SKU: 87578573335

italian music for guitar and piano remastered

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italian music for guitar and piano remasteredITALIAN MUSIC FOR GUITAR AND PIANO (Remastered) (CVLD377) Author: Various Authors Performer: Lapo Vannucci (guitar), Luca Torrigiani (piano) Available in: File HD, CD Gold Track list 01 Andantino. Un poco mosso e scorrevole. Pi mosso, danzante. Sempre mosso e festoso. Tempo I 5'21" 02 Vivacissimo 3'53" Franco Margola 03 Fantasia 7'11" 04 Improvviso 3'02" Carlo Mosso 05 Fantasia 6'08" Adriano Lincetto Divertimento a due 9'35" 06 Preludio 3'00" 07 Danza

ITALIAN MUSIC FOR GUITAR AND PIANO (Remastered) (CVLD377)

AuthorVarious Authors
PerformerLapo Vannucci (guitar), Luca Torrigiani (piano)

Available in: File HD, CD Gold

Track list

01 - Andantino. Un poco mosso e scorrevole. Più mosso, danzante. Sempre mosso e festoso. Tempo I - 5'21"
02 - Vivacissimo - 3'53"
Franco Margola
03 - Fantasia - 7'11"
04 - Improvviso - 3'02"
Carlo Mosso
05 - Fantasia - 6'08"
Adriano Lincetto
Divertimento a due - 9'35"
06 - Preludio - 3'00"
07 - Danza - 3'01"
08- Finale - 3'34"
Luigi Giachino Il silenzio del tempo - 11'22"
09 - Incosciente - 2'52"
10 - Ineluttabile - 2'47"
11 - Viaggiando - 2'10"
12 - Congedo - 3'33"
Giuseppe Crapisi
13 - Winter Time - 5'59"
Tot. Time: 52'35"


24bit/88.2 kHz original recording made at Magister Area Studio, Italy, on September 14rd-15th, 2015

Production: Velut Luna
Executive Producer: Marco Lincetto
Recording Engineers: Marco Lincetto
Editing Engineer: Mattia Zanatta
Mix and Mastering Engineer: Marco Lincetto
Photo: Marco Lincetto
English translation: Lesley Burgon
Graphics and Layout: L’Image
Lapo Vannucci plays on Guitar Masaki Sakurai Model Maestro-RF, especially made for Lapo Vannucci.
Luca Torrigiani plays on Steinway & Sons D274 Concert Grandpiano.

New remastering of the CD

ITALIAN MUSIC FOR GUITAR AND PIANO

ITALIAN MUSIC FOR PIANO AND GUITAR
It is a common belief that the combination of piano and guitar is a complicated enigma for both composers and performers: the sounds and approaches of the two instruments are too distant, their blend too unbalanced, the volume produced too different, and the way of ‘thinking’ or constructing harmonies too divergent. In short, when put together, piano and guitar tend to immediately prove almost incompatible. Furthermore, if there isn't even minimal amplification of the guitar, the piano will be forced to play almost always ‘on tiptoe’. Despite this, and despite common belief, several composers, especially in the twentieth century, have managed to achieve splendid results through a skilful work on the ‘fulls’ and ‘empties’ of the respective instruments, a particular attention to an unconventional dialogue, filigree writing and, of course, a good dose of instinct that never hurts. This album is a testament to these results and features a collection of original works for guitar and piano composed between 1950 and today by well-known and lesser-known Italian authors.

The journey begins in 1950 with one of the composers who, whether he wanted to or not, most strongly linked his name to that of the guitar, namely the Florentine Mario Castelnuovo-Tedesco (1895-1968) who wrote the Fantasia op. 145 in two short, insightful movements, dedicating it to Andrés Segovia and his pianist wife Francesca ‘Paquita’ Madriguera Rodon. A miracle of balance that reflects undeniable French influences but also shows an extroverted and personal lyrical inspiration, always hovering between Spanish atmospheres and an all-Italian, or rather, Tuscan cantability.
Another 'conjugal' piece that bears the title of Fantasia is the single-movement work that the Brescia-born composer Franco Margola (1908-1992) wrote in October 1979 and dedicated to the duo formed by guitarist Guido Margaria and his wife Emilia. It is a quiet work with neo-Baroque movements in which the writing, however, shows a happy hand in making the two instruments converse, cunningly seeking a constant alternation rather than an actual superposition.
Another piece dedicated to the Margaria duo is the short Improvviso, composed between November 1979 and spring 1980, which differs little from the atmospheres of the previous work.
Another Fantasia – and another piece dedicated to the Margaria duo – is the composition that Carlo Mosso (1931-1995), a Piedmontese of transalpine origin, wrote in 1980. A meditative and restless, wooden page, full of archaisms and at the same time a bearer of a resigned modernity, deliberately stark, built around a few melodic cells developed through a modal path that in some points recalls both the language of the Swiss Frank Martin and the beloved Gian Francesco Malipiero.
The Divertimento a due by Adriano Lincetto (1936-1996) from Padua, composed in 1981 and divided into three movements (Molto lento. Poco mosso – Allegro molto – Finale. Molto moderato e cantabile. Allegro vivo) is undoubtedly a less sibylline work, far from any complication, both modern and postmodern, woven with a modal language in which numerous seventh chords are found.
This rich anthology concludes with two pieces written expressly for Lapo Vannucci and Luca Torrigiani and dedicated to them. Il silenzio del tempo by Luigi Giachino (1962) from Turin dates back to 2015 and is a four-movement suite tinged with jazz inflections and almost impressionistic flavours.
Quite different is Winter Time by Giuseppe Crapisi (1967) from Sicily, which in a striking page of about six minutes mixes repetitive and stubborn gestures typical of minimalism with a more elegiac vein. In this case, the two instruments rarely alternate, often weaving their delicate or rhythmic textures mostly simultaneously.
Ennio Speranza

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SKU: 87578573335

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Jimmy R. Reagan
Natrona Heights, US
★★★★★ 5
Great, New Commentary!
Format: Hardcover
This commentary by Robert Yarbrough will become, I predict, a top-rated volume on the Pastoral Epistles. These epistles are ideal for the style of commentary we find in the Pillar New Testament Commentary (PNTC) series. As respected and valuable as the NICNT volumes by the same publisher are, these Pillar volumes are simply more valuable. They have a better center of focus, are more consistently conservative, and have more value for pastors without sacrificing scholarship. This volume succeeds in reaching that standard too. As you might have guessed, the editorship of D. A. Carson likely keeps this series moored to that lofty perch. BTW, don’t miss the editor’s preface where Carson fawns over Yarbrough’s work here. I was in love with this commentary within a few pages of its fine Introduction. So many commentators lose their way in the Pastoral Epistles. I have long suspected that it has far more to do with the authors dislike of what these epistles say rather than any actual problem found within them. Yarbrough is not sucked into the irrational fear of using the term “pastoral epistles” as so many are today either. It’s a breath of fresh air. He opens the Introduction with eight theses on pastoral heritage in these epistles. To my mind, that was a great way to present introductory issues. Next, he does a section each on Father, Son, and Spirit respectively in the Pastoral Epistles (PE). He was particularly perceptive in discussing Paul as a working pastor, even dispensing some silly critical theories along the way. He then tackles in turn geography, people, and key terms. He ends with a section on authorship and other usual introductory matters and masterfully reaches conservative conclusions. The commentary itself was even better! The phrase “real help” comes to mind. He showed off his skill, for example, in the perpetual battlefield of Titus 2. He gently yet surefootedly takes us where that disliked passage goes. He’s kind to dissenters, careful in scholarship, but not afraid to reach a conclusion. I don’t know about you, but that’s how I like my commentaries. 5 stars all the way!
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Reviewed in the United States on October 11, 2018
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Kathya1010
Lowell, US
★★★★★ 4
A Thorough Commentary that Needs Less Neutrality
Format: Kindle
Dr. Yarbrough has addressed the meaning of the Pastoral Epistles with the excellence we have have come to expect from him. However, sometimes he seems reluctant to take a stand on some controversial issues (other than on Pauline authorship and matters of basic Christian orthodoxy, to both of which he is correctly firmly committed). When several possibilities of meaning are possible, for example, it would be helpful to know which hypothesis he favors, and why. While occasionally he does state a definitive opinion, more often he does not, perhaps in a laudable but somewhat overdone effort to avoid controversy with fellow theologians. However, when one reads a 1000+ page commentary written at a scholarly level, one expects the author to give his or her expert opinion on such matters—indeed, it is a major reason that one purchases and studies a commentary. To conclude on a more positive note, Dr. Yarbrough’s observations on Greek word usage, including numerous Old Testament passages from the Septuagint, the Apostolic Fathers and apocryphal works, were very helpful in aiding the reader in understanding fine shades of meaning. His pastoral observations and deductions based on the text are simply excellent. His discussions of the strengths and weaknesses commonly encountered in Christian leaders in Western countries versus those observed in leaders from other nations were fascinating and edifying, not to mention occasionally convicting (in a good way)—even for readers who aren’t pastors, like me.
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Reviewed in the United States on November 25, 2025
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Nicholas Quient
Natrona Heights, US
★★★★★ 1
Unimpressive
Format: Hardcover
Concerning various controversial questions of like Pauline authorship and women in ministry, Yarbrough's commentary is lackluster, polemical, and altogether dismissive of large swaths of evangelical scholarship that run counter to his claims. There are better commentaries from an evangelical perspective (I. Howard Marshall, Philip Towner) that seriously address such questions without resorting to hand-waving. Overall, an unimpressive and polemical work that is superseded by better words.
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Reviewed in the United States on September 10, 2019
K
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Kailey Goodman
Dallas, US
★★★★★ 5
Great for NP school
Format: Paperback
This is very informative and easy to read! No fluff but just the nitty gritty of what you need to know
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Reviewed in the United States on May 13, 2025
R
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Ryan Michael Skinner
Massapequa, US
★★★★★ 5
Good
Format: Paperback
Good
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Reviewed in the United States on August 4, 2025

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