La Registrazione che ascolterete è stata eseguita con la tecnica Spirit Binaural Recording, ideata dall’Ing. Andrea Ricci durante il percorso di sviluppo e ricerca delle cuffie Spirit Torino.
Questa tecnica consiste nell’utilizzare come microfono una testa in resina, in cui sono stati inseriti 2 microfoni nei condotti auricolari e nella verifica della corretta resa sonora tramite il riascolto della registrazione dopo pochi minuti dall’esecuzione del concerto da parte di un comitato di riascolto critico che utilizzerà un sistema di ascolto in cuffia Spirit Torino appositamente tarato.
Con il sistema Spirit Binaural Recording riuscirete ad ottenere un’esperienza di ascolto particolarmente realistica sia con i sistemi hi-fi tradizionali che con quelli in cuffia grazie al fatto che la Testa Binaurale che utilizziamo, riesce a mappare la posizione e la distanza dei suoni nello stesso modo in cui lo fa il nostro cervello.
Se ascolterete questo disco chiudendo i vostri occhi, dopo pochi minuti sarà come se foste lì con noi, nel giorno del concerto.

Catena di registrazione:
– Microfoni: 2 nella Testa Binaurale realizzata su specifiche Spirit Torino.
– Interfaccia di acquisizione e pre microfono: Merging Anubis + super alimentatore 12 volt Harmonya.
– Formato audio di acquisizione: Flac 192Khz 32 bit.
– Sistema di monitoraggio in tempo reale: Iem Twin Pulse Beryllium Spirit Torino.
– Sistema di archivio dati: Computer Macbook pro m1+Vector 3

– Cablaggi: Spirit Torino per collegamento microfoni.
– Filtri di rete: Magtrap con tecnologia magnetica proprietaria.
Catena di riascolto critico:
– Cuffie: Sprit Torino Valkyria e Centauri
– Digital Audio Player: Lotoo Paw Gold Titanium e Shanling M30 Pro.
– Diffusori monitor: Amphion s3, Spirit Vision.
– Dac: audio-Gd R7 he Mk3
– Amplificazione: Audio-gd master 10 Mk2
– Cablaggi: Spirit Torino

Per Urania Records:

https://uraniarecords.com/prodotto/beethoven-3-piano-sonatas-op-2-on-schantz-fortepiano/

L'articolo RICCI ANDREA SPIRIT TORINO proviene da Urania Records.

ENGLISH VERSION

I graduated from high school music at the Giuseppe Verdi conservatory in Milan where I studied and practiced electronic music with professor Paccagnini and where I studied double bass with professor Russotto.
At the beginning of the 90s I started the profession of sound engineer at Video Van and Video Vab, an avant-garde video production and post production company; in this period I gained experience in stereophonic shooting for countless musical events, from the festival bar to classical music concerts from the green room of the Milan conservatory. I was also the audio manager for the cultural and musical events of Tele +, now Sky Tv.
Since the 2000s I have specialized as a direct sound engineer for fiction, films and commercials where sound care is essential. (Eg Andrea Bocelli illy caffè) At the same time I followed musical productions and live events for Boletus Studio and Drum Code Studio.
Last significant event, Jazz concert with Enrico Rava, Stefano Bollani, Gianluca Petrella.
I am a consultant for stereophonic shooting of the Spiramilabils group of FIrenze.

L'articolo CLAUDIO GRANDI proviene da Urania Records.

L'articolo CAMARADA FILMS proviene da Urania Records.

Specializzato in produzioni di master audio di MUSICA CLASSICA destinati al mercato discografico.

Il servizio offerto comprende: ripresa audio, supervisione dell’esecuzione in partitura, editing, mixing e mastering.

Formazione

Dopo la maturità classica Luca Ricci ha studiato composizione con Stefano Bracci presso il conservatorio statale di musica F.Morlacchi di Perugia. In seno al corso di musica elettronica, presso il medesimo istituto, ha mosso i primi passi nel campo delle riprese audio orchestrali.

A partire dal 1986 ha effettuato registrazioni per varie formazioni di musica classica e jazz, nonché proprie produzioni musicali acustiche ed elettroniche.

Successivamente ha effettuato documentazioni audio di intere stagioni concertistiche, Festival Barocco di Viterbo e Sagra Musicale Umbra fra le altre.

Attività professionale

Dal 2000 realizza produzioni di master audio di musica classica destinati al mercato discografico. Il numero delle produzioni discografiche da lui realizzate, le foto delle sessioni di registrazione e le recensioni pervenute sono consultabili sulla sua pagina Facebook (Luca Ricci, tecnico del suono). Il repertorio registrato spazia dal medioevo alle avanguardie del XX° secolo, passando per rinascimento, barocco, ‘700 e 800. Molte sue produzioni hanno riscosso lusinghieri riconoscimenti da parte della critica specializzata.

La sua attività comprende:

1. produzioni discografiche di musica da camera strumentale
2. produzioni discografiche di musica da camera vocale
3. produzioni discografiche per tutti i principali strumenti a tastiera (pianoforte, forte-piano, clavicembalo e organo)
4. produzioni discografiche per ensemble vocali, per cori giovanili e per cori di voci bianche
5. produzioni discografiche per orchestra, per ensemble barocchi, per ensemble di musica medievale e per ensemble di musica popolare.

Ha collaborato e collabora con solisti di chiara fama, con vincitori e finalisti di autorevoli concorsi, con prime parti di importanti realtà orchestrali, e con cantanti in esercizio presso i più prestigiosi teatri lirici del mondo.

Ha fornito e fornisce master audio alle seguenti etichette discografiche:

Brilliant Classics (NL), Naxos (UK), Decca (UK), Hortus (FR), Arcana (IT), Claves (CH), Bottega Discantica (IT), Tactus (IT), Amiata (IT), Amadeus (IT).

Per Urania, ha realizzato il cd:

Vitali Colombi Lullier – The Bass Violin Solo Repertoire – R.Criscuolo, Musica Perduta LDV14021

Recensito positivamente da Audiophile Sound

http://www.audiofilemusic.com/home/news/news-dischi-e-musica/item/7425-raffinate-rarita

Convenzioni

Oltre alle registrazioni in studio mobile, in collaborazione con Piano et Forte, studio di registrazione con sede a Perugia, offre ad un altissimo rapporto qualità/prezzo la possibilità di realizzare registrazioni per orchestre, per formazioni cameristiche e per pianoforte solo, utilizzando lo Steinway Gran Piano residente. Le dimensioni della struttura consentono lo sfruttamento del riverbero naturale dell’ambiente, la cui divisione in due volumi, demarcata da un’apposita guida d’onda, permette di modularne l’apporto. Lo studio è provvisto di una sala regia separata dalla sala di registrazione, impianto di climatizzazione e parcheggio privato.

Lo studio è a sua volta convenzionato con strutture ricettive, per i clienti che necessitino di pernottamento in loco.

Registrazioni audio/video

In collaborazione con affermati professionisti del settore video realizza master audio/video, video per la promozione di prodotti discografici, registrazioni di concerti e di opere liriche.

Scheda Tecnica

Convertitore Antelope Orion 32 (fino a 32 tracce in risoluzione 24bit/192Khz)

Preamplificatori microfonici: Millennia HV-3D (x2)

Microfoni:

NEUMANN TLM103 x2

SHOEPS MK2 x3

SHOEPS MK4 x2

SHOEPS MK21 x2

SHOEPS MK22 x2

AKG C414 XL II x2

AKG C414 ULS x2

RHODE NT2-A x2

Tutti i microfoni sono matched pair.

Nota: per produzioni che richiedano macchine aggiuntive rispetto a quelle elencate nella presente scheda tecnica ha la possibilità di affittare ulteriori apparecchiature presso fornitori di apparecchiature audio professionali.

I preampilficatori microfonici vengono posizionati in modo da far sì che la lunghezza media dei cavi microfonici non superi i 7 metri.

Aste per riprese di organo in cantoria (fino a mt.7,30)

Cavi microfonici: Reference con connettori Neutrik, autoassemblati Cavi di segnale: Tended Shielded Series con connettori Neutrik, autoassemblati

Cuffie: Beyer DT 770 Beyer DT 990 Sennheiser HD 280

Monitor:

Nearfield: Tannoy Active System 800 posizionati su sospensione elastica dedicata, ideata e realizzata da Claudio Pinchi.

Main: 3 vie autocostruiti, in sospensione pneumatica. Amplificati con finali Cambridge A50.

ENGLISH VERSION

Specialized in productions of audio master of CLASSICAL MUSIC

The service offered includes: audio recording, supervision of the execution in the score, editing, mixing and mastering.

Training

After the classical high school diploma Luca Ricci studied composition with Stefano Bracci at the F. Morlacchi state conservatory of Perugia. Within the electronic music course, at the same institute, he took his first steps in the field of orchestral audio recording.

Since 1986 he has made recordings for various classical and jazz music formations, as well as his own acoustic and electronic musical productions.

Subsequently he made audio documentations of entire concert seasons, Festival Barocco di Viterbo and Sagra Musicale Umbra, among others.

Professional activity

Since 2000 he has been producing classical music master audio productions for the record market. The number of record productions he made, the photos of the recording sessions and the reviews received are available on his Facebook page (Luca Ricci, sound engineer). The recorded repertoire ranges from the Middle Ages to the avant-garde of the 20th century, passing through the Renaissance, Baroque, 18th and 19th centuries. Many of his productions have received flattering acknowledgments from specialized critics.

Its activity includes:

1. record productions of instrumental chamber music
2. recordings of vocal chamber music
3. record productions for all the main keyboard instruments (piano, forte-piano, harpsichord and organ)
4. record productions for vocal ensembles, for youth choirs and for white voices choirs
5. record productions for orchestra, for baroque ensembles, for medieval music ensembles and for folk music ensembles.

He has collaborated and collaborates with well-known soloists, with winners and finalists of authoritative competitions, with first parts of important orchestral realities, and with singers in operation at the most prestigious opera houses in the world.

He has provided and supplies master audio to the following record labels:

Brilliant Classics, Naxos, Decca, Hortus, Arcana, Claves, Bottega Discantica, Tactus, Amiata , Amadeus.

For Urania, he made the cd:

Vitali Colombi Lullier – The Bass Violin Solo Repertoire – R.Criscuolo, Musica Perduta LDV14021

Positively reviewed by Audiophile Sound

http://www.audiofilemusic.com/home/news/news-dischi-e-musica/item/7425-raffinate-rarita

Conventions

In addition to the recordings in the mobile studio, in collaboration with Piano et Forte, a recording studio based in Perugia, it offers a very high quality / price ratio the possibility of making recordings for orchestras, chamber ensembles and for piano only, using the Steinway Gran Resident plan. The size of the structure allows the use of the natural reverberation of the environment, whose division into two volumes, demarcated by a special waveguide, allows to modulate its contribution. The studio has a control room separate from the recording room, air conditioning and private parking.

The studio is in turn affiliated with accommodation facilities, for customers who need overnight accommodation on site.

Audio / video recordings

In collaboration with established professionals in the video sector, he creates audio / video masters, videos for the promotion of record products, concert and opera recordings.

Data sheet

AD/DA Antelope Orion 32 (up to 32 tracks in resolution 24bit/192Khz)

Microphone preamps: Millennia HV-3D (x2)

Microphones:

NEUMANN TLM103 x2

SHOEPS MK2 x3

SHOEPS MK4 x2

SHOEPS MK21 x2

SHOEPS MK22 x2

AKG C414 XL II x2

AKG C414 ULS x2

RHODE NT2-A x2

All microphones are matched pair.

Note: for productions that require additional machines with respect to those listed in this data sheet, it is possible to rent additional equipment from professional audio equipment suppliers.

The microphone preamplifiers are positioned so that the average length of the microphone cables does not exceed 7 meters.

Stands for organ recording in the choir (up to 7.30 m)

Microphone cables: Reference with Neutrik connectors, self-assembled Signal cables: Tended Shielded Series with Neutrik connectors, self-assembled

Headphones: Beyer DT 770 Beyer DT 990 Sennheiser HD 280

Monitor:

Nearfield: Tannoy Active System 800 positioned on a dedicated elastic suspension, conceived and created by Claudio Pinchi.

Main: 3-way self-built, in air suspension. Amplified with Cambridge A5 amplifiers

L'articolo RICCI LUCA proviene da Urania Records.

He began classical piano studies at the A.Casella Conservatory of L’Aquila with M. Sergio Calligaris.

He began his studies as a sound technician by attending the courses “Sound Design by George Massenburg and GML”, “Comprehensive System Design Meyer Sound” Mauricio Ramirez, and others and began working as a sound engineer in Live events and in various recording and post studios production.

He graduated in “Electronic Music New Technologies and Musical Languages – Composition”, with the thesis “Tra suono e immagine: Q-riosity” on the film “The fugitive futuriste” by Gaston Quiribet (1924), piece for Orchestra with live processing and tape magnetic.

He graduated in Applied Music Composition with Maestro Carlo Crivelli at the A. Casella dell’Aquila Conservatory with the thesis “Chaplin il vagabondo” soundtrack for orchestra on Charlie Chaplin’s short film “The Vagabond” (1916).

Professional activity

He collaborates with Maestro Carlo Crivelli as electronic composer and sound design for the realization of the soundtracks of the films “Sangue del mio sangue” and “Fai bei sogni” (by M. Bellocchio);

“L’ora legale” and “Il primo Natale” (by S. Ficarra and V. Picone);

“Io sono Tempesta” (by D. Lucchetti)

“Visage d’enfant” (by Jacques Feyder)

documentary “La particella di Dio – Il senso della bellezza” (by Ameuropa International s.r.l)

and many others

He collaborates as a freelance sound engineer in the studio and in live concerts with many national and international artists: E.Morricone, F.Bosso, M.Di Toro, C.Crivelli, A.Branduardi, R.Canzian, E.Bennato, Istituzione Sinfonica Abruzzese I.S.A., Orchestra Città Aperta O.C.A.,CRM Roma, Agorà service audio, Teatro Service audio, Orchestra Player 2, Conservatory A.Casella, A.Oxa, E.Cristicchi, Goblin, E.Rava, P.Fresu, L.Giordano, L.Handerson, M.Angelo, C.Jones, E.Falaschi, D.Airey , P.Merl, P.Gilbert, F.Feliciano, S.Skybby, J.Macaluso, The Crimson, Blaze Bayley, Oliver Dawson / Saxon,

and many others

As a composer:

soundtrack on Charlie Chaplin’s short film “The Vagabond” (1916) for orchestra

Soundtrack for the documentary “Il dramma, la ricostruzione, il ritorno” new INPS

“Drops Quartet” – for string quartet and piano.

Soundtrack for the silent film “The Phantom of the Opera” by Rupert Julian (1925)

Soundtrack of the film “Fall of Usher House” – (by Melville Webber)

“Phase” – For dancer and live electronics

“Plexis” – music for dancers

“Il canto delle stelle” – for solo violin and electronic music

“A-Qua” Integrated sound installation

“Sequentia” – Audio / visual installation

and many others

Study equipment

The studio uses digital and analog equipment in hybrid configuration.

Software: Avid Protools HD, Steinberg Cubase Pro.

Audio converter: Antelope Orion Studio 32.

Preamp: Audient, Focusrite, Antelope, Neve

Mastering: compressor and Eq: Audient, Neve, KT

Reverb: Lexicon pcm 60, pcm 80

audio monitor: Yamaha NS-10, Yamaha HS 50 and HS 80

Microphones: Neumann U87 – KM 184; Akg 414 – D112 – c418; Rode NT1; Shure Sm 57 -SM 58; Sennheiser MD 441- Md 421; Schoeps MK4.

He works as a sound engineer and as an editing and mastering technician for record labels and publishers:

Cattleya film, 01 Distribution, Area Sonica Records, Lobster film, Cinèmatheque Suisse, RAI Cinema, Medusa film, Ameuropa International s.r.l, Kavac Film, CRM Roma, P.R.I.MUS., Brilliant Classics, Urania Records, Da Vinci Records, Stradivarius, Tactus

L'articolo PAOLUCCI CRISTIAN proviene da Urania Records.

Baltazar Zúñiga was born in Mexico City in 1974. From 1998 it has artistic career as soloist in concert and operatic repertoire in Mexico, Italy and Nord Europe.

He studied singing at the Superior School of Music of the National Institute of Fine Arts in Mexico City and Engineering in electronics in the same period 1994 – 1998. In 1998 e 1999 Baltazar Zúñiga started his career as an opera singer in Mexico in the role of Tamino in Mozart’s Magic Flute, Count Almaviva in Rosini’s Barber of Seville, during that time he has participated in Japan at the Pacific Musica Festival singing in the most important concerts halls of Sapporo with important conductors as Nicholas Mc. Geegan and Simon Shauten.

Currently He works with european ensembles of early music: Ensemble Pygmalion, La Petite Bande, Capella de la Torre, Accademia Bizantina, Concerto Romano, Arìon Choir & Consort, Arte Musica, L’Arte dell’Arco, La Stagione Armonica, De Labyrintho, La Capella di Cremona, La Capella di San Petronio di Bologna, Orchestra da Camera di Mantova, I Musicali Affetti, La Venexiana, Collegium Vocale Gent and Pulcinella singing in the most important festivals of early music in Europe and America: Bruge, Europalia, Lufthansa Festival, Early Music Festival Istanbul, Early Music Festival Postdam, Ravenna Festival, Salzburg Festival, Ambronay and Festival de Saints in France,Maggio Musicale Fiorentino, Anima Mundi Pisa, Chopin Festival Varsavia, Festival Accademia Chigiana Siena, Festival di Hannover, Emilia Romagnia Festival, Festival Monteverdi di Cremona, Casa della Musica di Parma, Alte Musik Melk and others.

He was presented with great succes in theaters and concert hall as Lincoln Center di New York, Scala Theatre of Milan, Concertgebow Amsterdam, Auditorium St. John’s London, Konzerthaus Vien, Auditorium Kitara Japan, Teatro de Bellas Artes of Mexico City, Auditorium Köln in Germany, Auditorium Brugge in Belgium, Grand Théatre de Montpellier, Théatre de Tulouse, Théatre de Reims, Grand Théatre de Marseille, Théatre de Bordeaux, Théatre de Tours, Théatre de Avignon, and Théatre des Champs Elysées in France, Teatro Bibiena di Mantova, Teatro Comunale di Bologna, Teatro Rossini di Pesaro, Teatro della Fortuna di Fano, Teatro Lauro Rossi di Macerata, Teatro Comunale di Fermo, Teatro Nichelino di Torino, Casa della Musica di Parma e Teatro Olimpico di Vicenza in Italy and many others.

He recorded diferent Cd’s for: Brilliant Classics, Christophorus, Tactus, Phy and Dynamic.

He currently teaches Master Classes in prestigious universities in Mexico and directs as a guest the most important early music ensemble of Mexico (AMA).

He works as a sound engineer and as a editing and mastering technician for record labels: Brilliant Classics, Urania Records, Da Vinci Records, Stradivarius, Tactus in Italy and Enchiriadis in Spain.

He currently specializes in conducting orchestras and video editing studios for cinema.

L'articolo ZÚÑIGA BALTAZAR proviene da Urania Records.

The creator of several among our images of the front covers.

Gianmario and Urania started working together at the end of 2018, after having met during a Symposium of contemporary art.

Professionally, Gianmario works as an architect mostly in interiors and consultant in graphic and design training too. He creates artistic images in photography through a personal use of post-production in editing, applied to his photos and digital compositions.
The variety of textures layers in background (cracked canvas, scraped walls, rust metallic inserts and others materials) together with the use of colors and focus on some parts of the image, give the sensation of landscapes’ and portraits’ paintings of past centuries. The breaking elements highlighted by the fractured textures bring a sense of uneasiness, it puts “beauty” up for discussion to reach a more deep sense of “truth” and  “feel”.
In 2007 he started to post his works over the Internet (500px, Art Limited, Behance, and some other photo platforms) and to expose in some solo and collective exhibitions.

Influence: the complete work of Caravaggio, Francis Bacon, Umberto Boccioni, Futurismo, Jack Kerouac, Beat, U.N.K.L.E., Roland Barthes, H.P. Lovecraft, Edgard Allan Poe, Gnu-Linux OS, Ubuntu, Soulwax, 2many Djs, Lcd Soundsystem, Aldo Rossi, Walter Gropius, Bauhaus, Le Corbusier, Paul Cava, Sally Mann, Gustav Klimt, Egon Schiele

L'articolo GIANMARIO MASALA proviene da Urania Records.

È clarinetto basso della Omaha Symphony. I suoi studi sullo strumento lo hanno condotto presso la Juillard School (New York) e nei Paesi Bassi, dove ha studiato con Harry Sparnaay. In seguito ha conseguito il Dottorato in Arti musicali presso il Conservatorio dell’Università del Missouri a Kansas City. I suoi scritti sul clarinetto basso, la sua storia e il repertorio sono disponibili sul sito www.circb.info Thomas suona un clarinetto basso Selmer Privilege. —

ENGLISH VERSION

He is the bass clarinetist with the Omaha Symphony. His studies of the bass clarinet took him to the Juilliard School and to the Netherlands, where he studied with Harry Sparnaay. He then earned his DMA in clarinet at the Conservatory of the University of Missouri at Kansas City. His writings on the bass clarinet, its history, and repertoire are available at www.circb.info Thomas performs on a Selmer Privilege bass clarinet. —

L'articolo ABER THOMAS, BASS CLARINET proviene da Urania Records.

ENGLISH VERSION

Born in 1997, Sofia Adinolfi got in 2019 the Master Degree in Piano at the Conservatory “G.B. Martini” in Bologna, studying with M° Luigi Tanganelli. She also attended the Chamber Music Master Course at the Accademia Nazionale di Santa Cecilia, getting the Diploma with M° Ivan Rabaglia. She was awarded several national and international prizes, such as the Concorso Pianistico Città di Castiglion Fiorentino, Nuova Coppa Pianisti in Osimo (AN), Concorso Città di Riccione, “Ramon Lull” in Palma de Mallorca, Premio Nazionale delle Arti in the chamber music section playing in duo with violinist Giulia Pasquini, Concorso “Gasparo da Salò” in duo with violista Leonardo Taio. She had recitals in concert seasons at the Teatro Bonci in Cesena, Sala Mozart at the Accademia Filarmonica in Bologna, Sala Corelli of the Teatro Alighieri in Ravenna, concerts for the IUC in Rome and for the Accademia Chigiana in Siena.

She studied at the Accademia Chigiana in Siena with M° Lilya Zilberstein and attended masterclasses with pianists such as Angela Hewitt, Slavish Gadjiev, Benedetto Lupo, Fabio Bidini, Andrea Lucchesini, Vincenzo Balzani.

Sofia plays a Fazioli piano F278.

DUO: TRUMPET & PIANO IN THE 20th CENTURY

L'articolo ADINOLFI SOFIA, piano proviene da Urania Records.

Il nome dell’ensemble è un omaggio al genio di Johann Sebastian Bach, con riferimento alla sua composizione per tastiera “Aria Variata Alla Maniera Italiana” in la minore BWV 989.

Formato da quattro musicisti accomunati dall’amore per il repertorio cameristico, l’A.M.I. String Quartet pone l’accento su alcuni principi ritenuti fondamentali: il “comune sentire”, la ricerca timbrica, l’attenzione per la partitura e il suonare storicamente informato attraverso l’impiego di strumenti originali, spartiti autografi o prime edizioni ove possibile.

L’AMI String Quartet si dedica principalmente ad un repertorio che abbraccia i secoli XVII, XVIII e XIX con un interesse speciale per la valorizzazione e la riscoperta di autori minori e musiche inedite o di recente riscoperta, in particolare dell’area milanese.

Per la realizzazione di concerti e registrazioni l’Ensemble si avvale del materiale presente negli archivi di prestigiosi organismi e istituzioni internazionali di ricerche musicali e musicologiche quali L’Archivio della Sinfonia Milanese e il Centro di Ricerche Musicali lvbeethoven.it

Nel marzo 2020 Alla Maniera Italiana String Quartet è stato selezionato per aderire alla rete de Le Dimore del Quartetto.

ENGLISH VERSION

The name of the ensemble is a homage to the genius of Johann Sebastian Bach, in regard to his keyboard composition “Aria Variata Alla Maniera Italiana” in A minor, BWV 989.

Formed by four musicians with a common passion for chamber music, the A.M.I. String Quartet focuses on some fundamental principles: a search for a shared esthetic, timbrical exploration, attention to the score, and a historically-informed performance practice through the use of original instruments, autographed scores, or first editions, where available.

A.M.I. is mainly dedicated to a repertoire that spans the 17th, 18th and 19th centuries with a special interest in the rediscovery and reappraisal of unknown Italian music, in particular from the Milanese area.

For concerts and recordings, the Ensemble makes use of the material available in the archives of prestigious international instritutions, as well as musicological organizations, such the Archivio della Sinfonia Milanese (Archive of the Milanese Symphony) and the Musical Research Center lvbeethoven.it.

In March 2020, the A.M.I. String Quartet was selected to join the network Le Dimore del Quartetto.

Giacomo Coletti, violin I

Stefano Raccagni, violin II

Alessia Menin, viola

Anna Camporini, cello

ZAPPA: 6 DUETS

RICCI: SIX STRING QUARTETS OP. VIII

L'articolo ALLA MANIERA ITALIANA, ENSEMBLE proviene da Urania Records.