INCONTRI (Begegnungen) Various Artists: Salvatore Accardo
- Traditional: Coro dei Monaci Abbazia di Montecassino
- Heinrich Ignaz Franz von Biber (1644-1704): Sonata nr12 L Ascensione in do Magg.
- 2Sonata nr12 L Ascensione in do Magg.04:28
- Antonio Vivaldi (1678-1741): Concerto in Re Min. per due violini archi e continuo F I nr 100
- 3Allegro non molto04:26
- 5Allegro molto03:09
- Franz Joseph Haydn (1732-1809): Concerto in Re Magg. Hob. XVIII n.2 per pianoforte e orchestra, allegro moderato
- 6Concerto in Re Magg. Hob. XVIII n.2 per pianoforte e orchestra, allegro moderato08:05
- Felix Mendelssohn (1809-1847): Sinfonia no.4 in La Magg. op.90 (Italiana), Allegro vivace
- 7Sinfonia no.4 in La Magg. op.90 (Italiana), Allegro vivace10:28
- Wolfgang Amadeus Mozart (1756-1791): Sonata in Re Magg. KV 576, Allegro
- 8Sonata in Re Magg. KV 576, Allegro05:07
- Wolfgang Amadeus Mozart (1756-1791): Exultate, jubilate KV 165, Andante
- 9Exultate, jubilate KV 165, Andante04:39
- Fryderyk Chopin (1810-1849): Sonata op. 65 Scherzo, Allegro con brio
- 10Sonata op. 65 Scherzo, Allegro con brio04:55
- Nino Rota (1911-1979): Concerto per archi, Scherzo
- 11Concerto per archi, Scherzo03:57
- Jules Massenet (1842-1912): Meditation da Thais per violino ed orchestra
- 12Meditation da Thais per violino ed orchestra04:49
- Giacomo Puccini (1858-1924): In quelle trine morbide - da Manon Lescaut
- 13In quelle trine morbide - da Manon Lescaut02:51
Info for INCONTRI (Begegnungen)
In the world of classical music recording, fonè has for almost thirty years been using advanced techniques, aimed at re-creating the atmosphere of the original performance. Each new recording is the result of an enthusiastic encounter between the art of performance and the art of recording, and aims to reproduce the spirit with which works of the past were executed.
One basic feature, which determines the difference between fonè and other record companies, is the recording of performances in their natural spaces, that is in the places where they were originally presented. This leads to a constant search for suitable locations, and the choice of churches, theatres, country mansions, drawing rooms and so on. The recordings are carried out with the utmost simplicity, the only way not to do violence to the music: all the equipment is high fidelity; use is made of valve-type paired microphones manufactured in the years 1947 and 1949 (U47, U48 and M49) with an extremely natural and transparent timbre and a bi-microphonic field effect; these microphones have a very important history: they were used to record the Beatles at the Abbey Road Studio and by the RCA for the “Living Stereo” recordings.
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