Filippo Cosentino: Leave the Thorn, Take the Rose…

9.90

  • Artist(s): Carlo Chirio, Filippo Ansaldi, Filippo Cosentino, Giovanni Forti, Giuseppe Notabella, Lorenzo Arese
  • Composer: Claudio Monteverdi, George Frideric Handel, Giovanni Battista Pergolesi, Johann Sebastian Bach
  • EAN Code: 7.46160911151
  • Edition: Da Vinci Jazz
  • Genre: Chamber
  • Format: 1 Cd
  • Instrumentation: Drums, Guitar
  • Period: Contemporary
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Artist(s)

Filippo Cosentino is the author of the album Baritune | a baritone guitar journey (Incipit / EgeaMusic). Known for the use of the baritone guitar, the JazzJournal wrote that "he is a master in the use of an arsenal of guitars". Filippo recorded several records besides soundtracks for cinema, theater and radio. He is the founder and didactic director of the Dragonfly Studio Alba, the jazz school and recording studio in the city of Alba in the province of Cuneo. Meanwhile he is both the artistic director of the Concerts Season Milleunanota Jazz & Co and Roero Music Fest and the creator of the Cultura Circolare, a new cultural production procedure.

Composer

Claudio Monteverdi: (b Cremona, 15 May 1567; d Venice, 29 Nov 1643). Italian composer. The most important musician in late 16th- and early 17th-century Italy, he excelled in nearly all the major genres of the period. His nine books of madrigals consolidated the achievement of the late Renaissance masters and cultivated new aesthetic and stylistic paradigms for the musical Baroque. In his operas for Mantua and Venice he took the experiments of the Florentines and developed powerful ways of expressing and structuring musical drama. His three major collections of liturgical and devotional music transcend the merely functional, exploiting a rich panoply of text-expressive and contrapuntal-structural techniques. Although he composed little or no independent instrumental music, his writing for instruments was genuinely innovative. Schrade’s famous assessment (1950) of Monteverdi as ‘creator of modern music’ may be exaggerated, but his significant place in music history is assured

George Frideric Handel (b Halle, 23 Feb 1685; d London, 14 April 1759). English composer of German birth. Though consistently acknowledged as one of the greatest composers of his age, his reputation from his death to the early 20th century rested largely on the knowledge of a small number of orchestral works and oratorios, Messiah in particular. In fact, he contributed to every musical genre current in his time, both vocal and instrumental. The composition of operas, mainly on Italian librettos, dominated the earlier part of his career, and are the finest (though not the most typical) of their kind. In his later years his commitment to large-scale vocal works, usually with a strong dramatic element, found a more individual outlet in English oratorio, a genre that he invented and established.

Giovanni Battista Pergolesi (b Iesi, Marche, 4 Jan 1710; d Pozzuoli, nr Naples, 16 March 1736). Italian composer. He was a leading figure in the rise of Italian comic opera in the 18th century.

Johann Sebastian Bach: (b Eisenach, 21 March 1685, d Leipzig; 28 July 1750). Composer and organist. The most important member of the family, his genius combined outstanding performing musicianship with supreme creative powers in which forceful and original inventiveness, technical mastery and intellectual control are perfectly balanced. While it was in the former capacity, as a keyboard virtuoso, that in his lifetime he acquired an almost legendary fame, it is the latter virtues and accomplishments, as a composer, that by the end of the 18th century earned him a unique historical position. His musical language was distinctive and extraordinarily varied, drawing together and surmounting the techniques, the styles and the general achievements of his own and earlier generations and leading on to new perspectives which later ages have received and understood in a great variety of ways.

The first authentic posthumous account of his life, with a summary catalogue of his works, was put together by his son Carl Philipp Emanuel and his pupil J.F. Agricola soon after his death and certainly before March 1751 (published as Nekrolog, 1754). J.N. Forkel planned a detailed Bach biography in the early 1770s and carefully collected first-hand information on Bach, chiefly from his two eldest sons; the book appeared in 1802, by when the Bach Revival had begun and various projected collected editions of Bach’s works were underway; it continues to serve, together with the 1754 obituary and the other 18th-century documents, as the foundation of Bach biography.

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