VELUT LUNA

Trátame bien

AUDIOPHILE VINYL - LIMITED EDITION WITH FILE MASTER HD   "Trátame bien"  is a record that captures the mix of emotions with which I wanted to explore the complexity of human relationships, with others and with ourselves. Each topic reflects a sense of vulnerability, the need to be understood and respected. With a fresh and authentic sound, the album plays with various genres, merging modern soundtracks with lyrics that address themes of love, disaffection and self-acceptance. "Trátame bien" is a cry about the importance of respect. It invites you to reflect on how we relate to others, but especially how we relate to ourselves. With sincere and direct words, this act of personal fulfillment is born in which self-understanding and self-respect become the priority. It is also an invitation to break with the standards of beauty imposed by society, a reminder to embrace our authenticity. Yolanda Gó mezzo Carreño

30 ANNI FUORI TEMPO - AUDIOPHILE VINYL

30 ANNI FUORI TEMPO AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus PREZZO SCONTATO A 35€ PER LA PREVENDITA (Consegne previste dal 17 MARZO)   Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis

IL CANTANTE AL MICROFONO - Eugenio Finardi | 45rpm - Double Vinyl

PRE-ORDER IL CANTANTE AL MICROFONO - 2025 - VYNIL EUGENIO FINARDI Double Vinyl 45 rpm Deluxe Limited Edition + File Master HD (numbered limited edition 300pz)   Returns in a new and definitive, spectacular, double vinyl edition at 45 rpm one of the great masterpieces of Italian music of recent years, limited to 300 copies, each with progressive numbering. The recording project Il Cantante Al Microfono bridges the gap between songwriting and contemporary classical music, starting with the great Russian actor, poet and singer-songwriter Vysotsky, who tragically died in 1980, who understood and sang the true soul of his people and was therefore severely opposed by the Soviet regime. His music accompanies with intriguing melodies, now with a Balkan flavor, now with oriental tones, now tracing ancient times of waltzes, the texts sharp and scratchy. From the corpus of his more than 500 songs, Eugenio Finardi and Filippo Del Corno have chosen a dozen titles strongly representative of the ethical, spiritual, political tension and corrosive irony that animates Vysotsky’s work. The songs, already translated into Italian by Sergio Secondiano Sacchi, were orchestrated for the instrumental ensemble Sentieri Selvaggi by Del Corno himself, in a version that highlights the highest poetic and musical quality of Vysotsky’s verses and allows the full deployment of the extraordinary interpretative power of Eugenio Finardi. It is in fact a long time that Finardi joins his activity as the protagonist of the Italian author rock an in-depth and rigorous vocal research work, which will leave those who do not know the path that led him from fado, to his beloved blues, right up to the contemporary classical. The graphics are very refined and curated by Convertino. A project that perfectly fits with the production line that Velut Luna has always proposed: originality in proposals artistically and technically of the highest quality. Eugenio Finardi voce Sentieri selvaggi : Paola Fre flauto Mirco Ghirardini clarinetto Paolo Pasqualin vibrafono Andrea Rebaudengo pianoforte Piercarlo Sacco violino Paola Perardi violoncello Carlo Boccadoro direzione Sergio Secondiano Sacchi traduzione italiana Filippo Del Corno orchestrazione L'opera ha vinto la Targa Tenco 2008, nella Sezione interpreti di canzoni non proprie   Live-In-Studio Analog Recording, mix and original mastering made at Magister Recording Area studio, Preganziol, Italy on December, 18 - 22, 2007 Analog re-mastering made at VLS Studio, Naquera, Spain, on November, 4, 2024 ANALOG RECORDING: RTR Soundcraft Saturn 24 tracks / 2" tape at 76cm/sec recording speed ANALOG MIX & MASTERING: RTR Studer A820, 2 tracks, using 1/4" tape at 38 cm/sec recording speed ANALOG RE-MASTERING: Maselec Analog Mastering Suite (MLA-2 / MEA-2 / MPL-2) to RTR Studer A810

SE POTESSI AVERE...

Patrick Trentini conductor / Giuliana Beberi vocal / alto, tenor saxes / Luca Merlini vocal 24 Bit / 96 kHz / 24 tracks Original Recording: Studio Magister Sala A on April 8, 9 - 2004 Preganziol, Treviso (Italy) "Se potessi avere" an orchestra of the 40s still playing today. Songs from our italian memories: Mille lire al mese, Parlami d'Amore Mariù, Ba Ba Baciami Piccina, Ma l'Amore No, La Strada nel Bosco and many others presented exactly like they were by Giuliana Beberi and Luca Merlini with the New Project Orchestra directed by Patrick Trentini.

30 ANNI FUORI TEMPO - GOLD CD

30 ANNI FUORI TEMPO GOLD CD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis

LIFE - Roberto Jonata

LIFE - Roberto Jonata (CVLD383) All music composed by Roberto Jonata, except for track 12 “Carry On… Jon” by Ritchie Blackmore Roberto Jonata plays on Steinway & Sons D274 Concert Grandpiano tuned by Silvano Zanta The collaboration between VELUT LUNA and Roberto Jonata, which has been in existence for over ten years, continues today offering his vision of "Life", through his extraordinary compositions, immersed in the world of international minimalism, but characterized as always by the presence of a strong melodic vein, distinctive sign of the musical poetics of the composer and pianist veneto.. Extraordinary music combined with the latest refinement of piano recording technique that Marco Lincetto continues to implement, achieving an end sound quality more remarkable. 88.2kHz / 24bit Digital Recording, made at Magister Area Studios, Preganziol, Italy on September 10, 2024 Analog mix and mastering made at VLS, Naquera, Espana on October, 25, 2024 Production: Velut Luna Executive producer: Marco Lincetto Musical producer: Roberto Jonata Balance, mix and mastering engineer: Marco Lincetto Pro Tools recording engineer: Andrea Valfrè Photos: Marco Dal Maso Design: Nadia Fattori Layout: L'Image  

Libero Arbitrio - GOLD CD

Libero Arbitrio - GOLD CD Gold CD Libero Arbitrio - Amos Ghirardelli (CVLD382) CD 24k Gold+ HD FILES FOR THE WHOLE PERIOD OF THE PRE-SALE* *the files will arrive on your email with a sending after order confirmations Available from: 02-11-2024 This is a pre-order product. Once it will be available in stock, your order will be shipped. The first album of Amos Ghirardelli, 63 years old with forty years of musical career behind him. And it’s a record that opens the heart to lovers of the great PROG, descending by direct line from the great furrow drawn by the big English and Italian groups in the first half of the 70s. It is an excellent music, performed in a sensational way by amazing musicians and that revolves, as tradition requires to these projects, around a precise "concept" which is perfectly summed up in the title of the album, FREE WILL, as well as in the lyrics sung at the end of the long initial suite that bears the title of the album

ITALIAN MUSIC FOR GUITAR AND PIANO - GOLD CD (with free 2015 CD version)

New remastering of the CD ITALIAN MUSIC FOR GUITAR AND PIANO (you will receive the free CD of 2015 and so you can discover the sound differences between the two editions) ITALIAN MUSIC FOR PIANOFORTE AND GUITAR It is generally believed that the union between pianoforte and guitar presents a complicated rebus for composers and musicians alike: the acoustics and approach of these two instruments make them too unbalanced to be blended, too different in levels of volume and too divergent in their "thought processes" or construction of harmonies. In short, when played together, the pianoforte and guitar tend to prove almost incompatible. Furthermore, if the guitar lacks amplification support, even at a minimal level, the pianoforte needs to be played almost always with extreme delicacy. Despite these factors and the usual perceptions, many composers, above all in the twentieth century, have achieved splendid results with the masterful use of the ‘full’ and ‘thin’ sounds of the respective instruments, by paying particular attention to a non-conventional dialogue between them, subtle composition and, of course, a good dose of instinct, which is never a bad thing. The disk in your hands proves these triumphs and contains a collection of original works for guitar and pianoforte composed between 1950 and today, both from renowned and less renowned Italian composers. The journey begins back in 1950 with one of the composers whose name, intentionally or not, is synonymous with the guitar, namely the Florentine Mario Castelnuovo-Tedesco (1895-1968) who wrote Fantasia op. 145 in two brief witty movements dedicating it to Andrés Segovia and his pianist wife Francesca ‘Paquita’ Madriguera Rodon. A miracle of balance that recalls the inescapable French influences while displaying its exuberant and personal inspiration from opera, it oscillates between an atmosphere that pays homage to Spain and an entirely Italian, or rather Tuscan lyricism. Another two-part composition entitled Fantasia consists of a single movement written in October 1979 by Brescian composer Franco Margola (1908-1992), that was dedicated to the duo formed by guitarist Guido Margaria and his wife, Emilia. Although this quiet, neo-Baroque piece does not integrate the two instruments to the same level as that of Mario Castelnuovo Tedesco, it still succeeds in creating a dialogue between the two instruments, cleverly alternating rather than overlapping the two sounds. From a stylistic viewpoint, Margola drifts between hints of Bach and pleasant flashes of eighteenth century Italy. Another track dedicated to the Margaria duo is the short piece entitled Improvviso, composed between November 1979 and the spring of 1980, not too different from the atmospheres of the former track, making it seem like an appendix in triple time that mixes the initial mazurka with a persistent neo-Baroque ensemble. Fantasia is yet another piece dedicated to the Margaria duo, and was written in 1980 by Carlo Mosso (1931-1995), who spent his early years in France before settling in Piedmont. This piece is meditative and restless, rigid, rich in archaisms yet at the same time modern and intentionally rough, built on a handful of melodic cells that are linked together and in certain points are reminiscent of the works of Frank Martin from Switzerland and the popular Italian composer Gian Francesco Malipiero. The piece entitled Divertimento a due was composed by Padua-born Adrano Lincetto (1936-1996) and is divided into three movements (Molto lento. Poco mosso – Allegro molto – Finale. Molto moderato and cantabile. Allegro vivo). Beyond any doubt, it is less enigmatic and a far cry from modern and postmodern complications, in its intricate modal style with numerous seventh chords. This rich compilation ends with two tracks that were written specifically for and dedicated to Lapo Vannucci and Luca Torrigiani. Il silenzio del tempo by Turin composer, Luigi Giachino (1962), was written in 2015 and is a suite in four movements, with notes of jazz and whispers of other, almost impressionist styles. In a six-minute track, the totally different Winter Time, written by Sicilian composer Giuseppe Crapisi (1967) proposes a blend of bold, repetitive and headstrong gestures typical of a minimalist yet more melanchonic style. In this case, the two instruments rarely alternate but often blend their sounds, now delicate, now rhythmic, in a largely contemporary key. Ennio Speranza    

MEMORIES OF TOMORROW - Pietro Ballestrero Davide Liberti

Memories Of Tomorrow (CVLD389) Pietro Ballestrero, classical guitar (made by Paulino Bernabé) Davide Liberti, double bass On January 24, 1975, Keith Jarrett sat down at the piano in the Opera House in Köln, closed his eyes and started to improvise. What came out of his hands in the following hour became one of the most beautiful recordings in the history of jazz. On the afternoons of January 4 and 5, 2025, we played two live-in-studio sessions, dedicated to him, and inspired by his music, which we love deeply. Memories of Tomorrow is the encore of the Köln concert. Tracks 1,3,4,6,8,11 are our own improvisations, conceived around the harmonies of Jarrett’s solo performances.   Marco Lincetto production for VELUT LUNA HD Digital Recording by Pietro Ballestrero and Davide Liberti strictly live in studio in Torino on January 4th and 5th, 2025. Analog Mix and Mastering by Marco Lincetto at VLS Home Studio, Valencia, Spain, on January, 30, 2025 Cover photo by Marco Lincetto Design by L’Image

Le radici di una intolleranza

Le radici di una intolleranza   This is a record that arises from the need of an intellectual, who is also an artist, a musician, to explore the malaise of today’s society, increasingly aimed at forcing humanity to a future oppressive individual freedoms and critical thinking, dystopian deep down: a future that is actually already there. Antonello Cresti then presents his own path of analysis of his own matured intolerance, which ends up indicating common criteria to all people still endowed with free thought and yearning for true freedom, in an ideal democratic society, increasingly elusive image in the mists of totalitarianism, ideals and actual, today increasingly dominant. Regarding the compositional style, we report the words of the author himself: "Since I never liked to take myself too seriously, and since I learned from Battiato the technique of quotationism, all these songs are crossed by references to the "sound space" of my adolescence, and references emerge to Carmen Consoli, Bluvertigo, Litfiba, and again Sex Pistols, Manu Chao, or the same Battiato... These six songs may not contain the me of today, but it is certain that I contain them. And it is a beautiful sense of continuity"

L’UCCELLAJA

L’UCCELLAJA Music inspired by the birds singing between the 17th and 18th centuries Mario FOLENA Roberto LOREGGIAN Francesco GALLIGIONI   Celebrating the beauty and inspiration of birdsong is the aim of this anthology of 17th and 18th century compositions dedicated to the voices of winged creatures. The CD takes its title from the Divertimento per cembalo in which it expresses a Uccellaja by Alessandro Speranza and includes 20 songs - selected with care - of the baroque and rococo era. The first piece, previously unpublished page of G. Ph. Telemann, opens with two notes (re - si) that are repeated enunciating the call of the cuckoo. This incisive musical motto, able to carve itself in our auditory memory, introduces the following tracks, dedicated in order to: cuckoo, swallow, dove and doves, roosters and hens, nightingale, various songbirds and goldfinch. Between '6 and '700 in the French instrumental suites (but also in the German ones) it was frequent to meet movements with a title with a specific programmatic intent. From these suites (composed by Daquin, Corrette, Philidor, Schmelzer, Boismortier and Naudot) are taken the songs dedicated to the singing of birds. Many Italian musicians, such as Poglietti and Speranza, were also inspired by the song of birds: three pages of great expressive power are presented for solo harpsichord by these authors and an Anonymous. The aria of Galuppi Qual colomba afflitta has come to us only as an instrument. It is part of a ponderous collection of opera arias, published in London in the mid-18th century by John Walsh, selected and transcribed for traversiere and basso continuo by Carlo Maria Broschi (1705-1782), the famous castrato called "il Farinelli". At the time it was still common practice to perform vocal compositions - such as opera arias or cantatas, French brunettes or boat songs - in a simple instrumental role, as was the case in the Renaissance era: a rooted traditional practice with which it was decided to perform the arias Usignoletto bello by Vivaldi and L'augellin trà verdi fronde di Conti. Handel’s piece As when the dove laments belongs instead to a collection of transcriptions for traversiere and harpsichord, also published by J. Walsh in London. Within this free form of performance there is also the aria Porquoy Doux rossignol by the composer Jean-Baptiste de Bousset (1662 - 1725), a very popular piece at the court of the Sun King. It is a magnificent aria that Jacques Hotteterre transcribed for traversiere and basso continuo, contributing to its fame and diffusion. The Delightful Pocket Companion for the flute, from which is the Polonese by unknown author here performed on the flute of love, is a pocket handbook in several volumes published in London - without date - by Robert Bremnen. Inside are collected hundreds of original songs and transcripts intended for the numerous amateur flutists, increasingly greedy for repertoire for their instrument. The theme of this Polonese, Polish dance movement in three quarters, is the clucking of the hen, so much so that with a play of words could be renamed Pollonese. The CD ends with the famous Cantabile from the concert Op. X n. 6 "Il Gardellino" by Antonio Vivaldi, whose pure and linear melody comes in this CD flowered, during the refrains, in the same capricious spirit of the song of Alessandro Speranza: and so, in addition to the typical harp call of the goldfinch, you can hear the imitation of a myriad of chirping birds, tribute to the greatness of Nature, with a blaze of notes and sounds that has the intent to transport us in a world of emotions and beauty. Mario Folena  

Sergej Rachmaninov - Études Tableaux

Sergej Rachmaninov - Études Tableaux INTRODUCTION BY EDWARD BROTTO The Études Tableaux, miniature-masterpiece of extraordinary harmonic beauty, form, writing, synthesis, images that are able to evoke and...of an extraordinary musical and technical difficulty. I don’t want to add anything else, the music is wonderfully descriptive and it is right that the listener creates his own worlds and perceives the paintings that each piece paints. Although the repertoire is known to fans, this is a particular record and, contrary to the standard, I’ll tell you in person. I didn’t have the courage to play the Études even when I was a full-time pianist, despite the fact that I had Rachmaninov’s greatest works on hand, including his formidable third concert. I thought instead of studying and recording them when life became much more complex; engineer by day, pianist by night. I don’t want to lie by saying that reconciling the two is easy, it isn’t. Playing at the recording level is already a big challenge in itself, adding a complex everyday work makes it all exceptionally trying. These lines serve as a context to the fundamental concept that I would like to pass on to those who read these words: it is possible to set oneself and achieve objectives that seem impossible in an already more than full life context. And I say that because it’s worth it, whatever you choose. The challenges, won or lost, give us invaluable lessons first of all on our ego, on our limits that will prove to be wrong, and then give us a magnificent wave of new knowledge, wide spectrum. What is needed is a good dose of stainless will, a predisposition to resist fatigue, sometimes suffering, and never be distracted from the primary objective. And another thing I write, never be content to learn, study, challenge, improve. Because satisfaction is the death of desire. Now, coming to the particularities of this record, let’s start with the fact that the piano used for the recording is my personal: a wonderful Bechstein D282 that I call Albus. A dream of a lifetime, lasting more than twenty years, come true. Albus was delivered to me directly from Berlin this April (2023) and its opening was the recording of this record. The preparation and tuning of the piano for the recording, I personally edited it. Another peculiar fact is that I recorded this record. By this I mean that the work of sound and balance engineer (microphone positioning, balancing, acoustic treatment and recording) I did personally. I had in mind a shot that was as faithful as possible to the sound of the instrument, extremely detailed and precise, with particular attention paid to obtaining a perfect sound image. The choice inevitably fell on electronics of absolute excellence and the characteristic of a linear frequency response and neutral tone: microphones Sennheiser and Schoeps, omnidirectional and sub-cardiodes for a great presence and crystal clear, preamplifiers Millennia and Rupert Neve that guaranteed the least possible alteration of the native signal, signal cables at the height of the components mentioned. This too is the result of years of study, experience and mistakes; a dutiful thanks to the precious teachings of my producer Marco Lincetto to whom I then left the finished traces. In the expert hands of Marco I entrusted the delicate mixing and mastering phase, strictly in analog chain, as I like. The result is a recording with a natural sound and great impact that, with a well built system, makes you enter the piano in the house, in all its glory. Regarding the choice of songs and their order, I had been intuitively imagining this exact sequence for a long time. It is a path of sounds and images that in my head has developed just like that, which I particularly love and therefore, would not need further illustration. Nevertheless, I add that as a person who naturally perceives and imagines abstract worlds, beyond the images that these scenes evoke, their sequence, to explain it in understandable words, reminds me of a beautiful iteration of sinusoidal functions in three spatial dimensions and a temporal one, translatable into a sheet of pure space that moves sinuously, sometimes wrapping you, interspersed with moments of great impetus to others of deep reflection, sometimes dismayed, but in any case intimate. In the face of the complete recording, having extracted these twelve passages in this exact order, did nothing but confirm that intuition had long ago. I recommend a yarn listening to better understand the above. Rachmaninoff and I. You could dedicate the whole libretto just to this theme. Simply, to conclude, his music is my soul mate in music. I’ve spent the last 15 years studying and playing his plays. His language is so much part of me that I recorded a whole record (Within & Without - Homage to Rakhmaninov) that collects a series of my original compositions dedicated to the great master. With this instead, I want to pay tribute to him again playing his music, to celebrate the 150th anniversary of his birth.

PIZZICHI E SOSPIRI - SACD

CLASSICAL. Original composition by A. Lincetto. I Solisti di Venezia. Gianni Guglielmo first violin / Enzo Caroli, flute / Alessio Benedettelli alpenhorn / Andrea Bressan, bassoon / Alessandro Bono, guitar / Ugo Orlandi, mandolin. DSD Multi-channel native recording, at Biblioteca Abbazia Carceri d' Este, Padova (Italy)March, 2003 SACD HYBRID, STEREO, MULTICHANNEL PLAYS ON ALL CD PLAYERS AND ALL SACD PLAYERS The first Super Audio CD by Velut Luna, a real work of art. The stereo high definition and multi-channel emphasizes the silky, romantic atmosphere and the magic that this Paduan artist and the Solisti di Venezia, the performers of his notes, confer to the record. A tribute to the great Adriano Lincetto, a master of interpreting human feelings.

MAKING WHOPEE - SACD

Original compositions by O. Del Barba and R. Caporale; G.&I. Gershwin; Hammerstein; Rodgers; Kahn; Donaldson and others. Orchestra di Padova e del Veneto, conductor Oscar Del Barba; Coro da Camera del Concentus Musicus Patavinus dell'Università di Padova, conductor Fabio Framba; Rosella Caporale, voice; Delio Caporale, voice; Fausto Beccalossi, accordion; Antonio Zambrini, piano; Achille Succi, bass clarinet and alto sax; Oscar Del Barba, piano; Caterina Bergo, harp. 24bit/88.2kHz digital recording at Auditorim Pollini, Padova on June 2006 and at Magister Studio, Preganziol on July 2006  This CD represents an aim for Oscar Del Barba, one of the greatest composer and arranger in italian jazz survey. Oscar Del Barba realized eight new arrangements of great american classics (Making whopee, Speak low, Someday my prince will come...) and five new pieces for symphony orchestra with the contribution of Antonio Zambrini on piano, Robert Bonisolo and Massimo Salvagnini on sax, Fausto Beccalossi on accordion and Caterina Bergo on harp. Recorded live at Auditorium Pollini in Padua, in high definition and multichannel.

LEGENDE - SACD

Classical: original compositions by Sarasate, Paganini, Wieniawski, Bazzini. Giovanni Angeleri, violin; Orchestra delle Venezie. 24bit/96kHz digital recording at Duomo Vecchio, Monselice, Italy 2001. This SACD is one of the rare occasions to appreciate the great Paduan violinist on CD. In this production Angeleri is also conductor of the prestigious " Orchestra delle Venezie". The musical program is fascinating and sprightly. The central theme is the contamination between melodies and rhythms of popular music. You can appreciate gypsy echoes in Sarasate's "Fantasy over the Carmen" and "Gypsy song", then the famous Paganini's variation of "Venetian Carnival" and also Bazzini's "Round of sprites". Then two Wieniawski's compositions: "Legende" and "Polonaise de Concert". This is SACD HYBRID MULTICHANNEL. It can be played in a normal player CD stereo.

Tchaikovsky: Violin Concerto, Op. 35, Méditation, Op. 42 - SACD

Pëtr Il'ič Čajkovskij (CVLD241) Violin Concerto, Op. 35; Méditation, Op. 42 Tchaikovsky's Concert for violin and orchestra op.35 is undoubtedly one of the most renowned concerts for violin and orchestra ever composed in all music's history . This Velut Luna edition has as absolute protagonist Giovanni Angeleri, far famed virtuosist, winner of the major "Paganini Competition" of Genoa. In this case Angeleri is also director, on the rostrum of the prestigious "Orchestra delle Venezie", which he have been able to mould  in a surprising interpretation that still shows new tones of this score so very much fascinating and absolutely  immortal. The interesting "Méditation for violin and orchestra" completes the project, which comes directly from the first draft of the Andante of the Concerto, in the version for violin and piano, then substituted by the second draft - the canzonetta. In this CD Giovanni Angeleri presents a personal review, which keeps faithfully to Tchaikovsky's original piano text. The recording of this SACD has been purposely realized in double version - stereo and multi channel - as well as  the final mixing. As always, the technical quality of  Marco Lincetto's work deserves the classification of "excellent" on all the parameters.  TCHAIKOVSKY, Violin Concerto Giovanni Angeleri, Orchestra delle Venezie VELUT LUNA CVLD 241 SACD stereo and multi-ch