Fulvio Fiorio, Gabriele Fiorio - The Sounds of Wood (2024) [Hi-Res]
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BAND/ARTIST: Fulvio Fiorio, Gabriele Fiorio
- Title: The Sounds of Wood
- Year Of Release: 2024
- Label: Stradivarius
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 88.2kHz +Booklet
- Total Time: 00:43:00
- Total Size: 230 / 783 mb
- WebSite: Album Preview
Tracklist
01. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): I. Adagio
02. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): II. Allegro
03. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): III. Largo
04. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): IV. Pastorella
05. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): V. Allegro
06. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): I. Andante - Presto
07. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): II. Allegro
08. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): III. Adagio
09. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): IV. Menuetto I-II
10. Fantasia in F-Sharp Minor, TWV 40:11: I. A tempo giusto
11. Fantasia in F-Sharp Minor, TWV 40:11: II. Presto
12. Fantasia in F-Sharp Minor, TWV 40:11: III. Moderato
13. Invention No. 6 in E Major, BWV 777 (Arr. for Marimba by Gabriele Fiorio)
14. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: I. Preludio
15. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: II. Allegro assai
16. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: III. Sarabanda
17. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: IV. Allegro
18. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: I. Vivace
19. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: II. Fuga da capella - Alla breve
20. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: III. Largo
21. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: IV. Allegro ma non presto
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One hundred years of Romanticism, about sixty years of postromanticism and another sixty of filologic research and adhesion to "original versions" of past musical compositions got used to us badly. Romanticism conditioned us to think that what was written by the hand of a composer has to be untouchable, a sacred document that's perfect like it is; postromanticism convinced us that this idea had to be applied to any artwork, even the ones that were written before the '800s; lastly, the meritorious and sacrosanct philologic enforcement to the research of the 'original text' have definitely forced us to believe that the only 'original version' of a composition is the one that reproduces exactly the text, recovered with all the tricks modern and performed with instruments as close as possible to the 'original' instruments of the time in which the composition was, in fact, composed. These three elements, put together, even if they seem contradictory to each other, actually go to form a perfect storm, a kind of explosive mixture that makes people look askance artistic achievements such as the one proposed by the program of this CD. But fortunately, for some, very little indeed, time, we have awakened from these paths so tremendously binding, starting right from the end, from the last step. And so 'historically informed' executions, those in which, that is, the performers tell you “I know very well that I am playing with a modern instrument an ancient music, but I also know that…”. Music has always been there, especially chamber music, which is done at home, among friends with the mere pleasure of playing together, is written for variable organics. And even if we find the name of one or more instruments on the title page of the critical edition, the author is actually giving the eventual executor only an 'executive suggestion', as if he was telling us: “check the range of your instrument, and if with it you can play the notes that are written, this song is for you”. Be it melodies or accompaniment chords. This has always been the meaning of chamber music. Making music together for someone to listen to, or just for the pleasure of making it. Maria Chiara Mazzi...
01. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): I. Adagio
02. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): II. Allegro
03. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): III. Largo
04. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): IV. Pastorella
05. Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): V. Allegro
06. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): I. Andante - Presto
07. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): II. Allegro
08. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): III. Adagio
09. Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio): IV. Menuetto I-II
10. Fantasia in F-Sharp Minor, TWV 40:11: I. A tempo giusto
11. Fantasia in F-Sharp Minor, TWV 40:11: II. Presto
12. Fantasia in F-Sharp Minor, TWV 40:11: III. Moderato
13. Invention No. 6 in E Major, BWV 777 (Arr. for Marimba by Gabriele Fiorio)
14. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: I. Preludio
15. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: II. Allegro assai
16. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: III. Sarabanda
17. Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: IV. Allegro
18. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: I. Vivace
19. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: II. Fuga da capella - Alla breve
20. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: III. Largo
21. Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi) [Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio]: IV. Allegro ma non presto
One hundred years of Romanticism, about sixty years of postromanticism and another sixty of filologic research and adhesion to "original versions" of past musical compositions got used to us badly. Romanticism conditioned us to think that what was written by the hand of a composer has to be untouchable, a sacred document that's perfect like it is; postromanticism convinced us that this idea had to be applied to any artwork, even the ones that were written before the '800s; lastly, the meritorious and sacrosanct philologic enforcement to the research of the 'original text' have definitely forced us to believe that the only 'original version' of a composition is the one that reproduces exactly the text, recovered with all the tricks modern and performed with instruments as close as possible to the 'original' instruments of the time in which the composition was, in fact, composed. These three elements, put together, even if they seem contradictory to each other, actually go to form a perfect storm, a kind of explosive mixture that makes people look askance artistic achievements such as the one proposed by the program of this CD. But fortunately, for some, very little indeed, time, we have awakened from these paths so tremendously binding, starting right from the end, from the last step. And so 'historically informed' executions, those in which, that is, the performers tell you “I know very well that I am playing with a modern instrument an ancient music, but I also know that…”. Music has always been there, especially chamber music, which is done at home, among friends with the mere pleasure of playing together, is written for variable organics. And even if we find the name of one or more instruments on the title page of the critical edition, the author is actually giving the eventual executor only an 'executive suggestion', as if he was telling us: “check the range of your instrument, and if with it you can play the notes that are written, this song is for you”. Be it melodies or accompaniment chords. This has always been the meaning of chamber music. Making music together for someone to listen to, or just for the pleasure of making it. Maria Chiara Mazzi...
Classical | FLAC / APE | HD & Vinyl
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