ICONS IN MUSIC, FONE ENSABLE | Fornaciari, Colonna, Merlini
ICONS IN MUSIC, FONE ENSABLE | Fornaciari, Colonna, Merlini
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Music genre: Classica
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SKU:DSD004
ICONS IN MUSIC
Fonè ensemble
Available in: LP, CD, DSD, Hi-Res Audio
Track list:
Heinrich Ignaz Franz von Biber
Sonata No. 1 The Annunciation in D minor - D minor 6'42"
Sonata No. 10 The Crucifixion in G minor - G minor 6'41"
Sonata No. 12 The Ascension in C major - C major 4'27"
Sonata No. 13 Pentecost in D minor - D minor 6'01"
Sonata No. 14 The Assumption in D major - D major 9'23"
Johann Sebastian Bach
Sonata No. 3 in C major - C major BWV 1005 - Pentecost Sonata"
Adagio 5'33"
Fuga 11'32"
Antonio Vivaldi
Concerto in D major - D major
For the Most Holy Assumption of the Virgin Mary
Allegro 5'04"
Adagio 2'45"
Presto 5'13"
Total Time 1h 3'21"
Note
Leonardo Colonna double bass
Ernesto Merlini, organ
Marco Fornaciari, violin
Conceived, recorded, and produced by Giulio Cesare Ricci
Recorded at the Propositura of San Verano, Peccioli (Pisa)
Recording date November 19, 2005
Neumann U 47, U 48, M 49 tube microphones
Signoricci microphone preamplifiers
Signoricci signal, microphone, and power cables
"The themes to which the icons refer can be ordered into two general categories: portrait icons (for example, portraits of saints, Mother of God of the Sign, Christ Pantocrator) and narrative icons. Some of these subjects have also inspired masterpieces by great musicians. H. Biber (18th century), a Bohemian, lived between Salzburg and Vienna. Considered one of the greatest violinists and composers, he gained great fame for his expertise.
One of his masses for 36 voices was attributed to Bach until the mid-last century.
Some of the "Rosary Sonatas" will be performed, in which Biber describes the mysteries one by one, prescribing a different tuning for the violin in each sonata to better differentiate their spiritual moods.
Numerous icons with similar subjects have been painted over the centuries for those presented tonight.
J.S. Bach needs no introduction. However, the identification that the six sonatas and partitas for solo violin were completed, and the famous Chaconne written virtually impromptu, at a moment of the deepest drama, constitutes a source of new studies (Helga Thone: Chaconne, dance or funerary monument? Leipzig 1994). Returning from a journey, Bach found that his young wife had suddenly died, leaving him with four small children. At this moment, that absolute masterpiece, the six sonatas and partitas for solo violin, took its definitive form in practically a few days. In the sonata in C major, whose fugue constitutes the most complex example of polyphonic mastery entrusted to a monodic instrument, numerous self-citations (musical themes) are present, taken from various chorales previously composed by Bach, all
on the subject of Pentecost, just as in the first sonata the citations refer to the Nativity and in the second to the Passion.
Vivaldi's Concerto dedicated to the Assumption of Our Lady the Virgin Mary is one of two that the author dedicated to this feast (August 15), which was very dear in his Venice.
In contrast to the meditative and profound depth of the previous compositions, extroverted and joyful in character, the evening will conclude with a glimmer of serene Mediterranean brightness."
Marco Fornaciari
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