Confluencia (2016)

Piazzolla, Passarella, Romero

I Musici

Astor Piazzolla Argentina 1921-1992

“I would be offended if they said that my music is light, trivial. My music is a chamber music that comes from the tango... well, there are a lot of ways to define it. If I were a composer ofcontemporary music, I couldn’t use tango for making the music I make. I can goto a poly-rhythm, to bitonal or tritonal chords, but I can’t go beyond, because I must keep some swing, some sense of rhythm at the base. Then, in the ‘upper’, I adorn it with music. My“audacity”isin the harmony, in the rhythms, in the counter-tempi, in the beautiful counterpoint that two or three instruments can make... And you don’t always have to make it tonal, you can goto atonality also. (From an interview to Gonzalo Saavedra in Santiago July, 1989)

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I Musici

In 1951, twelve young and promising italian musicians, mainly roman and mostly graduates of the at the Accademia di Santa Cecilia in Rome, got together "inter pares" to create a unique chamber orchestra comprising six violins, two violas, two cellos, one double bass and one harpsichord.
They chose the simple, yet nice, name I MUSICI and they deliberately decided to shape the ensemble without conductor. They did so in order to create an egalitarian relationship among the twelve colleagues and friends, which would bring to their music-making a unanimity on technical and interpretative questions. It was a very unconventional but unexpectedly suitable procedure. Notably, maestro Arturo Toscanini, on hearing them rehearsing in April 1952 at the Italian Radio studios, enthused over the young orchestra in front of journalists and musical personalities, and dedicated his photograph to the group with the words “bravi, bravissimi …no! la musica non muore”, (bravo, the music will not die).
A few weeks earlier, on the 30th of March 1952, their public debut was an enormous success at the Accademia di Santa Cecilia in Roma; it was the starting point of an astonishing career, which in a schort time catapulted them among the ranks of the great international performers.
During the course of the years, the musicians have changed, the original members of the group retired but, together with the younger talent that has taken their place, there has always been a generation of “historic” members present who guarantee the tradition and continuity of the orchestra.
At present I Musici are regular guests at the most important international festivals and they carry out an intense concert activity in prestigious theatres and concert halls such as: “G Enescu” International Festival in Bucharest, Colon Theatre in Buenos Aires, Carnegie Hall and Lincoln Centre in New York, the “Spring Festival” in Budapest, Sunthory Hall and Opera City in Tokyo, the Musikverein in Vienna, the Philharmonie in Berlin, Palau de la Musica in Barcelona, Seoul Arts Centre, Boston Symphony Hall, Shanghai Concert Hall, Beijing National centre for the Performing Arts and numerous others.

 

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Confluencia (2016)

Piazzolla, Passarella, Romero

I Musici

    Da capo Schallplatten

"In addition to Jazz and Classical Music, a special passion of Fone chief Giulio Cesare Ricci is the music of the Argentine tango. Some of the best albums from Fone in recent years were devoted to the works of Astor Piazzolla, the founder of the tango nuevo. With "Confluencia", this series reaches a new and very special highlight. So you could translate "Confluencia" (from the Spanish language) to "Confluence". And what's flowing together, the musical energies of two congenial partner first and foremost. On one side stands with "I Musici" one of the most renowned chamber orchestras in Italy. Since its founding in 1951 by students of the famous Acadmie Nazionale di Santa Cecilia. They are twelve musicians specializing on Baroque music. For "Confluencia", we hear soft piano and the cradle step of tango with harpsichord and basso continuo. A true Tango specialist is on the other side with Hector Ulises Passarella. The 1955 born Uruguayan applies not only as one of the world's finest bandoneon player (not for nothing he is obliged frequently for appropriate movie soundtracks), but also as one of the most important Tango composers since Piazzolla. A photo on the back of the album shows the microphone placement, which made it possible to record the airy and spatial sound of strings, and at the same time produce an extremely prominent and detailed bandoneon sound. The sound quality of this LP is pure, it is a feast for every audiophile! And for any Tango fan!"

Da capo Schallplatten[read full review]

Confluencia (2016)

Piazzolla, Passarella, Romero

I Musici

Cables: Signoricci
Digital Converters: dCS
Microphones: Neumann U47, U48, M49
Producer: Giulio Cesare Ricci
Recording Engineer: Giulio Cesare Ricci
Recording location: Auditorium Seraphicum, Rome, Italy
Recording Software: Merging
Recording Type & Bit Rate: DSD64

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SACD145: Confluencia
00:59:33   Select quality & channels above
Tracks.
1.
CANTO DE OCTUBRE, for strings
Piazzolla
00:04:23   Select quality & channels above
2.
TRES PIEZAS BREVES PARA ORCHESTRA DA CAMERA I. Preludio
Piazzolla
00:07:53   Select quality & channels above
3.
TRES PIEZAS BREVES PARA ORCHESTRA DA CAMERA II. Fuga
Piazzolla
00:03:15   Select quality & channels above
4.
TRES PIEZAS BREVES PARA ORCHESTRA DA CAMERA III. Divertimento
Piazzolla
00:07:15   Select quality & channels above
5.
SUITE RIOPLATENSE for bandoneon, strings and piano I. Allegro
Passarella
00:03:40   Select quality & channels above
6.
SUITE RIOPLATENSE for bandoneon, strings and piano II. Corale
Passarella
00:03:57   Select quality & channels above
7.
SUITE RIOPLATENSE for bandoneon, strings and piano III. Fuga
Passarella
00:03:06   Select quality & channels above
8.
SUITE FOR STRINGS I. Fuga con Pajarillo
Romero
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9.
SUITE FOR STRINGS II. Valtz for Clementina
Romero
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10.
SUITE FOR STRINGS III. La fuerza del merengue I
Romero
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11.
SUITE FOR STRINGS IV. Fuga con Pajara pinta bimodal y Seis Numerao
Romero
00:07:09   Select quality & channels above

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