Sonata n. 24 Op. 78 in F-sharp major (1809)

Sonata n. 26 Op. 81a in E-flat major (“Das Lebewohl/Les adieux”) (1809/1810)

Sonata n. 27 Op. 90 in E minor (1814)

Sonata n. 28 Op. 101 in A major (1816)

Sonata n. 29 Op. 106 in B-flat major (“Hammerklavier”) (1817/1818)

Sonata n. 30 Op. 109 in E major (1820)

Sonata n. 31 Op. 110 in A-flat major (1821)

Sonata n. 32 Op. 111 in C minor (1821/1822)

Klavierstück WoO 61a (Comme un souvenir à Sarah Burney Payne)

3 CD

2026

Con l’eccezione della Sonatina n. 25, considerata a lungo un’opera secondaria, questo cofanetto racchiude le ultime sonate per pianoforte del Titano di Bonn. Nel panorama discografico già ricco di tale repertorio, la presente proposta punta tutta sull’esecuzione di Carlo Levi Minzi che, nella sua maturità d’artista, consegna la sua personale visione di tali opere: raffinate, meditate, squisitamente personali. In aggiunta il Klavierstück WoO 61a.

With the exception of the Sonatina No. 25, long considered a minor work, this box set contains the last Piano Sonatas of the Titan of Bonn. In a recording landscape already rich of this repertoire, this release focuses entirely on the performances of Carlo Levi Minzi, who, in his artistic maturity, delivers his personal vision of these works: refined, meditative, exquisitely personal. In addition the Klavierstück WoO 61a.

Carlo Levi Minzi, piano

L'articolo 8 LANDSCAPES OF INFINITY proviene da Urania Records.

Sonata I in F Minor, op. 120
I. Allegro appassionato
II. Andante un poco Adagio
III. Allegretto grazioso
IV. Vivace

Sonata II in E-Flat Major, op. 120
I. Allegro amabile
II. Allegro appassionato
III. Andante con moto – Allegro

Scherzo from Frei aber einsam in C minor
for viola and piano WoO 2 (Arrang. by Karl Stierhof and Luca Ranieri from the original for violin)

Luca Ranieri, viola
Andrea Trovato, piano

1 CD, 2025

Tra i pochi brani cameristici brahmsiani che comprendono anche strumenti a fiato si notano le due Sonate per clarinetto e pianoforte op. 120. In queste opere, tuttavia, il compositore prevede l’opzionalità fra clarinetto e viola, tant’è che nel panorama concertistico odierno è quasi più frequente ascoltarle nella versione per viola che in quella per clarinetto.
Lo Scherzo dalla Sonata F.A.E.: faceva parte di una Sonata per violino e pianoforte composta come omaggio collettivo a Joachim da Albert Dietrich (autore del primo movimento), Robert Schumann (Intermezzo e Finale) e Brahms (Scherzo). La sigla F. A. E. si riferisce al motto rei, aber einsam (libero, ma solo), ma corrisponde anche, nella notazione tedesca, a tre note musicali (fa, la, mi) e il motivo così ricavabile viene naturalmente utilizzato come tema in varie parti della Sonata.

Among the few Brahmsian chamber pieces that also include wind instruments are the two Sonatas for clarinet and piano op. 120. In these works, however, there is an optionality between clarinet and viola, and in today’s concert scene, it is almost more common to hear them in the viola than in the clarinet version. The ‘Scherzo’ from the F.A.E. Sonata was part of a Sonata for violin and piano composed as a collective homage to Joachim by Albert Dietrich (author of the first movement), Robert Schumann (Intermezzo and Finale) and Brahms (Scherzo). The abbreviation F. A. E. refers to Joachim’s personal motto frei, aber einsam (free, but alone), but also corresponds to three musical notes and the motif thus derived is naturally used as a theme in various parts of the Sonata.

L'articolo BRAHMS: SONATAS FOR VIOLA & PIANO proviene da Urania Records.

Danse Orientale Op. 2 No. 2 for cello & piano

Cello Sonata Op. 19

Piano Sonata No. 2, Op. 36

1 CD, 2025

Il Rachmaninov considerato dagli accademici un romantico attardato, spesso risale ai modelli del Barocco: ecumene di linguaggi. Egli vive la musica come ricordo degli affetti, e in pochi luoghi, come nell’Op. 19, la sua inappagabile aspirazione faustiana a “fermare l’attimo” conosce un’intensità simile. L’Op. 19 respira un senso di ritorno alla vita e i richiami ultraterreni del violoncello sfrangiano secondo un principio di sospensione allucinata nel quale ci sono già le Danze Sinfoniche Op. 45. La Sonata n. 2 per pianoforte in mi bemolle minore Op. 36 ha avuto una gestazione complessa, culminata in una revisione del 1931 nella quale il Maestro ha ridotto un certo “piacevole raccontare” di marca lisztiana, avvicinandosi alla matrice neoclassica, ma “alla russa”, dei suoi ultimi lavori.
Come ideale bis, il programma presenta anche la “Danse orientale” Op. 2 n. 2, omaggio dell’adolescente Sergej a quella narrazione di paesaggi esotici, scale musicali innervate di incantesimi cromatici.

Rachmaninov, considered by academics to be a late romantic, often draws on Baroque models: an eclecticism of languages. He experiences music as a memory of affection, and in few places, as here, his insatiable Faustian aspiration to ‘stop the moment’ reaches a similar intensity. Op. 19 breathes a sense of a return to life and the otherworldly cello calls shatter according to a principle of hallucinatory suspension which is already the Rachmaninov of the Symphonic Dances op. 45. Piano Sonata No. 2 in E-flat minor Op. 36 had a complex gestation, culminating in a 1931 revision in which the Maestro reduced a certain ‘pleasant storytelling’ in the style of Liszt, moving closer to the neoclassical matrix, but ‘Russian-style’, of his later works.
As an ideal encore, the programme also features the Danse orientale Op. 2 No. 2, the adolescent Sergei’s homage to that narrative of exotic landscapes, musical scales infused with chromatic enchantments.

Simone Pedroni, piano https://uraniarecords.com/pedroni-simone-piano/

Christiana Coppola, cello https://uraniarecords.com/coppola-christiana-cello/

Cover by Gianmario Masala https://uraniarecords.com/gianmario-masala/

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L'articolo RACHMANINOV: CELLO & PIANO MUSIC 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.

Karol Szymanowski (1882–1937)

9 Preludes, Op. 1

Alexander Scriabin (1872–1915)

6 Preludes, Op. 13

Franz Liszt (1811-1886)

Kleine Klavierstücke, S. 192

Années de Pèlegrinage, Suisse, S. 160 Vallée d’Obermann

From Mozart’s Requiem in D minor Confutatis Maledictis, S. 550

From Mozart’s Requiem in D minor Lacrymosa, S. 550

La musica che celebra l’agonia del Romanticismo vive di una mistica le cui tracce il nostro materialismo ha reso leggenda. Intorno agli artisti del liberty è un proliferare di movimenti esoterici, alla ricerca di quel nesso tra anima e forze cosmiche che, nella musica, diviene suono.

The music that celebrates the agony of Romanticism lives on a mysticism whose traces our materialism has rendered legendary. Around the artists of Art Nouveau (Liberty), is a proliferation of esoteric movements, in search of that link between soul and cosmic forces which, in music, becomes sound.

1 cd, 2025

GIULIA VENTURA, piano

VENTURA GIULIA, PIANO

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L'articolo K. SZYMANOWSKI & A. SCRIABIN: PRELUDES proviene da Urania Records.

Die vier Temperamente
Thema – Moderato. Allegro assai vivo
I. Melancholich – Langsam. Presto. Langsamer Marsch*
II. Blutrünstig – Walzer
III. Phlegmatisch – Moderato. Allegretto. Allegretto scherzando
IV. Cholerisch – Vivace. Appassionato

CARLO FLORINDO SEMINI (1914–2004)

Mosaici di Piazza Armerina
I. Camera di Arione
II. Fanciulli cacciatori
III. Barca sul fiume
IV. Amorini pescatori
V. Sacrificio ad Artemide
VI. Puellae ludentes

CAMERATA UFA

Vladislav Samoylov, conductor

Carlo Levi Minzi, piano

* Soloist: Lena Samoylova

…il senso dell’artigianato neoclassico…

Nei Mosaici di Piazza Armerina, Semini riprende il Respighi claustrale di Vetrate di chiesa. L’evocazione delle figure a tessere colorate si traduce in un uso di motivi in continua sovrapposizione, creando un effetto rotatorio, ciclico, che allude all’eternità dell’arte, sempre capace di morire per poi risorgere. Dal canto suo, Hindemith creò la “musica d’uso”: un’arte laboratorio e artigianato, destinata a vivere al di là del mito romantico dell’ispirazione trascendentale.

…the sense of neoclassical craftsmanship…

In Mosaici di Piazza Armerina, Semini takes up the cloistered music by Respighi with Vetrate di chiesa. The evocation of the figures in coloured pieces is translated into a use of continuously overlapping motifs, which creates a rotating, cyclical effect and alludes to the eternity of art, perpetually capable of dying only to rise again. On his side, Hindemith created ‘music of use’: art from workshop and craft, bound to live beyond the romantic myth of transcendental inspiration.

L'articolo HINDEMITH + SEMINI 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.

Don’t stop me now (1979)
Bohemian Rhapsody (1975)
Crazy little thing called love (1979)
Love of my life (1979)
Another one bites the dust (1980)
Who wants to live forever (1986)
We will rock you (1977)
Somebody to love (1976)
I want it all (1989)
I want to break free (1984)
Living on my own (1985)
Radio Gaga (1984)
The show must go on (1991)
We are the champions (1977)

The mixing of musical genres is now a widespread practice even among the so-called “classical musicians”; from the jazz influences that seduced Ravel and Stravinsky, to Mussorgsky Pictures reinterpreted in a rock key by Emerson Lake & Palmer, no matter what the musical form of origin and destination; the important thing is to experiment, and in the experimentation, keeping alive the character of the work itself, with a contribution of originality that brings different styles and audiences closer together.

1 CD

ROBERTO FRANCA

FRANCA ROBERTO, PIANO

L'articolo QUEEN: PIANO TRANSCRIPTIONS proviene da Urania Records.

JOHANN SIMON MAYR (1763-1845)

Medea in Corinto Sinfonia for piano 4 hands*

Introduzione e Andantino for piano 4 hands*

Marcia lugubre for piano 4 hands

GAETANO DONIZETTI (1797-1848)

Sonata in D Major for piano 4 hands
Valzer in G Major for piano 4 hands

PADRE DAVIDE DA BERGAMO (1791-1863)

Allegretto for cembalo in D Major*
Divertimento brillante for piano in E-flat Major *
Divertimento for piano in F Major *
Pastorale 4 hands
Divertimento for piano 4 hands*
Divertimento for piano 4 hands, Tempo di valtz*
Divertimento marziale for piano 4 hands*
Tantum Ergo for soprano and piano*
Nel Gioas Re di Giuda “Coro di Leviti a 3 voci”
with 4 hands accompaniement*

Cosa unisce due operisti, Mayr e Donizetti, con un organista, Padre Davide? (Al secolo Felice Moretti, forse il più rappresentativo autore italiano per organo della prima metà del XIX secolo). Tutto ruota intorno al pianoforte, a due mani o a quattro, con questa proposta di brani, in gran parte inediti, di compositori che ci sorprendono in una veste cameristica, la quale non manca mai di tradire l’amore per il melodramma romantico.

What unites two opera composers, Mayr and Donizetti, with an organist, Father Davide? (Born Felice Moretti, perhaps the most representative Italian organ composer of the first half of the 19th century). It’s all about the piano, two or four hands, with this proposal of largely unpublished pieces by composers who surprise us as chamber music creators, which never fail to betray a love for romantic melodrama.

Davide & Daniele Trivella, piano

Ensemble Padre Davide
Ilaria Magrini, soprano

* world première

TRIVELLA DAVIDE & DANIELE, PIANO

PADRE DAVIDE ENSEMBLE

L'articolo IN BERGAMO WITH DONIZETTI | MAYR | PADRE DAVIDE: PIANO 4 HANDS proviene da Urania Records.

HARPSICHORD MUSIC

Toccata Ottava
Partite diverse di Follia
Ricercare in D. sol re
Variazioni. Per Francia
Canzona francese in f fa ut
Tastata. Per Milone. Napoli luglio 98
Alemanda
[Corrente]
Passagagli
Pastorale
Partite del Saltarello
Tastata Quarta. Per Francia
Altra [Alemanda]
Corrente
[Giga]
Fantasia in e, la, mi
Tastata. 4 dicembre 1708
Sonata

1 CD

ANDREA CHEZZI, harpsichord

Italian anonymous harpsichord of the XVII century; preserved at Rocca Sanvitale di Fontanellato (Parma); restored by Marco Brighenti (Parma) in 2020/21. Keyboard range: C/E-f’’’, 50 keys. Registers: 2 x 8’. Temperament used: Meantone temperament ¼ of a comma. Diapason 394 Hz.

CHEZZI ANDREA, HARPSICHORD

« Chi avrà ottenuta la sorte di praticare, o studiare sotto la scuola del famosissimo Sig. Bernardo Pasquini in Roma, o chi almeno l’avrà inteso, o veduto sonare, avrà potuto conoscere la più vera, bella e nobile, maniera di sonare e di accompagnare; e con questo modo così pieno avrà sentita dal suo Cimbalo una perfezzione di Armonia maravigliosa ».

« Whoever has had the good fortune to practise or study under the school of the famous Signor Bernardo Pasquini in Rome, or whoever has at least heard or seen him play, will have been able to know the truest, most beautiful and noble manner of playing and accompanying; and in this full manner will have heard from his cymbal a marvellous perfection of harmony ».

(Francesco Gasparini, L’armonico pratico al cimbalo, Venezia,1708)

L'articolo BERNARDO PASQUINI: HARPSICHORD MUSIC proviene da Urania Records.