This double album from the Accent label collects two single recordings, one made in Ghent in 1994, the other in Corsica and Frankfurt in 2003 and 2005. The second shares only a few musicians with the first but is essentially made of the same stuff, so you might wonder what exactly is added. The pieces on the second CD are generally longer, more serious, and more intricate.
Ten years after the success of the Neapolitan cello concertos, accompanied by the Ensemble 415 conducted by Caccompanied by the Ensemble 415 conducted by Chiara Banchini (ZZT, here offered as a bonus), Gaetano Nasillo comes full circle with this collection of Neapolitan cello sonatas, a worthy sequel to the previous recording. Best known for its contributions to vocal music, Naples was also one of the birthplaces of the modern violoncello: the programme provides a fascinating overview of the Neapolitan repertoire for the instrument from its onset at the end of the 17th century to the second half of the 18th century.
Matia Bazar is an Italian pop band formed in Genoa in 1975. The original members of the group were Piero Cassano (keyboards) Aldo Stellita (bass), Carlo Marrale (guitar), Giancarlo Golzi (drums) and Antonella Ruggiero (vocals). They represented Italy in the 1979 Eurovision Song Contest with a song called Raggio di luna. Their major hits were Solo tu (1978), Vacanze Romane (1982) and Ti Sento (1985), which peaked the charts in Belgium and Italy.
Countertenor Max Emanuel Cencic has emerged as a new star of the specialty partly through fearless programming, and this collection of Arie Napoletane, Neapolitan arias or arias from Naples, is no exception. There really isn't a "Neapolitan school." Rather, Naples was on the musical cutting edge in the second quarter of the 18th century, and the arias here represent both a classic opera seria style, in the pieces by the massively prolific Alessandro Scarlatti, and music by the composers who pointed the way toward the melodically simpler future of Gluck and eventually Mozart, like Leonardo Leo and Leonardo Vinci. These latter are hardly household names, and Cencic, offering several recorded premieres, renders a valuable service simply by finding and choosing the deliberate and sensuous arias heard here. Moreover, the album's stylistic contrasts play to Cencic's strengths.
For approaching a remarkable quarter of a century Antonio Florio and his colleagues at the Centro di Musica Antica Pietà de’ Turchini in Naples have been successfully breathing new life into the forgotten repertory of the Neapolitan Baroque. Now Florio has made an agreement with Glossa for the San Lorenzo de El Escorial-based label to issue the recordings of the ensemble of singers and instrumentalists, now renamed as simply I Turchini.