journey.
The next piece is a Capriccio by Pietro Antonio Locatelli and is one of the cornerstones of Baroque virtuosity. It is no coincidence that its theme is the Labyrinth; the intricate passages, the repetitions of musical phrases and patterns - often in very high acoustic registers – incite the memory of previously walked paths and not knowing how to find one's way out.
But Locatelli's Labyrinth is different from that of Theseus and Ariadne. In fact, by 1550, the architectural structure of a Labyrinth had been transformed from its simple form with only one way in and out (the ‘Cretan’ labyrinth), into a maze of roads and forks in which at every junction one was forced to make choices. Locatelli introduces us to the new symbolic meaning of the labyrinth. The bewilderment experienced is not only created by the loss of orientation, but also by the continuous need to make choices about which path to take. One loses one's reference points, does not know which way to go, retraces one's steps, and by doing so becomes even more lost in this seemingly inescapable maze of choices and mistakes.
The next piece is the moment to look at ourselves in the mirror. Locatelli's Pianto di Arianna, is an opportunity to connect the past with the present, retracing the story that has led us to meet the Minotaurs of today, through the interaction of music, dance and multimedia projection.
What is the solution? Where is the way out?
Art, and in particular Music, offers us in this programme a solution that is suggested by the final piece: it is an improvised piece, in which everyone on stage is asked to take responsibility for the notes they produce, notes that are not written on the score, notes that are sought out and played on the spot, taking care that they blend well with the others, that they create harmony and dialogue, in the pursuit of good taste. Of course, the risk of making mistakes is high, and this may happen every time one takes responsibility, but perhaps it is worth trying. And perhaps, when the string runs out, all we can do is improvise…
Davide Monti
Programme note
There are stories that begin badly and end well, and others that go the other way!
I leave it to you to discover the ending of this story. After all, when you enter a labyrinth, you never know if you will escape!
Ariadne knew this when Theseus entered the labyrinth. Determined to see the man she loved return to her, she equipped Theseus with a red string with which to retrace his steps after slaying the mighty Minotaur. Like Theseus, we all enter our own labyrinths of life. We must all navigate through their twists and turns, encountering countless adversities. But our journey through our own unique labyrinths alters us. We grow, as we must, to overcome our individual Minotaurs. And maybe, if like Theseus we’re lucky to have an Ariadne of our own, we can retrace our own path with a red string and emerge from the labyrinth stronger, wiser, and more knowledgable than when we first began our journey.
This performance is a labyrinth, and we enter it together! Throughout the concert strophes from Monteverdi's Lamento di Arianna will be played at four different moments – this is our red string to guide us through the programme. These verses connect everything together, but they also tell a story within themselves, a story of tragic irony and abandonment; upon defeating the Minotaur and emerging from the labyrinth victorious, Theseus sets sail without Ariadne. She is abandoned on the island of Naxos. In life, as in the labyrinth, we can never know what lies around the next corner!
Our journey into tonights labyrinth begins with Georg Friedrich Haendel's Ariadne in Crete Ouverture. Then, a series of pieces will help us build a labyrinth on stage, reminiscent of an ancient initiatory dance.
Composers have been fascinated with the theme of the labyrinth over the centuries. Benedetto Marcello's piece plays with twisted music notation, reversing the right hand with the left and putting the performer in a position to lose themselves in the performance. The contemporary piece by [...] uses the minimalist strategy of slavishly walking the labyrinth, step by step. The piece by Johann Sebastian Bach can be now attributed to another notable musician of the same period: Johann David Heinichen. In this piece, the strategy of the harmonic labyrinth is used: the piece moves from the key of C major to very distant keys through a series of abrupt modulations before ending in the original key.
The next piece is by Pietro Antonio Locatelli and is one of the cornerstones of Baroque virtuosity. It is no coincidence that its theme is the Labyrinth; the intricate passages, the repetitions of musical phrases and patterns - often in very high acoustic registers – sparking the memory of previously walked path and not knowing how to find one's way out. The two caprices for solo violin at the end of the first and third movements are explicitly marked by this strategy.
But Locatelli's Labyrinth is different from that of Theseus and Ariadne. In fact, by 1550, the architectural structure of a Labyrinth had been transformed from its simple form with only one way in and out (the ‘Cretan’ labyrinth), into a maze of roads and forks in which at every junction one was forced to make choices. Locatelli introduces us to the new symbolic meaning of the labyrinth: the bewilderment experienced is not only created by the loss of orientation, but also by the continuous need to make choices about which path to take. One loses one's reference points, does not know which way to go, retraces one's steps, and by doing so becomes even more lost in this seemingly inescapable maze of choices and mistakes.
The next piece is the moment to look at ourselves in the mirror. Locatelli's Pianto di Arianna, is therefore an opportunity to connect the past with the present, retracing the story that has led us to meet the Minotaurs of today, through the interaction of music, dance and multimedia projection.
What is the solution? Where is the way out?
Art, and in particular Music, offers us in this programme a solution that is suggested by the final piece: it is an improvised piece, in which everyone on stage is asked to take responsibility for the notes they produce, notes that are not written on the score, notes that are sought out and played on the spot, taking care that they blend well with the others, that they create harmony and dialogue, in the pursuit of good taste. Of course, the risk of making mistakes is high, and this may happen every time one takes responsibility, but perhaps it is worth trying. And perhaps, when the string runs out, all we can do is improvise…
Davide Monti
Musica del '600 per soprano violino e b.c.
Inspired by the letter that Beethoven wrote to a secret beloved woman, never identified, this programme highlights the intricate relationships between educated, cultured women of the end of the 18th century. The talented Madame de Genlis was an educator, writer, harpist and teacher of the duchesse d’Orléans. Her book on education Adèle et Théodore was translated and was highly influential in England as a method of education. Sophia Dussek came from the famous Italian Corri publishing family and was married to the pianist Ladislav Dussek. She taught and composed for the harp. Fanny Krumpholtz was the daughter of the composer-harpist Jean-Baptist Krumpholtz and his first wife. In 1790, the duchesse of d’Orléans took care of Fanny, passing her into the care of Lord Hardwicke and she grew up with this adopted family in London and later in Ireland. Fanny was not a professional musician, but left her personal manuscript collection of pieces.
Louis Spohr played chamber music exclusively with his harpist wife Dorette Spohr for fifteen years. This musical collaboration produced the most complex and virtuoso music ever written for the violin and harp. How much Dorette contributed to the composition process may never be known, but her wizardry pedal technique is etched in every bar of Louis Spohr’s music. When the Spohrs lived in Vienna from 1813-15, they personally knew Beethoven. Wenzel Krumpholtz was the uncle of Fanny Krumpholtz, a known violinist and close friend of Beethoven.
This programme links the lives of musicians throughout Europe at a time when musicians and artists exchanged views and ideas, seeking new forms of expression through the most powerful languages: the language of music.
Improvised music
Programma con musica di Haendel con il controtenore Martin Oro, e con il flautista Frank Theuns
Musica da camera dedicata al flauto, violino viola da gamba e cembalo.
Musica di Bach vocale e strumentale, con la partecipazione del flauto
Musica per il divertimento, utilizzando il gioco dell'imitazione, della natura o di altri strumenti o di situazioni comuni dell'epoca barocca.
Cone of Italian music, with extravagant flavors and playful pairings.
Pieces that will be played in the Irish veues douring the Japan Tour 2011
Pieces that will be played in the public concerts in the Japan Tour 2011
Music around the collection of Thomas Jefferson
Musica con l'arpa Single-action
Opera spagnola
Musica italiana dell 600
Compositori: Michelangelo Rossi, Toccate
Tarquinio Merula Sonate
Maurizio Cazzati Sonata.
Info: 340 777 4409
https://www.dalailamavillage.it/
Frazione Promiod, 1B
11024 Chatillon (Ao)
info@arparla.it
Descriptive music with animals and other elements of nature
Come è nata Helicona e cosa nasconde?
Collection of music in the Italian style, in the centre of Europe, before Bach
La sonata propiziatoria, musica del '600 italiano e tedesco
Collection of pieces for solo violin, played in sequences in order to form suite
Collection of pieces for solo violin, played in sequences in order to form suite
Collection of pieces for solo violin, played in sequences in order to form suite
Programma in cui il violino dimostra tutta la sua versatilità.
Programma in cui il violino dimostra tutta la sua versatilità. Il repertorio eseguito si alterna a brani improvvisati con l'interazione del pubblico
Vivaldi's four seasons
Music of the 17th century, full of nuances, affects, improvisation.
Opera di Rameau
Music from the Rosary Sonatas
17th Century Spanish music
Ottavo libro dei madrigali di Monteverdi
Individual and group lessons, about Early Music and Improvisation according to the Historically Informed Practice
Melodramma Tragico in two acts
Repertorio per voce accompagnata da violino e arpa da Inghilterra e Irlanda
Musica in lingua ladina, composta oggi ma ispirata all'antico, con il gruppo Marascogn di Moena, con Fabio Chiocchetti Angela Chiocchetti, Lorenzo Galbusera, Adriano Zanon, Biju Vadagnini, e la collaborazione di Gabriele Micheli e Margherita dal Cortivo
Music for Soprano and B.C. with the soprano Lia Serafini
This programme is to present the new CD of Arparla on the Op. 5 by Marco Uccellini.
This programme is to present the new CD of Arparla on the Op. 4 by Marco Uccellini, and Toccate e Correnti by Michelangelo Rossi
Extract from the Newly released CD UCCELLINI - ROSSI, Sonate Op.4, Toccate e Correnti
Opera d Bellini
Il capolavoro di J. S. Bach eseguito dal quartetto Il Traversiere
Homage to the Guadagnini and his previous owner.
Le opere relative a questa registrazione sono i duetti op. 113, 114 e WoO 27, e i brani per arpa sola Fantasia op. 35 e Variazioni op. 36, prima registrazione assoluta su strumenti originali.
Programma natalizio
Spalla con l'orchestra Musica Reservata
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L'Op. 7 di don Marco Uccellini è dedicata al Cardinale Mazzarini e si intitola Ozio Regio con l'intento di "concedere qualche momentaneo respiro al nobilissimo animo" del Cardinale dopo la sua intensa attività quotidiana.
"Intrattenimento" è un termine involontariamente molto efficace per esprimere l'estetica della musica di questo periodo. La sperientazione, lo spazio all'improvvisazione, l'espressività teatrale, la chiarezza dialogica, rendono questa musica molto diretta e intrattenitrice. Uccellini si trova in un'epoca di transizione tra le due rivoluzioni portate dalla "seconda prattica" di Monteverdi e dalla forza stravagante di Corelli. Questo passaggio è molto evidente i Uccellini, la cui musica è ricca di arcaismi e di nuove sperimentazioni specialmente evidenti nella musica strumentale ed in particolare per il violino dove è stato molto sperimentatore.
All the sonatas from Op. 3
In music, interpretation is a complex science, in which rhetoric is the formula and instinct is the creative component that transforms the execution into a unique and personal result. This talk aims to show the close relationship between the formulas of rhetoric and the consequent expressiveness of the performance.
L'opera di Haendel, Rinaldo
Sonatas by Marco Uccellini dedicated to the Princeps of Modena
Sonatas by Marco Uccellini dedicated to the Princeps of Modena
Sonatas by Marco Uccellini dedicated to the Princeps of Modena
Opera spagnola del compositore gesuita Zipoli
Scarlatti Day
Tutto Schubert
Cantate profane dell'Accademia dell'Arcadia
La Musica e la Donna, programma di musica barocca composta da Isabella Leonarda, suora a Novara
Musica e Fede, programma per violino solo con Elisa Bestetti suonando Biber Passacaglia
Filosofia ed estetica, il pensiero si fa musica, Programma in collaborazione con Ermes Pecchinini al Corno
la matematica e la musica, l'Offerta Musicale in collaborazione con Irene De Ruvo
Sonatas and Partitas for solo violin
A bit of taste of Italian and French baroque music
Il Programma propone elementi cardine dell'estetica barocca: l'improvvisazione e la stravaganza. Il titolo dato al programma è lo stesso della Sonata di B. Marini che prevede nella parte centrale del brano, la scordatura della corda di mi, per riaccordarla poi in un successivo momento.
Programma delle sonate per violino solo dell'Op. 4 di Marco Uccellini e Toccate di Michelangelo Rossi
esecuzione di tre delle "Sei Solo a Violino senza Basso accompagnato"
Maria e Davide saranno saolisti conl'orchestra Wymondham Symphony Orchestra suonando il doppio concertante n° 1 in sol maggiore
Uno sposalizio tra la musica del Seicento e quella contemporanea di Scelsi, Ovsepyan e Beatrice Campodonico, per corno, arpa e voce recitante.
The music of Marco Uccellini is strongly theatrical and this makes the performance highly dynamic and communicative.
A gondolier leads the audience like tourists from a church to another one, from a concerto to another one, singing the “Canzoni da Battello”, Venetian boat songs, and performing scenes from Commedia dell'Arte. The Canzoni da Battello are part of collections transcribed by famous composer (fo ex. Hasse) during their visit to Venice. In Marcello's concerto the solo violin part is re-constructed from Bach BWV 981, by Davide Monti
Lecture about fencing and "the art of using the bow", with historical, phisical and didactical elements that link this to arts together.
Musica inglese del 17° secolo
Concert with the Jacky Ogeil, cembalo and Josie Vains Cello
18th-century Italian music played and printed in the British Isles
L'improvvisazione nell'arpa a movimento semplice
This programme contains a selection of musical treasures found in the library of the Archbishop's Castle, Kromeriz in the Czech Republic
Il programma svela connessioni e variazioni su temi e brani conosciuti nel periodo Barocco, e ne propone diverse varianti. Nella prima parte si utilizzerà l'Aria del Gran Duca o Aria di Fiorenza, come ritornello che intervalla varie sonate. Nella seconda parte questo ruolo verrà svolto dal Ruggero.
This programme contains a selection of musical treasures found in the library of the Archbishop's Castle, Kromeriz in the Czech Republic
Due violinisti a confronto
Music like Commedia dell'Arte
This programme is dedicated to the most prolific composer for the classical harp, Krumpholtz. He was a Bohemian composer, harpist, teacher and foremost an innovator of the harp. He developed several new additions to the instrument,including the soupapes and pédalier, working with both Cousineau and Erard. He encompasses two styles of compositional writing: the early period is a classical one, influenced by the Viennese school (Haydn, Wagenseil) and the second being more free in form, music written to evoke the human passions using operatic devices.
Gossec dedicated this work to Madame Krumpholtz, the most famous player of the harp in Paris and London at the beginning of the 19 th century. Krumpholtz's daughter Fanny from his first marriage was also a harpist and few works of hers survive.
La famosa opera di Monteverdi
Sfida tra violino e cornetto
Le sonate per violino dei maestri della scuola Italiana accompagnati dall'arpa Classica singol-action
Virtuoso Sonatas of the Vivaldi's period in the Venetian area.
il concerto solistico (le 4 stagioni) e la scuola veneta
This programme focus on some between the most beautiful and difficult sonatas for violin and harp ever written. These compositions set a remarkable point in the history of the modern school (technical and aesthetic) of the violin, but even more the technique used in the compositions for the Harpe Organisée (single-action pedal mechanism harp, precursor of the double-action modern harp) by Spohr achieved very high results, rarely obtained by other composers, thanks also to the work side by side with the wife harpist Dorette, companion in work and life. The pedal technique used in this music, and forgotten in the last century, is the core of the just-finished Maria Christina PhD research, with Leiden University (Netherlands). This programme is part of the next recording project of the ensemble Arparl; it will take place in England form the 17th to the 19th of October 2016 with the expertise of Jørn Pedersen as artistic Director, Arne Akselberg as Sound Engineer, and it will be released with the label Stradivarius.
NEW RELEASE - Another Kind of Rossi
Michelangelo Rossi for harp,
Maurizio Cazzati, Tarquinio Merula for violin and harp
Il Labirinto
Programma sul tema del Labirinto
PEGAMUSE
The project Music & Horses with Helicona, HEM and Les Hauts de Corsinge
Biber Rosary Sonatas
Videos of the Mystery Sonatas Recorded during the Pandemic
Doctor Cleary
Title of PhD: Did you want the harp, now go pedaling!
L.Spohr, Geliebte Dorette
Second CD with music by L. Spohr for violin and harp
New Products from Nilak
LET THE MUSIC BREATHE: The cooperation with Nilak is still active and even more interesting for the sale of the new products!!!
TREPALCHI.IT
www.trepalchi.it is a new portal that connect artist with organizers; it shows projects, dates and offers services.
INTERNATIONAL SCHOOL OF IMPROVISATION 2016
Have a look to see what make this Course so special!
BAROQUE SEDUCTION
Follow the link and download a free track from the new CD of ARPARLA with the fantastic music of Marco Uccellini
Tour 2016
La voce del violino
New Video Beethoven
The video live recording of Beethoven' Spring Sonata during the concert of the 16th of June 2014 in Wadern (D)
New Video Krumpholtz 1
Allegro from the Sonata IV in Eb Major, Op 4 for harp, violin, doublebass and 2 horns by J.B. Krumpholtz, live recording, Wadern Germany, 16 june 2014
New Video Krumpholtz 2
Andante from the Sonata IV in Eb major, Op 4 for harp, violin, doublebass and 2 horns by JB Krumpholtz, live recording, Wadern Germany, 16 june 2014
New Video Krumpholtz 3
Presto from the Sonata IV in Eb major, Op 4 for harp, violin, doublebass and 2 horns by JB Krumpholtz, live recording, Wadern Germany, 16 june 2014
New on YouTube!
G. Muffat sonata in D major
Happy anniversary, Corelli!
300 years since his death, 360 years since his birth
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