Category Archives: Art

Music Maestros: Top 10 Best Selling Italian Music Artists and Acts

John Bensalhia Thursday, May 10, 2018 – 12:45

John Bensalhia profiles the Top 10 Best Selling Italian Music Artists and acts *

Mina, 150 million

The chameleon-like, three-octave range of Mina has helped to put her at the top of the pile. The ‘Queen Of Screamers’ this year celebrates her half-century in the business, and continues to make records to this day – with the album, Maeba out this year.

Mina’s distinctive, powerful range has earned her her nickname, with plaudits even coming from Louis Armstrong. She has run the whole range of musical styles including rock ‘n’ roll, straight-ahead pop, soul, blues and bossa nova. Among her well-known songs are the 1960 chart-toppers Il Cielo in Una Stanza and Tintarella di Luna and her 1967 version of Ma Se Ghe Penso.

But her turn in the spotlight hasn’t been without controversy. Some of the more prudish have labelled her as a ‘bad girl’ of the Italian music scene, with some of her songs touching on subjects such as sex, the devil and smoking. Her one-time dyed-haired, shaved eyebrowed image did nothing to dissuade these more conservative opinions, especially with Mina puffing on the odd cigarette in public.

But this controversy has done nothing to diminish Mina’s standing, nor has her retirement from public appearances in the late 1970s. She has worked with a number of wide-ranging artists including Seal, Adriano Celentano and Miguel Bose. Her albums continue to prove popular, and maintains a very strong fan-base to this day.

Like this article? Don’t miss “Italy’s Indie Music Scene: Listen Up!”

Adriano Celentano, 150 million

Another of the legendary stalwarts of Italian music, Adriano Celentano has also been around since the late 1950s. Appropriately, his early music took inspiration from the rock ‘n’ roll influences brought to the world by the likes of Elvis. In true King style, Adriano also cut his early movie teeth by starring in films such as La Dolce Vita and Ragazzi del Juke-Box, and would go on to appear in a string of further big screen outings until the 1990s.

But it’s also the music that counts, and from the 1950s to the early 2010’s, Adriano would release a number of well-regarded singles. These include the oft-covered 1966 Il Ragazzo Della Via Gluck, and the amusing Prisencolinensinainciusol, which used lyrical nonsense to explore other people’s perception of how singers communicate their music.

This multi-talented singer has also explored other avenues of entertainment including TV hosting, comedy, dancing, and on top of this, he also formed his own record label Clan Celentano.

Patty Pravo, 110 million

The story of Patty Pravo is a metaphorical tale of riches to rags and riches again. Starting with great success in the mid-1960s, Patty would find fame and fortune with songs such as Ragazzo Triste, Sto Con Te, and her 1968 Number One smash, La Bambola.

The number ones and success would continue into the next decade, most notably with 1973’s Pazza Idea and Come Un Pierrot (from the following year). Both of these songs came from chart-topping albums, the respective Pazza Idea and Mai Una Signora. The late 1970s would also bring success with 1978’s Pensiero Stupendo, which came from the controversially-received TV show, Stryx, which, with its devillish and hellish themes, wasn’t exactly everybody’s cup of tea.

Regrettably, Pravo fell out of favour the following decade, but a triumphant return to form at 1997’s Sanremo Festival with the song …E Dimmi Che Non Vuoi Morire brought critical acclaim and chart success. The new millennium brought fresh success for Patty, with the likes of Che Uomo Sei and Una Donna Da Sognare. Patty’s chart hit singles and albums have continued into the mid-2010s, and following her second autobiography, it can’t be long until she releases a fresh batch of music.

Luciano Pavarotti, 100 million

Nessun Dorma. The keystone song that sums up the 1990 World Cup in Italy.

The voice of Luciano Pavarotti made this version of the aria the definitive one for many, but was only a fraction of his long and successful career until his untimely passing in 2007.

Pavarotti was part of the Three Tenors, along with Spaniards Placido Domingo and Jose Carreras. The trio would cement their popularity with a performance the day before the 1990 World Cup Final at the Roman Baths of Caracalla. Global appearances would await at destinations such as Los Angeles, Vienna and Vancouver, to name but a sample.

Pavarotti’s successful career began in the 1960s, appearing in a Reggio Emilia performance of La boheme as Rodolfo. Gradual success would appear as he played in operas such as La Traviata and Rigoletto around the world, before his 1966 breakthrough as Tonio in Donizetti’s La Fille Du Régiment at the Royal Opera House. The following decade would see Pavarotti’s popularity increase with memorable performances in La fille du régiment and another run in La Bohème.

Sales of his recordings would soar in the 1990s and 2000s, as Pavarotti would collaborate with a string of artists from the rock and pop world such as U2, Vanessa Williams and Dolores O’Riordan from The Cranberries. He would tour regularly to rapturous audiences, right up until his worldwide farewell tour in 2004.

Toto Cutugno, 100 million

Speaking as a Brit, there’s a certain degree of poignancy to be had listening to Toto Cutugno’s celebration of the EU, Insieme: 1992. The song was self-penned and managed to win the Eurovision Song Contest. It’s part of Cutugno’s considerable repertoire, with a run of hit songs and albums going back to the mid-1970s.

This Sanremo Festival regular spawned a number of acclaimed songs such as Volo 504, Solo Noi, and one of his biggest, L’Italiano, which, following big success in 1983, was refired in 2006 when Cutugno performed the hit at a concert to celebrate Italy’s win at that year’s World Cup.

Andrea Bocelli, 90 million

Another on the list to – ah, dabble in opera – tragic blindness didn’t stop Andrea Bocelli from becoming one of the best-selling Italian music artists of all time.

His impressive resume includes a string of contributions to the top Italian operas such as Turandot, Tosca and Romeo and Juliet. Many of his own albums have paid some kind of tribute to all aspects of opera, whether it be Arias (he would release both Aria: The Opera Album and Sacred Arias) or interpretations of a specific musician’s works (2000’s Verdi). Bocelli has also branched out into covering film music and themes, and also reworkings of classic Christmas songs.

His unique and powerful voice has won him an army of admirers such as Celine Dion, Al Jarreau and Elizabeth Taylor. On top of this, he has received countless awards from around the world, such as Classical BRIT Awards, Telegatto Awards, and let’s not forget his very own star on the Hollywood Walk Of Fame.

Umberto Tozzi, 75 million

The big time came a calling for successful singer songwriter Umberto Tozzi in the 1970s. His big break came in 1977 with Ti Amo, which was to go global with massive results in countries such as Sweden, Spain and Latin America. It was covered by American singer Laura Branigan, who would also enjoy success with another Tozzi composition, Gloria in 1982.

It’s this international appeal that has led Tozzi to sell so many records, as his success is maintained in the 21stcentury. Further appearances at the Sanremo Music Festival have kept his name in the spotlight, along with collaborations with musicians such as fellow singer songwriter, Raf, and French singer, Lena Ka.

Pooh, 75 million

The only band in this line-up, Pooh’s distinctive brand of prog pop has seen them right since their 1966 debut album, Per Quelli Come Noi. Their recent 50thanniversary was marked by a special reunion tour. This saw three of the extant 1960s and 1970s line-ups (Roby Facchinetti, Dodi Battaglia and Red Canzian) joined again by Stefano D’Orazio and Riccardo Fogli to a warm welcome.

If you didn’t get to see them, then try some of their classic albums from over the years, such as 1968’s Contrasto, 1973’s Parsifal, and 1983’s Tropico Del Nord.

Ennio Morricone, 70 million

Ennio Morricone is a curious one in this list, since his musical success comes from a string of classic soundtracks rather than conventional rock and pop or opera performances.

This Roman-born composer has written more than 500 classic scores for both film and TV, with music provided for the likes of The Good, The Bad And The Ugly; The Mission and For A Few Dollars More.

Not bad for a chap who started out playing jazz trumpet in local bands in the ’40s. Rising up the ranks by writing arrangements at RCA Victor and ghost writing scores for various movies and plays, by his peak of score-composing, Morricone would come up with a run of memorable compositions including Chi Mai, Man With A Harmonica and Gabriel’s Oboe. Even in his late 80s, Morricone continued to write scores for 2010’s movies such as Come What May and The Correspondence.

Laura Pausini, 70 million

The youngest on the list, but Laura Pausini has accomplished a wealth of success in her pop career that professionally began in 1993.

In fact, Laura had put together her very own demo album six years previous, but it was her 1993 Sanremo performance of La Solitudine that put her on the map, and with an achievement of a resulting Number One single in Italy, it was the start of a massively successful career.

It’s a career that has proven particularly successful both in Laura’s native country and also in Spain, where following a self-titled album sung purely in Spanish, the set became the best-seller in 1994. Laura has enjoyed a string of hit singles and albums in Spain since, to the point where she has appeared on a number of Spanish variants of worldwide music TV shows (see below).

Like many others in this list, it’s down to the voice, and Laura’s mature, powerful vocals held her in good stead for chart success. Other notable chart hits include Lettera, Gente, and Incancellabile. Due to her immense success as a singer, it’s little wonder that Pausini has been selected as a judge and mentor on the Spanish versions of The Voice and The X Factor.

* Sales figures, according to Wikipedia

source: http://www.italymagazine.com/featured-story/music-maestros-top-10-best-selling-italian-music-artists-and-acts

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“La Traviata” at Opera Theatre

Enjoy a highlight of the St. Louis Opera Theatre season with Giuseppe Verdi’s “La Traviata” May 19 – June 23 at the Loretto-Hilton Center.  In the opera, Violetta has one important rule:  Never fall in love.  She insists on her freedom.  Then she meets Alfredo, and things get complicated.  It’s a Verdi masterpiece and includes the directing debut of star soprano Patricia Racette.  Dining available on landscaped grounds before the show.  (Order there, or bring your own).  Meet the cast in a special tent after the performance.  All productions in English.  More information/tickets at www.opera-stl.org  or the Box Office at (314) 961-0644.   The Loretto-Hilton Center is located at 130 Edgar Road, Webster Groves.

Enjoy a highlight of the St. Louis Opera Theatre season with Giuseppe Verdi’s “La Traviata” May 19 – June 23 at the Loretto-Hilton Center.  In the opera, Violetta has one important rule:  Never fall in love.  She insists on her freedom.  Then she meets Alfredo, and things get complicated.  It’s a Verdi masterpiece and includes the directing debut of star soprano Patricia Racette.  Dining available on landscaped grounds before the show.  (Order there, or bring your own).  Meet the cast in a special tent after the performance.  All productions in English.  More information/tickets at www.opera-stl.org  or the Box Office at (314) 961-0644.   The Loretto-Hilton Center is located at 130 Edgar Road, Webster Groves.

by: Annette M. Graebe

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Luca Stricagnoli Coming to Indianapolis on May 17th, 2018

Luca Stricagnoli, Calum Graham

Luca Stricagnoli

Luca Stricagnoli, born and raised in Italy, is an acoustic guitarist known for his unique style and innovative playing techniques. His original approach to music has led him to a variety of successes from obtaining over 60 million views on his music videos to having the opportunity to perform all around the globe.

His debut single received over 14 million hits on YouTube and Facebook in just a couple of weeks — an especially impressive feat for an instrumental music video.

Using up to five guitars in the same piece, modified capos, and self-conceived stratagems, Luca continually leaves his audiences in awe and wondering what’s next for the up-and-coming guitarist. In addition to his musical abilities, Luca brings an enthusiastic energy to the stage that attracts concert requests from every corner of the world.

Although it has only been a year and a half since Luca started playing concerts, he has already performed in a vast multitude of countries.

In Italy, Luca played at the “Dopofestival” in Sanremo, after an invitation from Italian composer Vittorio Cosma. He was even deemed “a phenomenon” by the well-known Gialappa’s Band. Luca has also performed for the main national TV and Radio in his current residing-place of Germany, such as RTL, SWR1 and SWR4.

Luca shared the stage with several big names of the acoustic guitar world during the International Guitar Night tour. These names included the founder of the Latin-Swing style Lulo Reinhardt, grammy-nominated musician and inventor of the Slide Guitar Pandit Debashish Bhattacharya, and Brazilian guitarist and composer Chrystian Dozza. He has also been a guest artist for Italian musical legends such as “New Trolls – La Storia” and “Davide Van De Sfroos”.

Throughout his career, Luca’s music has been published by countless magazines and has grabbed the attention of world-famous artists such as the band “Walk Off The Earth”. The band even published Luca’s work on their Facebook page, obtaining more than eight million views on a single video.

Luca is currently working on a new release in which he explores even more approaches to guitar playing and debuts a new guitar that he created with Davide Serracini, all while discovering what the custom instrument has to offer the world of music. The album tour, featuring special guest Meg Pfeiffer, will cross over ten countries in Europe, Asia, North America and South America.

“Every so often, a musician emerges who, in terms of depth of expression, advances a style so much that the way we listen changes forever. In rock, Derek Trucks comes to mind as an example. Italian guitarist Luca Stricagnoli embodies such a shift. He employs right-hand fretting, altered tunings, and partial capos in the spirit of Preston Reed and Kaki King, yet, like Trucks, he’s playing at a higher level.”

For tickets click here: https://www.ticketfly.com/event/1634844-luca-stricagnoli-calum-graham-indianapolis/?utm_source=tw1&utm_medium=pre

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Union Avenue Opera Presents: Nabucco July 27th through August 4th

Nabucco

Friday, July 27, 2018 – 8:00 pm

Friday, July 27, 2018 – 8:00 pm 

Saturday, July 28, 2018 – 8:00 pm 

Saturday, July 28, 2018 – 8:00 pm

Friday, August 3, 2018 – 8:00 pm

Friday, August 3, 2018 – 8:00 pm 

Saturday, August 4, 2018 – 8:00 pm

Saturday, August 4, 2018 – 8:00 pm

Nabucco
Directed by Mark Freiman
Conducted by Stephen HargreavNabucco, King of Babylon, seizes control of Jerusalem in his war with the Israelites. Meanwhile, his daughter Fenena and her half-sister Abigaille are both in love with Ismaele, the nephew of the King of Jerusalem. War rages on between Babylon and Jerusalem. Abigaille, thinking to stop the warring once and for all, tells Ismaele that she will save his people if he vows to love her and not Fenena. When he denies her, Abigaille ruthlessly plans to take down the kingdom, claim Nabucco’s throne, and kill all the imprisoned Israelites.

 Not since Wagner’s Ring cycle has Union Avenue Opera presented a show with such epic splendor. Experience some Verdi’s grandest orchestral and choral music ever written, including the soul-stirring “Va, pensiero” chorus. 

 

Copyright © 2018  Union Avenue Opera

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A Short Film Offers a Private Look Into the Life of an Italian Architect and Design Enigma

A close-up of Mollino-designed chairs in his Teatro Regio.

A closeup of Mollino-designed chairs in his Teatro Regio.Photo: Courtesy of Oscar Humphries

Though he was one of Italy’s most influential mid-20th-century architects and interior designers, very little is known about the inner world of Turinese legend Carlo Mollino. Born in 1905 in the northern Italian city of Turin, Mollino became a figure of fascination for design enthusiasts worldwide, many of whom were transfixed by his hidden private life and ability to create dreamy, sensuous spaces inspired by his various obsessions—which ranged from the voluptuousness of the female form to symbols and talismans of witchcraft and the occult. At a time when the style of the day was, for the most part, defined by a movement known as Rationalism (led by fellow design giants like Gio Ponti and the Castiglioni brothers, who looked to architecture primarily as a self-effacing entity, created more for streamlined functionality than for decoration), Mollino’s work was particularly unique, overtly romantic, and a far cry from the goings-on in Milan.

Carlo Mollino’s RAI Auditorium, built in 1952.

Carlo Mollino’s RAI Auditorium, built in 1952. Photo: Courtesy of Oscar Humphries

After graduating from college, where he studied engineering, architecture, and art history, Mollino began working for his father’s architecture firm. There, he entered several design competitions and won for projects like the Agricultural Federation in Cuneo, Italy, and the Turin Equestrian Association headquarters, both of which, for buildings intended for public use, were unusually artsy and illustrated his predilection for sloping forms and circular spaces. After Mollino left his father’s firm, he spent the rest of his life picking and choosing his own projects, many of them commissions for private homes that were hidden from public view. His most famous work, the grand Teatro Regio in Turin, an opera house, is one of his only buildings still standing today.

As Mollino’s oeuvre has grown in appreciation over the years, the scarcity of what is available to view and acquire has only added fuel to the fire. In 2005, a Mollino table earned a record-high sale for 20th-century furniture at Christie’s, going for $3.8 million. “Its great appeal is the immediately seductive look,” a former director at Christie’s, Philippe Garner, told The New York Times in a 2009 interview. “The fact that virtually every piece can be traced to a specific commission and that production was very limited add the appeal of rarity.”

 The chairs in Carlo Mollino’s RAI Auditorium.

The chairs in Carlo Mollino’s RAI Auditorium.Photo: Courtesy of Oscar Humphries

It was only until Mollino expert and curator Fulvio Ferrari and his son Napoleone discovered and restored an apartment Mollino had been secretly working on did the doors to the architect’s world open. A social recluse for most of his life, Mollino spent years creating and decorating a home for himself on the River Po in which to live out his later days. Inside, both his dark strangeness and genius were revealed: Rooms immaculately decorated, strange voodoo imagery hung on walls and ceilings, and hundreds of erotic Polaroids taken of women who modeled for him were found. Obsessed by the Ancient Egyptian mummification process and beliefs, Mollino also created a wooden boat-like bed that served as a symbolic vessel of passage into the afterlife, placed in a room prepared meticulously for his death. Though he never actually lived in this apartment, it spoke most aptly to his deep love of all things beautiful, revealing how carefully he tried to construct the world around him. It is within this space—now known as the Museo Casa Mollino, a highlight for visitors to Turin—that Mollino has been brought back to life.

In a beautiful new short film—directed by Felipe Sanguinetti, produced by Oscar Humphries, narrated by Fulvio Ferrari, and given exclusively to Vogue—we are offered visits to Mollino’s Teatro Regio and Casa Mollino. It provides private insights into Mollino’s mind and how he saw the world. Shot from around corners and through half-opened doors, the visual narrative is atmospheric in its secrecy, just as one would imagine for spaces of Mollino’s. His presence is palpable and, in many ways, evidently vulnerable in the navigation of the camera’s lens: As viewers, we get the distinct impression that we are walking side by side with Mollino himself, reseeing the spaces so close to his heart.

The completed Teatro Regio, 1973.

The completed Teatro Regio, 1973.Photo: Courtesy of Oscar Humphries

“Mollino is so famous for the Polaroids he took and his iconic pieces of design, that as an architect he’s often overlooked,” said Humphries, who shot the film with friend Sanguinetti in June. “But he was an architect first, and we wanted to show that.”

Of the film’s humanized perspective, Sanguinetti noted: “I wanted to share what I felt in these two spaces. It’s unlike anything I’ve ever experienced before, and what Mollino brings out in people is such a unique and emotional response to his work. I hope the spectator, when watching the film, can feel that.”

n watching the film, can feel that.”

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Notre Dame professors and students embody iconic ‘Ribelli e Rivoluzionari’ of Italy

 | Monday, April 16, 2018Catherine Barra

This past Friday, the faculty and students of Notre Dame’s Department of Romance Languages and Literature came together in DeBartolo Performing Art Center’s Leighton Concert Hall to perform a wide variety of fantastic Italian music for a sold-out crowd.

As part of Romance Languages International Week 2018, Professor Lesley Marcantonio’s “Intermediate Italian II: Language Through Lyrics” class organized the concert to celebrate Italian music. This year’s theme was “Ribelli e Rivoluzionari: The Role of the Artist in Italy.”

The event recognized artists such as Mina, Jovanotti and Lucio Dalla, who represented the voices of Italy’s people during times of social unrest. The songs came from a wide range of time periods and genres, from the 1940s to the 2000s, and pop, folk, rock and romantic music.

Returning performers included singers Anne Leone, Lesley Marcantonio and Patrick Vivirito, who were accompanied by musicians Joseph Rosenberg, Anthony Monta, Patrick Falvey and JJ. Wright. Talented new singers, junior Colin McCarthy and sophomore Veronica Perez, joined the line-up this year. A screen behind the performers projected the lyrics of the songs in Italian so that the audience could sing along, contributing to the warm and inviting atmosphere.

Some of the performances were introduced by Notre Dame faculty members, who shared personal stories associated with each song. Italian Professor Alessia Blad’s introduction to “Bella ciao” discussed her grandfather’s involvement in the fight against Mussolini’s fascist regime. These monologues added a personal touch to the songs, which further enforced the importance of music’s role in learning about other cultures.

As any student of Italian language and culture will tell you, Mina forms an essential part of the Italian musical canon. A dominant figure in Italian pop music from the 1960s to the mid-1970s, Mina is one of Italy’s most beloved artists. One of the best performances of the night was Leone’s rendition of Mina’s “Insieme.” Professor Christian Moevs introduced her as “Notre Dame’s own Mina,” and he was telling the truth. Leone sold the emotion of the love ballad perfectly, proving to be an Italian diva in her own right.

Perez and Vivirito expertly brought an upbeat duet to the concert repertoire with Jovanotti’s “Ti sposerò.”

Marcantonio and the special guests of the night, the adorable second graders of South Bend’s Darden Primary Center, sang a classic Italian children’s song, “Il coccodrillo come fa.” The singer led the kids through a song describing the various sounds different animals make as they danced on stage with a crocodile. The performance had the audience laughing, clapping and singing along. Together, this group proved the old adage that music is a universal language.

The concert was also an opportunity for the musicians to show off their talent. “Piccolo uomo,” a rock ballad sung by Leone, included an epic guitar solo from Rosenberg. Marcantonio declared Rosenberg a “gentle PLS professor by day, and shredding guitar player by night.” After his solo, no one could deny it.

It was Moevs who best summed up the reasons for coming to see this amazing concert, and for returning every year: “Keep singing Italian songs and you’ll be bilingual, you’ll be Italian, you’ll know Italy. And you’ll have fun.” The annual concert is a must see for those interested in learning more about different cultures and discovering the wonderful talent of our Notre Dame family. “Bravissimi!”

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The Sistine Chapel Choir Coming to St Louis

The angelic voices of the Sistine Chapel Choir have garnered critical acclaim and recognition as they travel and perform around the globe. Through its liturgical music, the Choir communicates a message of peace and closeness among people, even if they are of other faiths or other religious confessions.

“The Sistine Chapel Choir is delighted and honored to embark on our historic first U.S. national tour,” said Maestro Msgr. Massimo Palombella, who leads the Sistine Chapel Choir. “We are excited to experience the many great cities we will visit and look forward to sharing our cutting-edge research and study of Renaissance music, directly from the archives of the Sistine Chapel, preserved in the Vatican Library, to audiences across America.”

Date: July 9, 2018 – 7:00 PM
Pricing: 

Everyone must have a ticket, regardless of age.
Prices are subject to change.

Print-Your-Own tickets will not be delivered until 3 days after the general on-sale date.

TICKET TYPE TICKET PRICE
Orchestra Pit $225.00
Premium Orchestra $225.00
Front Orchestra $225.00
Mid Orchestra I $225.00
Center Mezzanine $225.00
Mid Orchestra II $150.00
Side Mezzanine $150.00
Lower Balcony $150.00
Rear/Side Orchestra $80.00
Middle Balcony $80.00
Upper Balcony $80.00
Orchestra Corners $50.00
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STL Symphony Presents: Pines of Rome and Special Pricing for the Italian Community

The SLSO is offering members and friends of the Italian Club of St. Louis a special ticket price of $35 for Respighi’s Pines of Rome on Saturday, March 24 at 8 pm. An optional buffet pre-party is planned at LoRusso’s on Grand at an additional cost. Tickets must be purchased through the Italian Club to receive this price. To make a reservation or for more information, contact Debbie Monolo at 314-458-5209 or at ciao@italianclubstl.org. Credit cards accepted; tickets must be paid for at the time of the reservation no later than Thursday, March 15. We look forward to welcoming your group on March 24! *Limited tickets available at this special offer.

 

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Tammuriddara – Assummata di lu corpu di la tunnara – Navaii (medieval sicilian music)

The multiple influences that Sicily has undergone during the course of the centuries have left their imprint in the various traditions of the island. We are here discussing music, but in other fields of artistic and scientific endeavour these influences are also evident. Merely walking through some of the Sicilian villages will bring this home. For this reason, the present recording presents us with a wide range of these musical influences in medieval works. From traditions linked to the sphere of Muslim influence (it is not by chance that the CD begins and ends with a muezzin’s call to prayer) to carnival songs in the purest Mediterranean tradition. Here, perhaps, in these songs springing from the very deepest oral roots, is the most interesting part of the recording. Counterpoint is represented by a series of conductus and tropes from a manuscript copied on the island in the 12th century, preserved today in the National Library of Madrid (Ms. 19421), known as the Troparium of Catania, an interesting source which also transmits some liturgical dramas. The songs taken from this liturgical manuscript contrast stylistically with the other pieces. The instruments accompany discreetly and efficiently, but the voices almost always sound forced. In the pieces from popular tradition (such as, for example, A la viddanisca, with its incipient cantus planus binatim, a kind of simple polyphony) this timbre works well, but in the liturgical repertoire it sits strangely. On the other hand, the addition of attractive instrumental pieces and the inclusion of a jaw’s harp accord a special colour to the recording.

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