{"title":"Nikita Magaloff","description":null,"products":[{"product_id":"i-bis-di-nikita-magaloff-magaloff","title":"NIKITA MAGALOFF'S ENCORES | Magaloff","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF'S ENCORES\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003ePiano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1.     \u003c\/span\u003e\u003cspan\u003eCanzonetta del Salvator Rosa (No. 3 from “Années de pèlerinage; deuxième année: Italie”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e2.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"de\"\u003eGnomenreigen (Dance of the Gnomes) No. 2 from “Zwei Konzertetuden”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e3.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"de\"\u003eConsolation No. 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"fr\"\u003e4.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eLa chasse (No. 5 from “Six Grandes Etudes de Paganini“)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eA. ALABIEFF (1787-1851), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"fr\"\u003e5.\u003cspan\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eLe Rossignol (No. 1 from “Deux Mélodies russes”)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eF. SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e6.     \u003c\/span\u003e\u003cspan\u003eImpromptu in E-flat major Op. 90 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"en-gb\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e7.     \u003c\/span\u003e\u003cspan\u003eNocturne in C-sharp minor (Op. posth.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e8.     \u003c\/span\u003e\u003cspan\u003eEtude in G-flat major Op. 10 No. 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"de\"\u003eJ.S. BACH (1685-1750)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e9.     \u003c\/span\u003e\u003cspan\u003eSiciliana in G minor from Sonata No. 2 for flute and harpsichord)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e10. \u003c\/span\u003e\u003cspan\u003eHungarian Dances: No. 5 in F-sharp minor, No. 7 in F major, No. 9 in E minor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eS. RACHMANINOFF (1873-1943)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan lang=\"fr\"\u003e11.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003ePolichinelle Op. 3 No. 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"fr\"\u003e12.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSérénade Op. 3 No. 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan\u003e13. \u003c\/span\u003e\u003cspan\u003eAndante spianato et Grande Polonaise brillante Op. 22\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\"\u003e\u003cspan lang=\"fr\"\u003e14.\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eIntermezzo Op. 117 No. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/wjsxnvgp3h6jz?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBi-microphone configuration with field effect (Fonè Studio).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eRecording engineer: Giulio Cesare Ricci. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eProduction director: Giulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGiulio Cesare Ricci is proud to dedicate this album of \"encores,\" recorded during his recent Italian tour, to Maestro Nikita Magaloff on the occasion of his 75th birthday. The recordings were made at the Teatro Donizetti in Bergamo, the Teatro Grande in Brescia, the Teatro Goldoni in Livorno, the Teatro Manzoni in Pistoia, and the Teatro Comunale in Imola.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cstrong\u003eNikita Magaloff\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a student of Liszt and cousin and professor of Rachmaninoff. He later moved to Paris, where he studied with Isidor Philipp, graduating at the age of 17 with a Premier Grand Prix. On this occasion, Maurice Ravel said of him: \"A great musician, truly extraordinary, has been born.\" He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. His career saw countless significant events, including the first performance of Prokofiev's \"Seventh Sonata,\" the performance of Stravinsky's \"Capriccio\" under the composer's direction, tours in Europe, the USA, Japan, and Israel, and frequent and regular participation in the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), always attentive to the emergence of new talents among the younger generations. He has recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados, and most recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is among the unsurpassed interpreters, a body of work he also presented in cycles of five recitals in all the most important European cities.\u003c\/span\u003e\u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52849151770971,"sku":"DSD8706","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52849151803739,"sku":"HD8706","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8706sleeve_342f6d6e-05f3-4e76-b9e2-3c92431b514f.jpg?v=1776805004"},{"product_id":"nikita-magaloff-pianoforte-magaloff","title":"NIKITA MAGALOFF: PIANO | Magaloff","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNIKITA MAGALOFF\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003ePiano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003eTrack list:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003eAnnées de pèlerinage, deuxième année: Italie\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e1.    \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSonetto 47 del Petrarca\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e2.    \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSonetto 104 del Petrarca\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e3.    \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"fr\"\u003eSonetto 123 del Petrarca\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eF. CHOPIN (1810-1849)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eF. LISZT (1811-1886)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003e\u003cspan\u003e4.    \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003eSix Chants polonais (from Op. 74)\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eMädchens Wunsch\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eFrühling\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eDas Ringlein\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eBacchanal\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003eMeine Freuden\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan lang=\"de\"\u003eDie Heimkehr\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eJ. BRAHMS (1833-1897)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSonata in F minor, Op. 5\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e5.    \u003c\/span\u003e\u003cspan\u003eAllegro maestoso\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e6.    \u003c\/span\u003e\u003cspan\u003eAndante espressivo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e7.    \u003c\/span\u003e\u003cspan\u003eScherzo: Allegro energico\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e8.    \u003c\/span\u003e\u003cspan\u003eIntermezzo “Rückblick”: Andante molto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e9.    \u003c\/span\u003e\u003cspan\u003eFinale: Allegro moderato ma rubato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/gq0m8gaxdisy6?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eon May 21, 1986, at Teatro Grande, Brescia; bi-microphone field effect configuration (Studio Fonè).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eRecording engineer\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eProduction director\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eNIKITA MAGALOFF\u003c\/span\u003e\u003c\/b\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a student of Liszt and cousin and professor of Rachmaninoff. He later moved to Paris, studying with Isidor Philipp and graduating at the age of 17 with a First Grand Prix. It was on this occasion that Maurice Ravel said of him: \"A great musician, truly extraordinary, has been born.\" He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. His career saw countless significant events, including the first performance of Prokofiev's \"Seventh Sonata,\" the performance of Stravinsky's \"Capriccio\" under the composer's direction, \"tours\" in Europe, the USA, Japan, and Israel, and frequent and regular presence on the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), attentive as he was to the emergence of new talents among the younger generations. He recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados and, more recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is one of the unsurpassed interpreters, a work he also presented in cycles of five recitals in all the major European cities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"fr\"\u003eFrédéric Chopin (1810.1849) \/ Franz Liszt (1811-1886)\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"fr\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"fr\"\u003eSix Chants Polonais (from Op. \u003c\/span\u003e\u003cspan\u003e74) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe second \"Year of Pilgrimage\" dedicated to Italy is considered the most important of the three as a whole. The entire Year was published in 1858, preceded by two drafts dating back to '37 and '49 respectively. This recording features the three \u003ci\u003ePetrarch Sonnets\u003c\/i\u003e, whose entry into Liszt's oeuvre dates back to around 1838 as \u003ci\u003eLieder\u003c\/i\u003e for voice and piano, and which were then excellently transcribed for solo piano. \u003c\/span\u003e\u003cspan\u003eOn this occasion too, Liszt reveals exceptional mastery in the art of transcription, understood as an authentic recreation of a new writing and language, in relation to the new expressive medium. Exemplary is the adherence to the poetic texts that sing of the first encounter with the beloved woman (Sonnet 47), the unhappy love and intimate conflicts of the poet's soul (Sonnet 104), and the appearance of the angelic woman as a symbol of ideal beauty (Sonnet 123). 16 Polish songs from Chopin's Op. 74 (S. 480), composed in 1847, were revised and published in '60. They are dedicated to Princess Maria von Hohenlohe, daughter of Princess Carolyne Sayn-Wittgenstein. These are six of the 17 songs that make up Chopin's original work composed between 1829 and '47 and published ten years later. As with Schubert's \u003ci\u003eLieder\u003c\/i\u003e, Liszt's choice falls on texts of greater emotional impact and melodic beauty, which, as always, Liszt knows how to connect with discreet tonal links and subtle transitions of atmosphere. \u003c\/span\u003e\u003cspan\u003eIn the order chosen by Liszt, the Songs are: 1. \u003ci\u003eMaiden's Wish\u003c\/i\u003e, which also opens Chopin's collection; 2. \u003ci\u003eSpring\u003c\/i\u003e (Op. 74 No. 2); 3. \u003ci\u003eThe Ringlet \u003c\/i\u003e(Op. 74 No. 14); 4. \u003ci\u003eToast\u003c\/i\u003e (Op. 74 No. 4); 5. \u003ci\u003eMy Joys\u003c\/i\u003e (Op. 74 No. 12); 6. \u003ci\u003eThe Bridegroom\u003c\/i\u003e (Op. 74 No. 15). Once again, Liszt is appreciated as a transcriber, respecting Chopin's intimacy and maintaining a light hand in the piano writing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eJohannes Brahms (1833-1897) \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eSonata in F minor, Op. 5\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eIn October 1853, Schumann enthusiastically hailed the rising star of young Brahms, then twenty years old, in the pages of the \"Neue Zeitschrift für Musik\". It was precisely during that period that the Hamburg composer completed, by composing the first, third, and fifth movements (the second and fourth had already been composed before the fateful arrival at Schumann's house), his Sonata in F minor, destined to remain his last, as well as the most important of his three for solo piano. The signature \"Kreisler iunior\" at the bottom of the manuscript says much about his moral commitment to continue in the furrow traced by the author of \u003ci\u003eKreisleriana...\u003c\/i\u003e The \u003ci\u003eSonata\u003c\/i\u003e is dedicated to Countess von Hohenthal. The unusual five movements seem to hark back to the archaic tradition of \"\u003ci\u003eDivertimenti\u003c\/i\u003e\". The sequence of movements alternates fast and slow tempi, the latter linked by the identity of the thematic material. And even within the same movement, particularly the first, entirely based on the continuous flowing sound of the passionately vibrant main theme, we discover Brahms already laying the foundations of that particular compositional technique - called continuous development - which would become characteristic of his \u003ci\u003eSymphonies\u003c\/i\u003e. Also evident here, as in the rest of the \u003ci\u003eSonata\u003c\/i\u003e, is the search for an almost orchestral sonic depth. The nocturnal, contemplative romantic atmosphere of the celebrated \u003ci\u003eAndante\u003c\/i\u003e connects to the equally suggestive \u003ci\u003eAdagios\u003c\/i\u003e of the \u003ci\u003eSonatas Op. 1 and 2\u003c\/i\u003e and redeems, with its intense but pure and restrained pathos, the sentimental tone of Sternau's verses preceding it: \u003ci\u003eDer Abend dämmert, das Mondlicht scheint, Da sind zwei Herzen in Liebe vereint Und halten sich selig umfangen.\u003c\/i\u003e (Evening falls, the moonlight shines: here are two hearts united in love, and they remain happily embraced). Verses that reflect the solitary existential moment Brahms was experiencing at the time. The rhythmically distinct \u003ci\u003eScherzo\u003c\/i\u003e is a typical Brahmsian creation, while in the \u003ci\u003eTrio\u003c\/i\u003e, a nostalgic cantabile prevails. Unlike classical tradition, Brahms inserts an \u003ci\u003eIntermezzo\u003c\/i\u003e at this point, as the fourth movement, which he titles \"\u003ci\u003eRückblick\u003c\/i\u003e\" (\"Retrospect, Remembrance\"), echoing, in the darker key of B-flat minor, the theme of the \u003ci\u003eAndante\u003c\/i\u003e. The \u003ci\u003efinale\u003c\/i\u003e, structured as a \u003ci\u003eRondo\u003c\/i\u003e, has a rhythmically sharp main theme alongside which, with a singular effect, are two secondary, lyrically cantabile motives. The second of these motives (in D-flat) will lead to extensive polyphonic and contrapuntal elaboration (even then, these procedures proved congenial to Brahms's severity). Finally, a brilliant coda where the main theme also reappears, concludes this monumental work in a climate of triumphant euphoria. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"en-gb\"\u003eAnna Bergonzelli\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52895726797147,"sku":"DSD8707","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52895726829915,"sku":"HD8707","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8707sleeve.jpg?v=1777489656"},{"product_id":"nikita-magaloff-pianoforte-schubert-magaloff","title":"NIKITA MAGALOFF: SCHUBERT PIANO | Magaloff","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eNIKITA MAGALOFF\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eSchubert Piano\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv itemtype=\"https:\/\/schema.org\/Offer\" itemscope=\"\" itemprop=\"offers\" class=\"product-price h5\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eFRANZ SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSonata in B-flat major D. 960\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e1.    \u003c\/span\u003e\u003cspan\u003eMolto moderato\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e2.    \u003c\/span\u003e\u003cspan\u003eAndante sostenuto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e3.    \u003c\/span\u003e\u003cspan\u003eScherzo. Allegro vivace con delicatezza\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e4.    \u003c\/span\u003e\u003cspan\u003eAllegro, ma non troppo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eFRANZ SCHUBERT (1797-1828)\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e5.    \u003c\/span\u003e\u003cspan\u003eImpromptu in E-flat major op. 90 no. 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/widget.qobuz.com\/album\/lqzyjroyafko4?zone=IT-it\" width=\"378\" height=\"104\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv itemprop=\"description\" class=\"product-description-short\" id=\"product-description-short-760\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eon May 23, 1986, at Teatro Donizetti, Bergamo; two-microphone setup with field effect (Studio Fonè).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eRecording engineer\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eProduction director\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e: Giulio Cesare Ricci\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eNIKITA MAGALOFF piano\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eBorn in St. Petersburg in 1912, he began his studies in Finland (where he had taken refuge with his family after the 1917 revolution) under the guidance of Alexander Siloti, a pupil of Liszt and cousin and teacher of Rachmaninoff. He later moved to Paris, studied with Isidor Philipp, graduating at the age of 17 with a Premier Grand Prix. On this occasion, Maurice Ravel said of him: «\u003ci\u003eA great, truly extraordinary musician has been born\u003c\/i\u003e». He achieved his first international successes with violinist Joseph Szigeti and, after the interruption of the war years, was one of the first artists to play in Paris and then, in 1947, to give concerts in the United States. Numerous significant events marked his career, including the first performance of Prokofiev's «\u003ci\u003eSeventh Sonata\u003c\/i\u003e», the performance of Stravinsky's «\u003ci\u003eCapriccio\u003c\/i\u003e» under the composer's direction, tours in Europe, the USA, Japan, and Israel, frequent and regular presence on the juries of the most prestigious international competitions (Leeds, Warsaw, Brussels, Lucerne), attentive as he was to the emergence of new talents among the younger generations. He has recorded music by Liszt, Tchaikovsky, Weber, Stravinsky, Brahms, Granados, and, most recently, for Philips, the complete works of Chopin, an author of whom Nikita Magaloff is among the unsurpassed interpreters, a work he also presented, in cycles of five recitals, in all the most important European cities.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eFranz Schubert (1797-1828) - \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eSonata in B-flat major D. 960. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe Sonata in B-flat D. 960 is the last and undoubtedly the most important of Schubert's sonatas. From the surviving manuscript, we can precisely determine the date the sonata was completed: September 26, 1828. Less than two months later, on September 19, Schubert would conclude his brief earthly existence. He intended to dedicate these last creations to the celebrated virtuoso J.N. Hummel, but by the time the Sonatas finally saw the light ten years later, Hummel too had passed away. Thus, Diabelli, on his own initiative, dedicated them to Schumann, who had the merit of always believing in Schubert's genius and following the fate of his works (it was he, in fact, who rediscovered the manuscript of the Symphony in C major). This Sonata combines the beauty of its thematic material with a truly surprising formal fluidity. The first movement, with its solemn opening, is one of the broadest and most serene written by Schubert and appears devoid of those strong contrasts that usually characterize the initial movement. It should be noted in this regard that Schubert, even in his best moments, uses a less varied style of writing than Beethoven; his attention to the sonata form is also animated by less \"intellectual curiosity\". Yet, Schubert still manages to be original. In this first movement, for example, he achieves fascinating effects by presenting the theme against a harmonic background that changes each time, with tonal and expressive highlights of great effectiveness. This procedure does not greatly benefit the compactness of the work, but it must be acknowledged that it is precisely a typically romantic symptom to focus attention on a beautiful detail, rather than globally on the formal organization. After this broad and discursive Molto moderato movement, punctuated by pauses and trills in the bass part, recalling distant drum rolls, Schubert in the subsequent Andante sostenuto unfolds his intense lyricism, offering an amplified and solemn version of the Lied \"Ständchen\" (Serenade) written a few months earlier. Of note is the affinity of the motif appearing in the central section with the initial theme of the Sonata (Radcliffe) and, in the first and third sections, the use of the resonance pedal and the crossing of hands that allow different registers and timbres to resonate simultaneously: a technical solution rich in consequences that would extend to the impressionists (Rattalino). Another derivation from the thematic material of the first movement is found in the Allegro vivace con delicatezza (third movement), which is structured as a Scherzo with a rapid and delicate dance-like gait and a more compact Trio that has the appearance of a delightful \"exercise\" with a syncopated rhythm. The finale is a brilliant Rondò in which the vigorous flow of the discourse is periodically interrupted by a single note, a sustained G, which imposes a kind of brake on the main theme. Contrasting insertions are achieved with lyrical interludes and more dynamic and strong passages in the high register of the instrument. The conclusion with a spirited Presto closes this highly original last Schubertian creation which, despite the musical quality of the material with which it is shaped, has sometimes aroused reservations and misunderstandings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cem\u003e\u003cspan lang=\"en-gb\"\u003eAnna Bergonzelli\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52895738397019,"sku":"DSD8708","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52895738429787,"sku":"HD8708","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8708sleeve_9c196cd0-dc1c-45ae-82e3-5ebae1018647.jpg?v=1777490260"},{"product_id":"nikita-magaloff-fryderyk-chopin-magaloff","title":"NIKITA MAGALOFF: FRYDERYK CHOPIN | Magaloff","description":"\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNIKITA MAGALOFF\u003c\/h1\u003e\n\u003ch2\u003e\u003cspan\u003eFryderyk Chopin\u003c\/span\u003e\u003c\/h2\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eAvailable in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003eSonata no. 1 in C minor, Op. 4 \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 Allegro Maestoso [6'04\"] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 Minuet [4'40\"] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e3 Larghetto [3'09\"] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e4 Finale [6'19”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e12 Etudes, Op. 10 \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 in C major (Allegro) [1'55”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 in A minor (Allegro) [1'18”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e3 in E major (Lento ma non troppo) [4'00”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e4 in C sharp minor (Presto) [1'57”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e5 in G flat major (Vivace) [1'32”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e6 in E flat minor (Andante) [3'31”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e7 in C major (Vivace) [1'25”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e8 in F major (Allegro) [2'18”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e9 in F minor (Allegro, molto agitato) [1'58”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e10 in A flat major (Vivace assai) [2'02”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e11 in E flat major (Allegretto) [2'00”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e12 in C minor (Allegro con fuoco) [2'24”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-us\"\u003eTotal time: 46’32” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan lang=\"en-us\"\u003eFRYDERYK CHOPIN (1810 - 1849) \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e3 New Etudes for the Method of I. Moscheles and F.J. Fétis\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 in F minor (Andantino) [2’10”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 in D flat major (Allegretto) [1’41”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\"\u003e\u003cspan\u003e3 in A flat major (Allegretto) [1’32”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan\u003e12 Etudes, Op. 25 \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan\u003e1 in A flat major (Allegro sostenuto) [2’04”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e2 in F minor (Presto) [1’27”]  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e3 in F major (Allegro) [1’44”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e4 in A minor (Agitato) [1’34”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e5 in E minor (Vivace) [2’43”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"de\"\u003e6 in G sharp minor (Allegro) [1’56”]\u003cspan\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan lang=\"en-us\"\u003e7 in C sharp minor (Lento) [4’37”]\u003cspan\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e8 in D flat major (Vivace) [1’02”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e9 in G flat major (Allegro assai) [54”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e10 in B minor (Allegro con fuoco) [3’26”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e11 in A minor (Lento - Allegro con brio) [3’18”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan\u003e12 in C minor (Molto allegro con fuoco) [2’27”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003eWaltz in C sharp minor, Op. 64 No. 2 [3‘03“]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003ePolonaise in A flat major, Op. 53 [6’00”]\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"de\"\u003eNocturne in C sharp minor, Op. posth. [3’42”] \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eTotal time: 45’20” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe height=\"104\" width=\"378\" src=\"https:\/\/widget.qobuz.com\/album\/kfy0ck6yuaxoa?zone=IT-it\"\u003e\n      \u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv id=\"product-description-short-760\" class=\"product-description-short\" itemprop=\"description\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cdiv class=\"WordSection2\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eRecorded at Teatro Grande, Brescia\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eRecording date June 1967\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eRemastering Original mono recording rechanneled for stereo effect by Fonè\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGeneral Producer \u0026amp; Recording supervisor Giulio Cesare Ricci\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eExecutive producer Alessandro Orizio\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eMusic consultant Giacomo Fornari\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eDesign Martino Gerevini\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eEnglish translation ElisonLeaney\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"en-gb\"\u003eFrench translation Edwige Saulnier\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eGerman translation Emma Mitterrutzner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003ePhoto Giornale di Brescia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eLelli \u0026amp; Masotti\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":52895750160731,"sku":"DSD9106","price":30.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":52895750193499,"sku":"HD9106","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR9106sleeveokBelieve.jpg?v=1777490957"},{"product_id":"w-a-mozart-f-j-haydn-magaloff-lonquich-orizio-orchestra-da-camera-del-festival-internazionale-di-brescia-e-bergamo","title":"W. A. MOZART, F. J. HAYDN - MAGALOFF, LONQUICH, ORIZIO, Orchestra da Camera del Festival Internazionale di Brescia e Bergamo","description":"\u003ch1 itemprop=\"name\" class=\"h1 namne_details\"\u003eW. A. MOZART, F. J. HAYDN \u003c\/h1\u003e\n\u003ch1 class=\"h1 namne_details\" itemprop=\"name\"\u003eNIKITA MAGALOFF, ALEXANDER LONQUICH\u003c\/h1\u003e\n\u003cdiv class=\"product-prices js-product-prices\"\u003e\n\u003cdiv class=\"product-price h5\" itemprop=\"offers\" itemscope=\"\" itemtype=\"https:\/\/schema.org\/Offer\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eDisponibile in: DSD, Hi-Res Audio\u003c\/p\u003e\n\u003cp class=\"western\" lang=\"en-US\"\u003e\u003cstrong\u003eTrack list:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWOLFGANG AMADEUS MOZART (1756 -1791) \u003c\/p\u003e\n\u003cp\u003eConcerto in mi bemolle maggiore per due pianoforti e orchestra K 365 \u003c\/p\u003e\n\u003cp\u003eAllegro (10’)\u003c\/p\u003e\n\u003cp\u003eAndante (7’)\u003c\/p\u003e\n\u003cp\u003eRondò. Allegro (7’)\u003c\/p\u003e\n\u003cp\u003eConcerto in la maggiore per pianoforte e orchestra K 488 \u003c\/p\u003e\n\u003cp\u003eAllegro (8’) \u003c\/p\u003e\n\u003cp\u003eAndante (6’)\u003c\/p\u003e\n\u003cp\u003ePresto (4’)\u003c\/p\u003e\n\u003cp\u003ePianista Alexander Lonquich \u003c\/p\u003e\n\u003cp\u003eFRANZ JOSEPH HA YDN (1732 -1809)\u003c\/p\u003e\n\u003cp\u003eConcerto in re maggiore per pianoforte orchestra Hob. XVIII n.11\u003c\/p\u003e\n\u003cp\u003eVivace (8’)\u003c\/p\u003e\n\u003cp\u003eUn poco adagio (7’)\u003c\/p\u003e\n\u003cp\u003eRondò all’ungherese Allegro assai (8’)\u003c\/p\u003e\n\u003cp\u003ePianista Nikita Magaloff\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003ciframe style=\"font-size: 0.875rem;\" src=\"https:\/\/widget.qobuz.com\/album\/kff76xwaoyvfb?zone=IT-it\" width=\"378\" height=\"104\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNote\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecording data\u003c\/p\u003e\n\u003cp\u003eRecorded at“Sala Verdi” del Conservatorio di Milano\u003c\/p\u003e\n\u003cp\u003eRecording date Feb. 21th 1988 “Serate musicali di Milano”\u003c\/p\u003e\n\u003cp\u003eRecording supervisor Giulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eSound engineer Alessandro Orizio\u003c\/p\u003e\n\u003cp\u003eAudio designer engineer Bê Yamamura\u003c\/p\u003e\n\u003cp\u003eTube microphone Numann U-47, Neumann U-49\u003c\/p\u003e\n\u003cp\u003eMixing console Bê Yamamura4.o\u003c\/p\u003e\n\u003cp\u003eAnalogue tape recorder Studer J37 two tracks\u003c\/p\u003e\n\u003cp\u003eDigital tape recorder Sony PCM\u003c\/p\u003e\n\u003cp\u003eCables Van Den Hul\u003c\/p\u003e\n\u003cp\u003eGeneral producer Giulio Cesare Ricci\u003c\/p\u003e\n\u003cp\u003eText Anna Bergonzelli\u003c\/p\u003e\n\u003cp\u003eORCHESTRA DA CAMERA DEL FESTIVAL DI BRESCIA E BERGAMO \u003c\/p\u003e\n\u003cp\u003eNata nel 1963 con il nome di “Gasparo da Salò”, per iniziativa di Agostino Orizio e con la collaborazione della signora Esterina Comini Bozzi, della contessa Maria Bettoni Cazzago, del M° Ferruccio Francescani e di altri amici, è divenuta, nel 1964, il complesso da camera ufficiale del Festival Pianistico Internazionale “Arturo Benedetti Michelangeli”. Successivamente, senza abbandonare il suo compito per così dire, istituzionale, di collaborare con i solisti partecipanti al Festival, l’Orchestra diretta da Agostino Orizio e composta da strumentisti di chiara fama, ha svolto una propria attività in campo internazionale, dedicandosi particolarmente al repertorio cameristico settecentesco e proponendo all' attenzione del pubblico e della critica, accanto alle pagine celebri, musiche inedite o di rarissima esecuzione. È stata ospite, raccogliendo critiche e successi entusiastici, delle sale più prestigiose e più volte sugli schermi della Televisione italiana, rumena, americana, sovietica e polacca. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eNIKITA MAGALOFF \u003c\/p\u003e\n\u003cp\u003eNato a Pietroburgo nel 1912, iniziò gli studi in Finlandia (dove si era rifugiato con la famiglia dopo la rivoluzione del 1917) sotto la guida di Alessandro Siloti, allievo di Liszt e cugino e professore di Rachmaninoff. Trasferitosi in seguito a Parigi, studiò con Isidor Philipp diplomandosi all'età di 17 anni con un Primo Gran Premio. Fu in questa occasione che Maurice Ravel ebbe a dire di lui: «È nato un grande musicista, veramente straordinario». Conseguì i primi successi internazionali con il violinista Joseph Szigeti e, dopo l’interruzione degli anni della guerra, fu uno dei primi artisti a suonare a Parigi e poi, nel 1947, a dare concerti negli Stati Uniti. Innumerevoli gli avvenimenti rilevanti della sua carriera, fra cui si ricordano la prima esecuzione della «VII Sonata» di Prokofiev, l'esecuzione del «Capriccio» di Strawinsky sotto la direzione dell'autore, «tournées» in Europa, USA, Giappone e Israele, frequenti e regolari presenze nelle giurie dei più prestigiosi concerti internazionali (Leeds, Varsavia, Bruxelles, Lucerna), attento com’è al manifestarsi di talenti nuovi fra le giovani generazioni. Ha inciso musiche di Liszt, Tchaikowsky, Weber, Strawinsky, Brahms, Granados e, ultimamente, per la Philips, tutta l'opera di Chopin, autore di cui Nikita Magaloff è tra gli interpreti insuperabili, opera che egli ha anche presentato; in cicli di cinque récitals, in tutte le più importanti città europee.\u003c\/p\u003e\n\u003cp\u003eALEXANDER LONQUICH \u003c\/p\u003e\n\u003cp\u003eNato nel 1960 a Trier (Germania), Alexander Lonquich ha studiato a Colonia con Astrid Schmidt, Neuhaus al Conservatorio e dal 1972 presso l’Accademia di Musica. Fra il 1976 ed il 1980 ha proseguito gli studi ad Essen con Paul Badura Skoda, perfezionandosi in seguito con A. Jasinski a Stoccarda e con Ilonka Deckers a Milano. Dopo alcune lusinghiere affermazioni in Germania, nel 1977 ha vinto il I° premio al Concorso internazionale «A. Casagrande» di Terni, e da allora è ospite ogni anno delle più prestigiose società concertistiche italiane e svolge regolarmente «tournées» all'estero. Si dedica anche con passione alla musica da camera, suonando frequentement~ in Duo con Nikita Magaloff. Paul Badura Skoda, Dino Ascio, Pietro Borgonovo e Michael Faust.\u003c\/p\u003e\n\u003cp\u003eWolfgang Amadeus Mozart\u003c\/p\u003e\n\u003cp\u003ePer la raffinatezza di molti episodi strumentali, l’originalità e la perfezione della forma, l’intensità del suo universo espressivo, questo Concerto in la maggiore, in una pausa alla stesura delle Nozze, appartiene all’aristocrazia dei concerti di Wolfgang Amadeus Mozart e si pone quindi a uno dei vertici della sua creatività. La delicatezza con cui fin dall’esordio si definisce il carattere raccolto del primo movimento, la dolorosa solitudine con cui si dà voce nell’Adagio mirabile, il ritorno alla vita, con un sentore di nostalgia per il gioco, nel finale, caleidoscopico di temi e di ritmi, estraniano questo capolavoro dal genere d’intrattenimento brillante e mondano, per trasferirlo in uno spazio privato, in un ambito ove Mozart si direbbe colloquiare di sé con la musica. Da pochi altri luoghi come da questo Concerto, impariamo che se la sua musica ci appare estranea ai moti dell’abbandono o della confessione romantica, non è per una sorta di pudore dei sentimenti. ma perché in essa vive un’identificazione assoluta fra le parole della soggettività e il linguaggio musicale. Così quella dote ammirevole che è in lui l’assenza di forzature anche quando sfiora luoghi estremi dell’espressione, non è semplice senso della misura, ma epifania di quella identità, che si realizza con una adesione ad altri sconosciuta. Di qui nasce quella ideale autenticità della musica mozartiana che, negandosi a qualsiasi eccesso, trova la via per restituire senz’ombra di meditazione anche le apparizioni più personali e segrete degli stati d’animo. Già anticipavamo come il Concerto prenda avvio sottovoce, in un tono sommesso d’intimità: il tema cantabile proposto all’inizio dagli archi, per una di quelle trasmutazioni strumentali di cui Mozart possiede la chiave, trova subito nei fiati una insospettata, trasparente luminosità. L’esposizione orchestrale si completa con il secondo tema, dal caratteristico rintocco di una nota puntata, e quindi il solista ne ripete fedelmente il percorso, conservandone nella sobrietà di passaggi virtuosistici il tono di delicato lirismo. Al termine dell’esposizione, segnalato -dal tradizionale trillo pianistico, ha inizio uno sviluppo di straordinaria originalità. L’orchestra s’interrompe e propone agli archi un tema completamente nuovo, sognante e meditativo, trattato per imitazione. Per tre volte i legni, intrecciandosi in canone su un’area ripresa di quel motivo, tenteranno il solista, fin quando, finalmente persuasa dai loro nostalgici richiami, il piano unirà la sua voce alla loro. Sembrerebbe un idillio, ma sull’emergere al basso di una nota ribattuta, si apre, breve e improvviso, uno squarcio sulle regioni più oscure della sensibilità mozartiana, sul suo demonismo. Tutto questo se ne va in pochi minuti: ma la musica contrasta il tempo degli orologi ed è capace di concentrare in pochi attimi lunghe durate inferiori. L’Adagio, unica pagina composta da Mozart nella tonalità inconsueta di fa diesis minore, è uno dei luoghi memorabili della sua espressività dolorosa. La melodia iniziale del pianoforte, su di un cullante tempo di siciliana, trae da irregolarità del ritmo e preziosismi armonici, una meravigliosa intensità. É come una meditazione sul commiato, cui l’orchestra replica, scoprendo una sonorità di luce particolarissima, con un non meno struggente canto di consolazione. Il piano, ora si abbandona ai delicati melismi della mano destra, ora indugia su un passo di recitativo, per chiudere, dopo un misterioso intervento degli archi in pizzicato, attardandosi su un'unica nota ripetuta: quasi a voler ritardare l'attimo del distacco. Tipico dell’universo espressivo mozartiano, è che a una pagina così desolata segue un finale esuberante di vitalità e di gioia. Ma sbaglieremo se pensassimo a una volontà di conciliazione, al solo desiderio di ristabilire un equilibrio. Di fronte all’immanenza del dolore, la sua musica non si rassegna e ritrova, sul filo diun’aspirazione connaturata al Settecento, il gusto per riaffermare un sacrosanto diritto alla felicità. Così questo Rondò è un vero fuoco d’artificio d'inventiva tematica, capriccioso e quasi protervo intreccio di danza e di festa. Al suo interno si riserva uno straordinario ingranaggio strumentale: una fase di sei battute, scandita sul moto pendolare della mano sinistra e sostenuta da un pedale dei corni e un’armonia sul pizzicato degli archi. Quasi un immaginario giocattolo musicale, in cui si è cristallizzata l'idea di un universale tempo metronomico. Ben poco sappiamo del Concerto inmi bemolle maggiore per due pianoforti e orchestra K. 365, ultimo fra quelli composti da Mozart prima di abbandonare l’assai poco amata Salisburgo non la data di composizione, da collocare fra il gennaio 1779, subito dopo il ritorno dal disastroso viaggio a Parigi, e la fine dell'anno successivo; né l’occasione per cui è stato scritto. In assenza di dati precisi, taluni tratti stilistici e una qualche allure francese del Rondò conclusivo, inducono ad anticiparne la stesura ai mesi immediatamente seguenti il rimpatrio salisburghese, mentre l’impegno non indifferente richiesto ai solisti, suggerisce l’ipotesi che i destinatari fossero Wolfgang stesso e la sorella. Il rapporto che intercorre fra i due pianoforti, di studiata parità e senza che il primo abbia mai il sopravvento sull’altro, rende suggestiva la congettura di una festosa collaborazione fraterna. Mai, infatti, che uno dei due si arroghi il diritto esclusivo di condurre il discorso: la voce passa fra loro con spontanea naturalezza, ora per completare un tema o per riprenderlo in eco, ora per sostenere uno spunto con un disegno di accompagnamento o per prolungarne una rapida scala nel registro più acuto; quando si appaiano, come nel solennissimo trillo che ne annuncia l’ingresso nell’Allegro iniziale, è alla ricerca di una sonorità più piena e brillante. Così il dialogo, in completa comunanza d’intenti e senz’ombra di sconfinamenti severi nel contrappunto, si svolge di preferenza tra loro e lascia in sottordine gli interventi orchestrali. É una delle ragioni se questo Concerto, gratificato da una gioia di vivere e da una gaiezza un tantino esteriori, si mantiene un buon gradino al di sotto di quel suo parente prossimo che è la Sinfonia concertante per violino e viola K. 364. Il bagaglio di esperienze maturate a Mannheim e Parigi si sente nella sontuosità dell’inizio e nello spessore del primo «tutti», come in qualche efficace sottolineatura dinamica dell’orchestra; ma l’ampiezza della tessitura sinfonica, che Mozart conquisterà proprio in quel torno ditempo, è ancora alle porte. Quasi nessun rilievo ha, in questo primo movimento, l’idea di una elaborazione tematica: il discorso procede grazie al continuo proliferare di nuove idee, non certo per effetto di laboriosi sviluppi. Anche la nota dominante di genuina serenità non ammette intromissioni e si consente solo qualche chiaroscuro: appena un’ombra è, nello sviluppo, una minacciosa incursione a do minore del secondo piano, o l’insolito, repentino passaggio al minore immediatamente dopo la ripresa. Il movimento lento centrale traduce in toni più meditativi e affettuosi, con qualche venatura di malinconia, il clima dell’Allegro. Anche qui la ricchezza d’idee melodiche ne compensa la levità, mentre l’orchestra riserva presenze più rilevate: una deliziosa figura di trilli e note ripetute, o certi lunghi filamenti degli oboi come unico sfondo ai disegni pianistici. Un franco buon umore invade, infine, il Rondò, decisamente il più elaborato dei tre movimenti, con una sostanziosa partecipazione orchestrale in dialogo coi solisti, e una scrittura pianistica propensa alle figurazioni brillanti. Vi si annunciano certi spunti melodici alla Papageno, che dovranno attendere più di dieci anni per rifare la loro comparsa nel variopinto teatro del Flauto magico.\u003c\/p\u003e\n\u003cp\u003eFranz Joseph Haydn \u003c\/p\u003e\n\u003cp\u003eArtefice paziente e tenace di pure costruzioni musicali, nonché autentico fondatore di quei generi strumentali cui tradizionalmente associamo la straordinaria vitalità del Classicismo viennese, Franz Joseph Haydn fu al contrario assai poco attratto dalla forma del concerto solistico. Mentre le sue inesauribili facoltà creative conducono a piena maturazione, e secondo una insospettabile varietà di soluzioni formali, quegli splendidi frutti della seconda metà del Settecento che sono la sonata, il quartetto e la sinfonia, il concerto dovrà attendere Mozart perché le sue linee fondamentali conoscano una prima, e, ben inteso, già superba sistemazione. Basti pensare alle appena trentacomposizioni che consegna a questo ambito, confinandole peraltro, in gran parte, nei primi anni del servizio presso il principe Esterházy, e confrontarne il numero esiguo con gli altri, ben più cospicui, che la sua instancabile avventura artigianaleriservò ai generi prediletti. Al di là dell'assenza di suggestioni esteriori, possiamo azzardare alcune ragioni di questa scarsa congenialità: intanto, è noto come non praticasse da virtuoso alcuno strumento, né possedeva quel gusto per l’esibizione strumentale che una parte non trascurabile gioca negli intrecci fra strumento solista e orchestra. Gli faceva difetto, in fondo, come le sue opere non mancano di ricordarci, quel genio per la strategia teatrale che anche nel concerto tende a regolare l’avvicendarsi del dialogo, e ne configura le diverse dinamiche espressive come per una sorta di commedia strumentale. Ma, soprattutto, diremmo che la nascente forma-sonata, insistentemente esplorata dal suo talento chiarificatore, non era forse ancora matura per esporsi a quelle disgressioni strutturali, a quel proliferare d'idee tematiche che faranno del concerto mozartiano un organismo così poco propenso ad ogni codificazione. Il Concerto in re maggiore per pianoforte (ma all’origine per clavicembalo o fortepiano) e orchestra, scritto intorno al 1783, rappresenta dunque un’eccezione nell’itinerario compositivo haydniano, da collocarsi, insieme all’altro per violoncello nella stessa tonalità, in un periodo in cui egli trascura completamente questo genere di composizioni. Come in altri lavori di quegli anni, la sua naturale propensione per un far musica estroverso e pieno di vivacità, scavalca i riferimenti più diretti a uno stile dotto, in favore di un gusto popolare, di un gesto carico di semplicità e di immediatezza. Una gran fretta anima il Vivaceiniziale mentre il gioco degli sforzando, le successioni dinamiche di piano e forte, o l’intercalare di lunghe sincopi, contribuiscono alla flessibilità delle sue linee elementari. Prevale, su ogni impegno sonatistico, un’aria di schietto divertimento e appena fa capolino, durante lo sviluppo, nel rimbalzare tra la mano sinistra del pianoforte e gli archi delle ultime tre note del tema principale, uno dei principi più saldi del suo procedimento compositivo, quello della elaborazione tematica. Del Poco Adagio centrale si ammirano, più che il tema d’esordio, un po’ convenzionale, un ritmo di sestine suggerito dagli archi e di cui il solista s’impadronisce nelle sue fioriture, e ancor più la suggestiva sezione centrale in minore, dagli inconfondibili accenti mozartiani. E tuttavia, le carte migliori sono tenute in serbo per il finale, un Rondò all’Ungarese, pervaso di figure danzanti irresistibile di scatti e accelerazioni, e crepitante di gustose acciaccature, frutto di quella curiosa commistione fra spezie turchesche e melodie ziganeggianti, che tanto attiravaun esotismo settecentesco ancora non toccato da moderne preoccupazioni filologiche. \u003c\/p\u003e","brand":"Fonè","offers":[{"title":"DSD 64","offer_id":53476101259611,"sku":"DSD8907","price":20.0,"currency_code":"EUR","in_stock":true},{"title":"WAV 88.2kHz · 24bit","offer_id":53476101292379,"sku":"HD8907","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/SR8907sleeve.jpg?v=1782854216"}],"url":"https:\/\/referencemusicstore.myshopify.com\/en\/collections\/nikita-magaloff.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}