STRING QUARTETS

String Quartet No. 1 in E-flat Major (1817)
String Quartet No. 2 in A Major (1818)
String Quartet No. 3 in C Major (1818)

String Quartet No. 16 in B minor (1821)
String Quartet No. 17 in D Major (1825)
String Quartet No. 18 in E minor (1836)

MITJA QUARTET https://uraniarecords.com/mitja-string-quartet/

Giorgiana Strazzullo, violin I

Lorenza Maio, violin II

Carmine Caniani, viola

Veronica Fabbri Valenzuela, cello

Baltazar Zúñiga, artistic producer https://uraniarecords.com/baltazar-zuniga/

2 CD, 2025

Con questo cofanetto si conclude la registrazione integrale dei 18 quartetti per archi di Gaetano Donizetti, opere che il compositore amava come figli. Il Mitja Quartet è la prima formazione italiana ad aver inciso queste composizioni nella loro interezza.

This box set concludes the recording of all 18 String Quartets by Gaetano Donizetti, who loved these works as if they were his own children. The Mitja Quartet is the first Italian ensemble to have recorded these works in their entirety.

In cooperation with:

PILASTRO

ARCUS

 
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L'articolo DONIZETTI: STRING QUARTETS Vol. III proviene da Urania Records.

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L'articolo DEL MONACO: The original studio Recitals 1952-1958 proviene da Urania Records.

Sonata No. 4 in E-flat Major, Op. 7 “Grand”
(Allegro molto e con brio | Largo, con gran espressione | Allegro | Rondò. Poco allegretto e grazioso)

Sonata No. 8 in C minor, Op. 13 “Pathétique”
(Grave – Allegro di molto e con brio | Adagio cantabile| Rondò: Allegro)

ONLY DIGITAL VERSION

Buy for downloading

GIANMARIA BONINO

BONINO GIANMARIA, PIANO

Fortepiano (Grand) built by Johann Schantz, Vienna c.1797 signed on oval plate on the front board: Johann Schantz in Wien case veneered in yew with four square tapered legs.
case dimensions: cm 221x97x25
keyboard compass F1-g3,
F1-bb1 bichord, b1-g3 trichord.
continuous bridge of black stained maple.
Three octave span mm 475.
Natural keys ebony covered, fruitwood sharps covered in ivory.
Viennese action with brass Kapseln.
Stops: two knee levers for raising the dampers (Forte), one had stop on front board for the moderator.

The peculiarity of this recording lies in the instrument: an original Fortepiano by Johann Schantz c. 1796.

Also, the recording technique by Eng. Andrea Ricci (Spirit Turin, leader in headphones) deserve some notes.
This technique consists of using a microphone as a microphone resin head, in which 2 microphones have been inserted ear canals and in verifying correct sound performance by listening to the recording again after a few minutes from the performance of the concert by a committee of critical review using a headphone listening system Specially calibrated Spirit Torino.
With the Spirit Binaural Recording system you will be able to obtain a particularly realistic listening experience both with traditional hi-fi systems and with headphones thanks to the fact that the Binaural Head that we use, manages to map the position and distance of sounds in it the way our brain does it. If you listen to this record closing your eyes, afterwards a few minutes it will be as if you were there with us, on the day of concert.

RICCI ANDREA SPIRIT TORINO

L'articolo Beethoven: Piano sonatas No. 4 & No. 8 on Schantz Fortepiano DIGITAL VERSION proviene da Urania Records.

Sonate Op. I (London, 1736)

Sonata n. I in Re maggiore
Sonata n. II in Sol maggiore
Sonata n. III in Do maggiore
Sonata n. IV in Sol maggiore
Sonata n. V in Do minore
Sonata n. VI in Si minore

Fratello del più celebre Giovanni Battista, virtuoso di oboe e di flauto, fu giudicato dai contemporanei a livello di Corelli e Geminiani. Notevole fu il successo di queste Sonate, dovuto in gran parte alla particolare destinazione strumentale in un momento in cui il flauto traversiere stava diventando sempre più alla moda; la presente esecuzione flautistica rispetta a pieno i canoni della prassi articolatoria (fonetica bisillabica) della prima metà dell’Europa del XVIII secolo.

Brother of the more known Giovanni Battista, oboe and flute virtuoso, ha was judged to be an ingenious composer on a par with Corelli and Geminiani. The success of these Sonatas was largely due to their particular instrumental use at a time when the ‘flauto traversiere’ was becoming increasingly fashionable; the flute performance of this CD fully adheres to the canons of articulatory practice (bisyllabic phonetics) of the first half of 18th century Europe.

1 CD, 2025

Solisti dell’Orchestra Barocca di Cremona

Giovanni Battista Columbro, traversiere
Francesco Paoletti , traversiere
Carlo D’Ariano, theorbo
Fausto Solci, baroque cello
Marimo Toyoda, harpsichord

 
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L'articolo GIUSEPPE SAMMARTINI: SONATE A DUE FLAUTI TRAVERSI COL LORO BASSO, OP. I proviene da Urania Records.

Missa Solemnis in D major, Op. 123
Elisabeth Schwarzkopf, Christa Ludwig
Nicolai Gedda, Nicola Zaccaria
Singverein der Gesellschaft der Musikfreunde
The Philharmonia Orchestra

Recording: London, 12-16 IX 1958

Wolfgang Amadeus Mozart (1756-1791)

Requiem in D major, KV 626
Wilma Lipp, Hilde Rössl-Majdan
Anton Dermota, Walter Berry
Singverein der Gesellschaft der Musikfreunde
Berliner Philharmoniker

Recording: Berlin, 5-12 X 1961
Herbert von Karajan

L'articolo MISSA & REQUIEM – KARAJAN proviene da Urania Records.

SONATAS FOR HARPSICHORD, VOL. II

Sonata in Re maggiore R.A.1.03.06
Capriccio ovvero Sonata in Fa minore/Sol maggiore R.A.1.09.02
Sonata in Do maggiore R.A.1.01.04
Sonata in Sol maggiore R.A.1.11.09
Sonata in La maggiore R.A.1.14.04
Sonata in Fa diesis minore R.A.1.10.01
Sonata in Re maggiore R.A.1.03.08
Sonata in Sol maggiore R.A.1.11.25

ALVISE DE PIERO

1 CD

2024

Questo album è il secondo della raccolta dedicata alle Sonate per clavicembalo di Baldassare Galuppi realizzata da Alvise De Piero. Del primo volume si è scritto:

« Le nove Sonate per Clavicembalo di Baldassare Galuppi, alla première discografica mondiale, nell’ottima esecuzione di Alvise De Piero, ribadiscono il carattere eterogeneo dell’autore stesso nel solco della circolazione di idee in un’era votata al cosmopolita illuminismo ». (Guido Michelone, Il manifesto)

« Per quanto riguarda l’esecuzione, il clavicembalista Alvise de Piero dà orgoglio a questi lavori. Il suo ritmo è sempre appropriato alla musica e il suo tocco sullo strumento può variare da deciso a delicato. Le sue variazioni di registro su questo strumento a due manuali sono funzionali alla musica e conferiscono una bella espressione alla voce spesso lirica di Galuppi ». (Bertil van Boer, Fanfare Magazine)

ENGLISH VERSION

This in the second Album of the collection dedicated to Balsassare Galuppi Hapsichord Sonatas by Alvise De piero. About the first release, it has been said:

« The nine Sonatas for Harpsichord by Baldassare Galuppi, in the excellent world premiere recording by Alvise De Piero, reiterate the heterogeneous character of the author himself in the wake of circulation of ideas in an era devoted to cosmopolitan enlightenment ». (Guido Michelone, Il manifesto)

« As for the performance, harpsichordist Alvise de Piero does these works proud. His pace is always appropriate for the music, and his touch on the instrument can vary from decisive to delicate. His registral variations on this two manual instrument work very well for the music and give a nice expression to Galuppi’s often lyrical voice ». (Bertil van Boer, Fanfare Magazine)

L'articolo GALUPPI: SONATAS FOR HARPSICHORD, VOL. II proviene da Urania Records.

Ein Stelldichein op. 16 for mezzo soprano and string sextet (1904)

String sextet in d minor (1906)*

String quartet n°6 in C Major (1939)

* World première recording

Ensemble Mark Rothko
Carlo Lazari | Giada Visentin, violin
Benjamin Bernstein | Chiara Foletto, viola
Marianna Sinagra | Carlo Teodoro, cello

Albane Carrère, mezzo soprano

L'articolo WEIGL: CHAMBER WORKS, vol. II proviene da Urania Records.

Sonata No. 1 in F Minor
(Allegro | Adagio | Minuetto: Allegretto | Prestissimo)

Sonata No. 2 in A Major
(Allegro vivace | Largo appassionato | Scherzo: Allegretto | Rondò: Grazioso)

Sonata No. 3 in C Major
(Allegro con brio | Adagio | Scherzo: Allegro | Allegro assai)

ONLY DIGITAL VERSION

GIANMARIA BONINO

BONINO GIANMARIA, PIANO

Fortepiano (Grand) built by Johann Schantz, Vienna c.1797 signed on oval plate on the front board: Johann Schantz in Wien case veneered in yew with four square tapered legs.
case dimensions: cm 221x97x25
keyboard compass F1-g3,
F1-bb1 bichord, b1-g3 trichord.
continuous bridge of black stained maple.
Three octave span mm 475.
Natural keys ebony covered, fruitwood sharps covered in ivory.
Viennese action with brass Kapseln.
Stops: two knee levers for raising the dampers (Forte), one had stop on front board for the moderator.

The peculiarity of this recording lies in the instrument: an original Fortepiano by Johann Schantz c. 1796.

Also, the recording technique by Eng. Andrea Ricci (Spirit Turin, leader in headphones) deserve some notes.
This technique consists of using a microphone as a microphone resin head, in which 2 microphones have been inserted ear canals and in verifying correct sound performance by listening to the recording again after a few minutes from the performance of the concert by a committee of critical review using a headphone listening system Specially calibrated Spirit Torino.
With the Spirit Binaural Recording system you will be able to obtain a particularly realistic listening experience both with traditional hi-fi systems and with headphones thanks to the fact that the Binaural Head that we use, manages to map the position and distance of sounds in it the way our brain does it. If you listen to this record closing your eyes, afterwards a few minutes it will be as if you were there with us, on the day of concert.

RICCI ANDREA SPIRIT TORINO

L'articolo Beethoven: 3 piano sonatas, op. 2 on Schantz Fortepiano DIGITAL VERSION proviene da Urania Records.