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The phoneme is the smallest unit of sound able to form the words of a language. The term 'phonemes' therefore refers to the sounds an idiom uses to compose meanings, the smallest parts into which it can be broken up. There has always been a very close link between language and music. Heidegger defines language as "the house of being" and the mother tongue as the source of our preunderstanding of the world. Language therefore influences thought itself and, as a consequence, also the act of composing music, which is one of it's expressions. In Martucci the structure and the harmony, in Cilea the rich melodic vein and operatic lyricism, in Fano the evolution of harmonic language and of musical declamation, are built on the common ground of the Italian language. Their works, despite the differences, cast their glance towards the same horizon. That of the Country that gave birth to the melodrama, historically known for it's predilection for vocal music and for poetry in music. The integration of vocality and song in the Italian instrumental music of the late 19th century becomes, on this album, the object of interpretative research. The three sonatas are recorded on the prestigious Italian Fazioli F308 piano of the Accademia Nazionale di Santa Cecilia and with the F. Guadagnini 1919 cello, courtesy of Ilie Ionescu.
The phoneme is the smallest unit of sound able to form the words of a language. The term 'phonemes' therefore refers to the sounds an idiom uses to compose meanings, the smallest parts into which it can be broken up. There has always been a very close link between language and music. Heidegger defines language as "the house of being" and the mother tongue as the source of our preunderstanding of the world. Language therefore influences thought itself and, as a consequence, also the act of composing music, which is one of it's expressions. In Martucci the structure and the harmony, in Cilea the rich melodic vein and operatic lyricism, in Fano the evolution of harmonic language and of musical declamation, are built on the common ground of the Italian language. Their works, despite the differences, cast their glance towards the same horizon. That of the Country that gave birth to the melodrama, historically known for it's predilection for vocal music and for poetry in music. The integration of vocality and song in the Italian instrumental music of the late 19th century becomes, on this album, the object of interpretative research. The three sonatas are recorded on the prestigious Italian Fazioli F308 piano of the Accademia Nazionale di Santa Cecilia and with the F. Guadagnini 1919 cello, courtesy of Ilie Ionescu.
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The phoneme is the smallest unit of sound able to form the words of a language. The term 'phonemes' therefore refers to the sounds an idiom uses to compose meanings, the smallest parts into which it can be broken up. There has always been a very close link between language and music. Heidegger defines language as "the house of being" and the mother tongue as the source of our preunderstanding of the world. Language therefore influences thought itself and, as a consequence, also the act of composing music, which is one of it's expressions. In Martucci the structure and the harmony, in Cilea the rich melodic vein and operatic lyricism, in Fano the evolution of harmonic language and of musical declamation, are built on the common ground of the Italian language. Their works, despite the differences, cast their glance towards the same horizon. That of the Country that gave birth to the melodrama, historically known for it's predilection for vocal music and for poetry in music. The integration of vocality and song in the Italian instrumental music of the late 19th century becomes, on this album, the object of interpretative research. The three sonatas are recorded on the prestigious Italian Fazioli F308 piano of the Accademia Nazionale di Santa Cecilia and with the F. Guadagnini 1919 cello, courtesy of Ilie Ionescu.
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