venerdì 14 ottobre 2016

Il Flauto Magico al Museo di Castelvecchio e Sinfonia per Verona di Hermann Nitsch e il Teatro. La finta semplice della poetica mozartiana. Così fan tutte a scuola degli amanti : Video ad ArtVerona


Il Flauto Magico al Museo di Castelvecchio e Sinfonia per Verona di Hermann Nitsch e il Teatro. La finta semplice della poetica mozartiana. Così fan tutte a scuola degli amanti : Video ad ArtVerona


 Il Flauto Magico Museo di Castelvecchio
a cura di Andrea Bruciati      -

in collaborazione con Ketty Bertolaso, Margherita Bolla, Alba Di Lieto
14 Ottobre 2016 - 8 gennaio 2017
Anteprima 14 ottobre 07:00

Un omaggio al museo di Castelvecchio e le sue preziose collezioni di 16 dei collezionisti italiani più rappresentativi:





Valentino Barbierato (Padova), Giammarino Battistella (Monteforte D'Alpone, VR), Diego Bergamaschi (Bergamo), Giuseppe Casarotto (Bergamo), Antonio Coppola (Vicenza), Roberto Cortellazzo (Treviso), Giancarlo Danieli (Vicenza), Mauro De Iorio (Trento), Giorgio Fasol (Verona), Michele Furlanetto (Treviso), Dionisio Gavagnin (Roncade, TV), Marco Ghigi (Bologna), Stefano Isoli (Legnago, VR), Lorenzo Lomonaco (Verona), Giovanni Milesi (Bergamo), Vincenzo Penta (Milano).













Artisti: Gianni Caravaggio / Rocca San Giovanni, 1968; Loris Cecchini / Milano, 1969; Tony Cragg / Liverpool, 1949; Nathalie Djurberg / Lysekil, 1978; Marlene Dumas / Città del Capo 1953; Jimmie Durham / Washington 1940; Hans-Peter Feldmann / Düsseldorf 1941; Giorgio Griffa / Torino 1936; Hannah James / Nottingham, 1985; Oliver Laric / Innsbruck, 1981; Elad Lassry / Tel Aviv, 1977; Fausto Melotti / Rovereto, 1901-1986; Vik Muniz / San Paolo, 1961; Pietro Roccasalva / Modica, 1970; Arcangelo Sassolino / Vicenza, 1967; Xavier Veilhan / Lione 1963.
Libero da tentazioni di pedante ricostruzione filologica, il progetto di visualizzazione pensato per Museo di Castelvecchio vede Il flauto magico come fonte di una storia ricca di percezioni ed esperienze, realizzato artisticamente tangibile nei diversi mezzi delle opere in mostra, preso dai principali collezioni italiane .










Die Zauberflöte, un'opera straordinariamente suggestiva, grazie ai suoi aventi temi esistenziali individuati che sono sempre state comuni a uomo occidentale, diventa il pifferaio magico in grado di guidare nuove ispirazioni creative. Questo lavoro di Mozart stava nascendo mentre le insoddisfazioni inquieti di Lessing e Sturm und Drang focalizzati sulla crisi definitiva della ragione volterriano. Note e libretto prendono chiaramente possesso dei dubbi e deviazioni in irrazionalità, e il ritorno di Il flauto magico al centro dell'attenzione è pienamente giustificabile, quando i consueti parametri di razionalizzazione sembrano incapaci di risolvere una gestione della realtà. Il flauto magico dichiara, in questo senso, le contraddizioni di una cultura fondata, come quella di Mozart, sulla dualità del pensiero illuminista e la struttura filosofica di Kant, che ha rivelato gli elementi di un'apertura verso l'irrazionale e il lato più enigmatico della realtà.
Un progetto di visualizzazione considerata come momento selettiva del pensiero complesso sui nuovi scenari visivi, in cui la contaminazione tra gusto sociale e tensione intellettuale è un dato convincente di elaborazione artistica e non una condizione consolidato. Ogni lavoro presentato agirà come reagente utopico, dove le piste romantiche assolute in secca e umanamente non riesce. Una sfida e una battaglia interna contro il concetto stesso della creazione, che stimolerà una mostra seducente ed emotivamente carica, volto a indagare il lato oscuro della nostra contemporaneità, attraverso l'opera dei grandi maestri.
Con questo progetto, ArtVerona procede nella sua vocazione di luogo per l'accertamento e l'analisi dei fatti dell'arte, nella polarità continua tra fenomeni attuali e la ricerca storica e contemporanea.   Le opere di 16 tra i più aggiornati Collezionisti italiani entrano in dialogo con gli spazi del Museo di Castelvecchio IlFlautoMagico_Castelvecchio_img-292x300.jpg http://www.artverona.it/wp-content/uploads/2016/09/IlFlautoMagico_Castelvecchio_img-292x300.jpg Mostra nel FinderRimuovi dall'elenco LASSRY_lomonaco.png http://www.artverona.it/wp-content/uploads/2016/07/LASSRY_lomonaco.png Mostra nel FinderRimuovi dall'elenco Danieli_Vik-Muniz.jpg http://www.artverona.it/wp-content/uploads/2016/07/Danieli_Vik-Muniz.jpg Mostra nel FinderRimuovi dall'elenco Marlene-Dumas-Goodbye-1986-acquerello-su-carta-cm-57-x-48-courtesy-Giammarino-Battistella-e-l’artista-foto-Sandro-Brandiele.jpg http://www.artverona.it/wp-content/uploads/2016/07/Marlene-Dumas-Goodbye-1986-acquerello-su-carta-cm-57-x-48-courtesy-Giammarino-Battistella-e-l%E2%80%99artista-foto-Sandro-Brandiele.jpg Mostra nel FinderRimuovi dall'elenco BarbieratoCaravaggio-Gianni-What-does-your-soul-look-like.jpg http://www.artverona.it/wp-content/uploads/2016/07/BarbieratoCaravaggio-Gianni-What-does-your-soul-look-like.jpg Mostra nel FinderRimuovi dall'elenco Xavier-Veilhan-San-titre-Moteur-1996-stampa-a-inchiostro-su-polystyrene-cm-88-x-117-x-8-pezzo-unico.jpg http://www.artverona.it/wp-content/uploads/2016/07/Xavier-Veilhan-San-titre-Moteur-1996-stampa-a-inchiostro-su-polystyrene-cm-88-x-117-x-8-pezzo-unico.jpg Mostra nel FinderRimuovi dall'elenco Fausto-Melotti-Scacciapensieri-1957-ceramica-smaltata-e-filo-di-nylon-cm-60-x-10-x-45-opera-unica-courtesy-Dionisio-Gavagnin-e-l’art.jpg http://www.artverona.it/wp-content/uploads/2016/09/Fausto-Melotti-Scacciapensieri-1957-ceramica-smaltata-e-filo-di-nylon-cm-60-x-10-x-45-opera-unica-courtesy-Dionisio-Gavagnin-e-l%E2%80%99art.jpg Mostra nel FinderRimuovi dall'elenco Oliver-Laric.jpg http://www.artverona.it/wp-content/uploads/2016/07/Oliver-Laric.jpg Mostra nel FinderRimuovi dall'elenco Casarotto_Giorgio-Griffa-Linee-orizzontali-acrilico-su-tela-1973-120x82-cm.jpg http://www.artverona.it/wp-content/uploads/2016/08/Casarotto_Giorgio-Griffa-Linee-orizzontali-acrilico-su-tela-1973-120x82-cm.jpg Mostra nel FinderRimuovi dall'elenco Hannah-James.jpg http://www.artverona.it/wp-content/uploads/2016/08/Hannah-James.jpg Mostra nel FinderRimuovi dall'elenco Coppola_Djurberg-Animals-on-a-Row.jpg http://www.artverona.it/wp-content/uploads/2016/07/Coppola_Djurberg-Animals-on-a-Row.jpg Mostra nel FinderRimuovi dall'elenco 1-Hans-Peter-Feldmann-Old-paintings-with-the-red-nose-2013-cm-69-x-60-olio-su-tela-con-nasi-rossi-ditticopezzo-unico.jpg http://www.artverona.it/wp-content/uploads/2016/08/1-Hans-Peter-Feldmann-Old-paintings-with-the-red-nose-2013-cm-69-x-60-olio-su-tela-con-nasi-rossi-ditticopezzo-unico.jpg Mostra nel FinderRimuovi dall'elenco 2-Hans-Peter-Feldmann-Old-paintings-with-the-red-nose-2013-cm-69-x-60-olio-su-tela-con-nasi-rossi-ditticopezzo-unico.jpg http://www.artverona.it/wp-content/uploads/2016/08/2-Hans-Peter-Feldmann-Old-paintings-with-the-red-nose-2013-cm-69-x-60-olio-su-tela-con-nasi-rossi-ditticopezzo-unico.jpg Mostra nel FinderRimuovi dall'elenco Cortellazzo_TonyCragg.jpg http://www.artverona.it/wp-content/uploads/2016/08/Cortellazzo_TonyCragg.jpg Mostra nel FinderRimuovi dall'elenco Pietro-Roccasalva-Clinamen-2010-acciaio-capelli-nastro-adesivo-coprente-cm-400-x-50-x-3-cm-30-x-30-x-100esemplare-unico-courtesy.jpg http://www.artverona.it/wp-content/uploads/2016/08/Pietro-Roccasalva-Clinamen-2010-acciaio-capelli-nastro-adesivo-coprente-cm-400-x-50-x-3-cm-30-x-30-x-100esemplare-unico-courtesy.jpg Mostra nel FinderRimuovi dall'elenco Jimmie-Durham-Marble-gloves-2005-marmo-e-guanti-di-pelle-cm-122-x-52-x-3-opera-unica-courtesy-Marco-Ghigi-e-l’artista.jpg http://www.artverona.it/wp-content/uploads/2016/08/Jimmie-Durham-Marble-gloves-2005-marmo-e-guanti-di-pelle-cm-122-x-52-x-3-opera-unica-courtesy-Marco-Ghigi-e-l%E2%80%99artista.jpg Mostra nel FinderRimuovi dall'elenco Arcangelo-Sassolino-Senza-Titolo-2013-carta-pressata-a-1000-tonnellate-cm-25-x-39-x-33-l’opera-con-la-base-e-la-teca-cm-125.jpg http://www.artverona.it/wp-content/uploads/2016/09/Arcangelo-Sassolino-Senza-Titolo-2013-carta-pressata-a-1000-tonnellate-cm-25-x-39-x-33-l%E2%80%99opera-con-la-base-e-la-teca-cm-125.jpg Mostra nel FinderRimuovi dall'elenco Paolo-Icaro.jpg http://www.artverona.it/wp-content/uploads/2016/08/Paolo-Icaro.jpg Mostra nel FinderRimuovi dall'elenco Paolo Icaro, typical, classic, stiacciato, 1985, plaster, 220 cm, courtesy of the artist and Giorgio Fasol Paolo Icaro, typical, classic, stiacciato, 1985, plaster, 220 cm, courtesy of the artist and Giorgio Fasol Sassolino, Untitled, 2013, pressed paper to 1000 tons, 25 x 39 cm x 33 cm 125 x 50 x 60 and. unique, private collection Sassolino, Untitled, 2013, pressed paper to 1000 tons, 25 x 39 cm x 33 cm 125 x 50 x 60 and. unique, private collection Jimmie Durham, Marble gloves, 2005, marble and leather gloves, 122 x 52 x 3 cm, single work, courtesy Marco Chigi and the artist Jimmie Durham, Marble gloves, 2005, marble and leather gloves, 122 x 52 x 3 cm, single work, courtesy Marco Chigi and the artist Pietro Roccasalva, Clinamen, 2010, steel, hair, opaque tape, 400 cm x 50 x 3; cm 30 x 30 x 100, single copy courtesy Stefano Isolate and the artist Pietro Roccasalva, Clinamen, 2010, steel, hair, opaque tape, 400 cm x 50 x 3; cm 30 x 30 x 100, single copy courtesy Stefano Isolate and the artist Tony Cragg, Different points of view, in 2011, corton steel, 60 x 26 x 30 cm, courtesy Roberto Cortellazzo and the artist Tony Cragg, Different points of view, in 2011, corton steel, 60 x 26 x 30 cm, courtesy Roberto Cortellazzo and the artist Hans-Peter Feldmann, Old paintings with the red nose, 2013, 69 x 60 cm, oil on canvas with red noses, diptych, unique, private collection Hans-Peter Feldmann, Old paintings with the red nose, 2013, 69 x 60 cm, oil on canvas with red noses, diptych, unique, private collection Hans-Peter Feldmann, Old paintings with the red nose, 2013, 69 x 60 cm, oil on canvas with red noses, diptych, unique, private collection Hans-Peter Feldmann, Old paintings with the red nose, 2013, 69 x 60 cm, oil on canvas with red noses, diptych, unique, private collection Nathalie Djurberg Animals in a row, in 2011 clay sculptures cm 150 x 130 x 65 Nathalie Djurberg & Hans Berg My Body is a House of Glass, 2011 clay animation, video, with music by Hans Berg 5:01 min. ed .: 4, II courtesy the artists; Gio Marconi, Milan Nathalie Djurberg Animals in a row, 2011 clay sculptures cm 150 x 130 x 65 Nathalie Djurberg & Hans Berg My Body is a House of Glass, 2011 clay animation, video, with music by Hans Berg 5:01 min. ed .: 4, II courtesy the artists; Gio Marconi, Milan Hannah James, Screen # 3, 2010, slideprojection, 10 slides, edition 1/3 + 1 AP, courtesy Diego Bergamaschi and the artist Hannah James, Screen # 3, 2010, slideprojection, 10 slides, edition 1/3 + 1 AP, courtesy Diego Bergamaschi and the artist Giorgio Clamps, Horizontal Lines, 1973, acrylic on canvas, 120 x 82 cm, courtesy of the artist and Giuseppe Casarotto Giorgio Clamps, Horizontal Lines, 1973, acrylic on canvas, 120 x 82 cm, courtesy of the artist and Giuseppe Casarotto Oliver Laric, Jungling vom Magdalensberg, 2016, synthesizing a laser stereolithography, polyamide, tuskC2700T polished epoxy, aluminum base, 255 cm x 45 x 45, 98 x 17 8 3/4 x 17 3/4 in, Unique (Laric -2016-0127), courtesy Mauro De Iorio and the artist Oliver Laric, Jungling vom Magdalensberg, 2016, synthesizing a laser stereolithography, polyamide, tuskC2700T polished epoxy, aluminum base, 255 cm x 45 x 45, 98 x 17 8 3/4 x 17 3/4 in, Unique (Laric -2016-0127), courtesy Mauro De Iorio and the artist Fausto Melotti, Scacciapensieri, 1957 glazed ceramic and nylon thread, 60 x 10 x 4.5 cm, single work, courtesy and artist Dionisio Gavagnin Fausto Melotti, Scacciapensieri, 1957 glazed ceramic and nylon thread, 60 x 10 x 4.5 cm, single work, courtesy and artist Dionisio Gavagnin Xavier Veilhan, San titre (Moteur), 1996, ink printing on polystyrene, 88 cm x 117 x 8, single piece, courtesy John Milesi and the artist Xavier Veilhan, San titre (Moteur), 1996, ink printing on polystyrene, 88 cm x 117 x 8, single piece, courtesy John Milesi and the artist Gianni Caravaggio, What does your soul look like 2001, 3800 meters of nylon thread, red lentils, color, 150 x 150 x 30 cm approx, single work, courtesy and artist Valentino Barbierato Gianni Caravaggio, What does your soul look like 2001, 3800 meters of nylon thread, red lentils, color, 150 x 150 x 30 cm approx, single work, courtesy and artist Valentino Barbierato Marlene Dumas, Goodbye, 1986, watercolor on paper, 57 x 48 cm, courtesy Giammarino Battistella and the artist, photo Stefano Bardiele Marlene Dumas, Goodbye, 1986, watercolor on paper, 57 x 48 cm, courtesy Giammarino Battistella and the artist, photo Stefano Bardiele Vik Muniz, Clown Skull, 1990, mixed media, 22 x 15 x 18 cm, private collection Vik Muniz, Clown Skull, 1990, mixed media, 22 x 15 x 18 cm, private collection Elad Lassry, Meat & Onions, 2010, exemplary PDA 5/5 + 2, c-print framed print, 29.2 x 36.3 cm, courtesy Lorenzo Lomonaco and the artist Elad Lassry, Meat & Onions, 2010, exemplary PDA 5/5 + 2, c-print framed print, 29.2 x 36.3 cm, courtesy Lorenzo Lomonaco and the artist Das von Castelvecchio Museum entworfene Ausstellungsprojekt sieht die magische Flöte als Quelle für eine reiche Geschichte von Wahrnehmungen und Erfahrungen, die in den verschiedenen Medien der aus den großen italienischen Sammlungen entstandenen Werke künstlerisch greifbar ist . Die Zauberflöte, ein außergewöhnlich eindrucksvolles Werk, weil es existentielle Themen identifiziert hat, die dem westlichen Menschen immer gemeinsam waren, wird zum Zauberpfeifer, der in der Lage ist, neue kreative Inspirationen zu leiten. Diese Arbeit von Mozart wurde geboren, während die unruhigen Unzufriedenheiten von Lessing und Sturm und Drang auf die endgültige Krise der voltairischen Vernunft konzentrierten. Notizen und Libretto nehmen die Zweifel und Ablenkungen in die Irrationalität ein, und die Rückkehr der Zauberflöte ins Zentrum der Aufmerksamkeit ist vollkommen gerechtfertigt, wenn die üblichen Rationalisierungsparameter unfähig erscheinen, ein Management der Wirklichkeit zu lösen. Die Zauberflöte erklärt in diesem Sinne die Widersprüche einer wie Mozart gegründeten Kultur über die Dualität des illuministischen Denkens und die philosophische Struktur von Kant, die die Elemente einer Öffnung gegenüber der Irrationalen und der Rätselhafteren offenbarte Der Wirklichkeit. Ein Ausstellungsprojekt, das als selektiver Moment des komplexen Denkens auf die neuen visuellen Szenarien betrachtet wird, in denen die Verunreinigung zwischen sozialem Geschmack und intellektueller Spannung ein genauer Bezugspunkt der künstlerischen Ausarbeitung und nicht ein konsolidierter Zustand ist. Jede gezeigte Arbeit wird als utopisches Reagenz wirken, wo der absolute romantische Rhythmus läuft und menschlich versagt. Eine Herausforderung und ein innerer Kampf gegen das Konzept der Schöpfung, das durch die Arbeit der Großen Meister eine verführerische und emotional geladene Ausstellung zur Erforschung der dunklen Seite unserer Zeitgenossenschaft anregen wird. Mit diesem Projekt schreitet ArtVerona in seiner Berufung als Ort für die Ermittlung und Analyse der Fakten der Kunst, in kontinuierlicher Polarität zwischen aktuellen Phänomenen und historische und zeitgenössische Forschung. Roberto Pugliese | La finta semplice Nella Chiesa di San Francesco al Corso –

 Museo degli Affreschi, l’installazione site specific ispirata all’aspetto più innovatore della poetica mozartiana Così fan tutte, ossia la scuola degli amanti VideoArtVerona Rassegna di video arte alla Protomoteca della Biblioteca Civica e all’Accademia Belle Arti di Verona ArtRounds # ArtVerona Esposizione negli spazi dell’Università degli Studi di Verona delle due opere di Michele Amato e Alice Padovani HermannNitsch e il Teatro Al Museo AMO una mostra che ripercorre il legame tra Hermann Nitsch e la storia del teatro contemporaneo Sinfonia per Verona All’Auditorium della Gran Guardia l’inedita “Sinfonia per Verona” composta dal grande artista Hermann Nitsch Verona VR, Italia il flauto magico trama il flauto magico la scala il flauto magico regina della notte il flauto magico teatro alla scala il flauto magico 2016 il flauto magico alla scala 2016 il flauto magico youtube il flauto magico verona 2016 Flauto, Flauto-Cembalo, flauto-dolce, Flauto-Magico, FlautoCembalo, flöte, Flute, Magic-Flute, Mozart, Museo, Sinfonia, Teatro, Verona, Zauberflöte Raffaella Formenti Note in dolenti Nella Loggia Vecchia in Piazza dei Signori, l’installazione che prende forma dalla ReginadellaNotte de Il Flauto Magico di Mozart


Flauto-Magico, Magic-Flute, Museo, Sinfonia, Verona, Teatro, Mozart   Così fan tutte a scuola degli amanti : Video ad ArtVerona
Zauberflöte, flöte  - flöte
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sabato 2 luglio 2016

#‎Partita‬ ‪#‎GER‬ ‪#‎ITA‬ ‪#‎GERita‬ ‪#‎ITAger‬ ‪#‎bach‬ ‪#‎Euro2016‬ ...



Download #‎Partita‬ ‪#‎GER‬ ‪#‎ITA‬ ‪#‎GERita‬ ‪#‎ITAger‬ ‪#‎bach‬ ‪#‎Euro2016‬ ‪#‎Deutschland‬ vs ‪#‎Italien‬ ‪#‎Italia‬ ‪#‎Germania‬ 1-1 - http://flautocembalo.blogspot.it/…/partita-ger-ita-gerita-i… ‪#‎Partita‬ ‪#‎GER‬ ‪#‎ITA‬ ‪#‎GERita‬ ‪#‎ITAger‬ ‪#‎bach‬ ‪#‎Euro2016‬ ‪#‎Deutschland‬ vs ‪#‎Italien‬ ‪#‎Italia‬ ‪#‎Germania‬ Johann Sebastian Bach #Partita #GER #ITA #GERita #ITAger #bach #Euro2016 #Deutschland vs #Italien #Italia #Germania ‪#‎ItaliaGermania‬ vs ‪#‎Deutschlanditalien‬ ‪#‎Harpsichords‬ ‪#‎calcio‬ #Partita per ‪#‎cembalo‬ #GERita #ITAger - 1 Italian Harpsichords - Clavicembali italiani - Organ - www.facebook.com/groups/Harpsichords - 2 Cembalo - German Harpsichord - clavicembalo - spinetta - Organ www.facebook.com/groups/Harpsichord.DE - - Recorder Cembalo Videomag - #soccer - #Partite per cembalo - Flauto Cembalo8 mesi fa J.S. #Bach #Partita #BWV1004 #Leonhardt #cembalo by Willam Dowd , Paris 1975 nach #Blanchet , #Paris 1730 1:Allemanda 0:00~ 2:Courrente 2:45~ 3:Sarabanda 4:08~ 4:Giga 7:38~ 5:Ciacona 9:38~ 1 #Italian Harpsichords - #Clavicembali #italiani - #Organ - 2 #Cembalo - #German Harpsichord - clavicembalo - #spinetta - #Organo - #italygermany #italiagermania formazione #italiagermania ora barzagli coccinella #deutschlanditalien #ItaliaGermania 44300 Tweet #GERITA 166000 Tweet #Daesh 4.344 Tweet #Djokovic 15800 Tweet #Wimbledon 139000 Tweet Forza Azzurri 10500 Tweet #ForzaItalia 8.106 Tweet #PrayForDhaka 6.376 Tweet #Cavendish Bordeaux con Flauto Cembalo - Giovanni Battista Lulli Lulli - Ria - Giordano - Michael - Azue Waiak - ArcaDellaMemoria - Musica dal Tempo - Musica dal Tempo - Musica e concerti Gradus _ Recorder, Cembalo, recordercembalo, pages UCuXMls2UaUVOGdtyCjQ3CpA- - Recorder Cembalo Videomag

giovedì 5 maggio 2016

#AlejandroCasalMadinabeitia - #Albero: Six #Recercatas, #Fugas and #Sonatas - #BrilliantClassics Composer, Sebastián de Albero. Artist, Alejandro Casal harpsichord. Format, #2CD

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#AlejandroCasalMadinabeitia - #Albero: Six #Recercatas, #Fugas and #Sonatas - #BrilliantClassics
Composer, Sebastián de Albero. Artist, Alejandro Casal harpsichord. Format, #2CD. Cat. number, 95187. EAN code, 5028421951874. Release, February 2016 -

Albero: Six Recercatas, Fugas and Sonatas
Albero: Six Recercatas, Fugas and Sonatas
Composer Sebastián de Albero
Artist Alejandro Casal harpsichord
Format 2 CD
Cat. number 95187
EAN code 5028421951874
Release February 2016



If the name of #SebastiandeAlbero (or to give him his full title, Sebastián Ramón de Albero Añanos) is encountered at all in the record catalogues, it is for the 30 brief keyboard sonatas, which are stylish and exuberant works in the early 18th-century Spanish style perfected by Domenico Scarlatti, with whom de Albero was likely acquainted while in post as the main organist at the Royal Chapel in Madrid, to which he had been appointed in 1746 at just 24 years of age. He died just ten years later, leaving to posterity only those sonatas and this more individual collection of tripartite works combining the forms of recercar, fugue and sonata. These have received much less attention on disc, making this complete recording by the Spanish harpsichordist Alejandro Casal all the more welcome. In his own detailed booklet note, Casal homes in on the collection’s most extraordinary feature, which is the length of the fugues, up to 522 bars for the A major fugue (almost ten minutes in performance; in terms of duration, three others are even longer, up to thirteen minutes); compare this to Bach’s longest keyboard fugue, of 231 bars. It would be wild overstatement to compare de Albero with Bach in terms of contrapuntal mastery, and Grove notes the tendency of the fugues in this collection towards the ‘excessive sequences’ which sustain their length, but they are ‘fetching’ nonetheless, and preceded by highly imaginative recercars written in an improvisatory, often fantastical style, without barlines, freely crossing tonal boundaries whither de Albero’s invention takes him, and demanding considerable technical élan from the performer. Indeed the concluding sonatas, while written in a rousing major-key to give the sense of an ending, could even be said to prefigure the bold Empfindsamkeit language of CPE Bach, but with a Spanish accent.

The harpsichord used in this recording is a copy of an original by Joachim José Antunes, Lisboa, kept at the Finchcocks Collection in Goudhurst, and built by Ugo Casiglia (Cinisi, Italy) in 2011: it is considered among the finest examples of Iberian keyboard-construction, with a powerful, rich and melodic sound.

Sebastian de Albero (1722-1756) was a highly talented Spanish composer, who eventually attained a prestigious position at the Royal Court of Ferdinand VI in Madrid, alongside with Domenico Scarlatti and Carlos Seixas. With his early death at age 34 a brilliant career came to a sudden end.
Albero left only two manuscripts, one of which is completely recorded here: the 6 Recercatas, Fugues and Sonatas. This rather unusual set of musical forms which each belong to a different era Albero showed his complete mastery in all existing styles. The Recercatas are free, improvisatory preludes without barlines, in which the imagination of the performer / composer is given free reign. The Fugue is the Baroque form par excellence, and Albero wrote them in grand style of substantial proportions. The Sonatas are single movement pieces in binary form, much like Scarlatti’s Sonatas, revelling in brilliant keyboard virtuosity.
Alejandro Casal, one of the finest Spanish cembalists of today, plays a magnificent instrument, built by Ugo Casiglia, after Antunes, measuring 2,5 meters long.
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Track list



Disk 1
1Recercata, Fuga and Sonata No. 1 in D Major: I. Recercata. Ad libitum 2Recercata, Fuga and Sonata No. 1 in D Major: II. Fuga. Allegro 3Recercata, Fuga and Sonata No. 1 in D Major: III. Sonata. Allegro 4Recercata, Fuga and Sonata No. 2 in A Major: I. Recercata. Ad libitum 5Recercata, Fuga and Sonata No. 2 in A Major: II. Fuga. Andante 6Recercata, Fuga and Sonata No. 2 in A Major: III. Sonata. Allegro 7Recercata, Fuga and Sonata No .3 in B-Flat Major: I. Recercata. Ad libitum 8Recercata, Fuga and Sonata No .3 in B-Flat Major: II. Fuga. Allegro 9Recercata, Fuga and Sonata No .3 in B-Flat Major: III. Sonata. Andante
Disk 2
1Recercata, Fuga and Sonata No. 4 in G Major: I. Recercata. Ad libitum 2Recercata, Fuga and Sonata No. 4 in G Major: II. Fuga. Allegro 3Recercata, Fuga and Sonata No. 4 in G Major: III. Sonata. Allegro 4Recercata, Fuga and Sonata No. 5 in C Major: I. Recercata. Ad libitum 5Recercata, Fuga and Sonata No. 5 in C Major: II. Fuga. Andante 6Recercata, Fuga and Sonata No. 5 in C Major: III. Sonata. Allegro 7Recercata, Fuga and Sonata No. 6 in E Major: I. Recercata. Ad libitum 8Recercata, Fuga and Sonata No. 6 in E Major: II. Fuga. Andante 9Recercata, Fuga and Sonata No. 6 in E Major: III. Sonata. Andante


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http://www.brilliantclassics.com/articles/a/albero-six-recercatas,-fugas-and-sonatas/ --


Albero: Six Recercatas, Fugas and Sonatas
Albero: Six Recercatas, Fugas and Sonatas


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‪#‎cembalo‬ copy of ‪#‎Antunes‬ made by Ugo Casiglia - Joaquim José Antunes (1731–1811) was a ‪#‎Portuguese‬ ‪#‎harpsichord‬ maker who lived in ‪#‎Lisbon‬. Other members of his family were also harpsichord and piano makers.
Julião Antunes was the father of Joaquim José; he was a maker of string instruments for the royal chapel.
Manuel Antunes (1707–1796)


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#‎cembalo‬ copy of ‪#‎Antunes‬ made by Ugo Casiglia - Joaquim José Antunes (1731–1811) was a ‪#‎Portuguese‬ ‪#‎harpsichord‬ maker who lived in ‪#‎Lisbon‬. Other members of his family were also harpsichord and piano makers.
Julião Antunes was the father of Joaquim José; he was a maker of string instruments for the royal chapel.
Manuel Antunes (1707–1796) was the brother of Joaquim José and was also an instrument maker; they shared a workshop.
João Baptista Antunes (fl.1825–1865), was the grandson of Manuel and became a maker of keyboard instruments.
There are four Antunes instruments still in existence. Two single manual harpsichords with disposition 8' 8' are signed by Joaquin José: one dated 1758, now in the Museu da Música, Lisbon and one dated 1785, now in the Finchcocks collection, Goudhurst, Kent. Their other existing instruments are signed only 'Antunes', probably because they were made by Manuel and Joaquin José working together. These are a grand piano, very similar to their harpsichords in design and construction with an action like that of Bartolomeo Cristofori, made in 1767, now in the National Music Museum, Vermillion, South Dakota and a harpsichord similar to the others made in 1789 in the Museu da Música, Lisbon.
The existing instruments have been readily seized upon by harpsichordists as the ideal instruments upon which to play the music of Portuguese and Spanish baroque composers such as Carlos Seixas and Manuel Blasco de Nebra. These recordings use Antunes instruments:
Carlos Seixas: Harpsichord Sonatas, played by Cremilde Rosado Fernandes (1758 instrument); Portugalsom CD 870023/PS.
Carlos Seixas: Harpsichord Sonatas, played by Robert Woolley (1785 instrument); Amon Ra CD-SAR 43.
Carlos Seixas: Harpsichord Sonatas, Sinfonia, Harpsichord Concerto, conducted and played by Ketil Haugsand (1758 instrument) with the Norwegian Baroque Orchestra; Virgin Veritas 45114.
Carlos Seixas: Concerto, Sonatas, played by José Luis González Uriol (1758 instrument) and Segréis de Lisboa (conducted by Manuel Morais), Portugaler 2003-2
Carlos Seixas: 12 Harpsichord Sonatas, played by Rui Paiva (1758 instrument), Philips 528 574-2
Manuel Blasco de Nebra: Sonatas & Pastorelas, played by Carole Cerasi (1785 instrument); Metronomist MET1064.
Lodovico Giustini di Pistoia: Sonate da Cimbalo di Piano, e Forte, detto volgarmente di Martelletti (Firenze, 1732), played by Cremilde Rosado Fernandes (1767 pianoforte), Numérica - NUM 1047
Carlos Seixas: Harpsichord Sonatas (complete recording, vol. I), played by José Carlos Araújo (1758 instrument); Melographia Portugueza CD 12/001, MPMP.
Carlos Seixas: Harpsichord Sonatas (complete recording, vol. III), played by José Carlos Araújo (1758 instrument); Melographia Portugueza CD 13/003, MPMP.-
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    Recorder Cembalo Videomag ha aggiunto 2 nuove foto.
    Pubblicato 14 minuti fa
    ‪#‎AlejandroCasalMadinabeitia‬ - ‪#‎Albero‬: Six ‪#‎Recercatas‬‪#‎Fugas‬ and‪#‎Sonatas‬ - ‪#‎BrilliantClassics‬
    Composer, Sebastián de Albero. Artist, Alejandro Casal harpsichord. Format, ‪#‎2CD‬. Cat. number, 95187. EAN code, 5028421951874. Release, February 2016 -
    Albero: Six Recercatas, Fugas and Sonatas
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    ‪#‎cembalo‬ copy of ‪#‎Antunes‬ made by Ugo Casiglia - Joaquim José Antunes (1731–1811) was a ‪#‎Portuguese‬ ‪#‎harpsichord‬ maker who lived in ‪#‎Lisbon‬. Other members of his family were also harpsichord and piano makers.
    Julião Antunes was the father of Joaquim José; he was a maker of string instruments for the royal chapel.
    Manuel Antunes (1707–1796) was the brother of Joaquim José and was also an instrument maker; they shared a workshop.
    João Baptista Antunes (fl.1825–...
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