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Bulgarian Dances (Part II)

Bulgarian folk music has a long tradition and numerous typical characteristics, such as particular dissonances and complex, irregular rhythms. In Bulgarian Dances (Part II) (which can be performed together with the previously published title Bulgarian Dances) Franco Cesarini has preserved the original spirit of Bulgarian folk music, yet has imbued it with a symphonic character and brought it into the concert hall. The three different movements give us a meditative, moving folksong and a lively dance, before a distinctly symphonic part leads to a glittering finale.

Bulgarian Dances (Part II)

Bulgarian folk music has a long tradition and numerous typical characteristics, such as particular dissonances and complex, irregular rhythms. In Bulgarian Dances (Part II) (which can be performed together with the previously published title Bulgarian Dances) Franco Cesarini has preserved the original spirit of Bulgarian folk music, yet has imbued it with a symphonic character and brought it into the concert hall. The three different movements give us a meditative, moving folksong and a lively dance, before a distinctly symphonic part leads to a glittering finale.

Bulgarian Dances (part II)

Bulgarian folk music has a long tradition and numerous typical characteristics, such as particular dissonances and complex, irregular rhythms. In Bulgarian Dances (Part II) (which can be performed together with the previously published title Bulgarian Dances) Franco Cesarini has preserved the original spirit of Bulgarian folk music, yet has imbued it with a symphonic character and brought it into the concert hall. The three different movements give us a meditative, moving folksong and a lively dance, before a distinctly symphonic part leads to a glittering finale.

Bulgarian Dances (part II)

Bulgarian folk music has a long tradition and numerous typical characteristics, such as particular dissonances and complex, irregular rhythms. In Bulgarian Dances (Part II) (which can be performed together with the previously published title Bulgarian Dances) Franco Cesarini has preserved the original spirit of Bulgarian folk music, yet has imbued it with a symphonic character and brought it into the concert hall. The three different movements give us a meditative, moving folksong and a lively dance, before a distinctly symphonic part leads to a glittering finale.

Toccata Barbaro II

Romanian Dances II - Suite

Romania boasts an endless wealth of folk music and culture. Whilethe music of the north still sounds familiar to West-European ears,it becomes gradually faster and fierier towards the south. The sixmovements of Romanian Dances consist of various folk songs, whichthe composer collected and arranged, and represent a cross sectionof styles from dances with stomping and drumming to dancesassociated with prayer. Each movement can be performed separatelyensuring you will find something for all occasions.

Romanian Dances II - Suite

Romania boasts an endless wealth of folk music and culture. Whilethe music of the north still sounds familiar to West-European ears,it becomes gradually faster and fierier towards the south. The sixmovements of Romanian Dances consist of various folk songs, whichthe composer collected and arranged, and represent a cross sectionof styles from dances with stomping and drumming to dancesassociated with prayer. Each movement can be performed separatelyensuring you will find something for all occasions.

Gran Finale - Atto II : dall' opera Aïda

The triumphal march from Aida is probably one of the best known classical works of all times. This superb transcription by Franco Cesarini retains the exciting spirit of the original. As always his name guarantees good quality - quality combined with the joy of recognition.

Gran Finale - Atto II : dall' opera Aïda

The triumphal march from Aida is probably one of the best known classical works of all times. This superb transcription by Franco Cesarini retains the exciting spirit of the original. As always his name guarantees good quality - quality combined with the joy of recognition.

Preludio all' atto II : dall' opera 'Un Ballo in Maschera'

For the first draft of the libretto of Un ballo in maschera (1859), Giuseppe Verdi drew his inspiration from the grand-opéra Gustave III by Auber, an opera performed for the first time in Paris in 1833 that depicted the assassination of the King of Sweden. However, censorship, first in Naples and then in Rome, intervened and imposed heavy modifications. Perhaps because it was too demanding, Verdi showed no intransigence with the requests coming from Naples and refused to alter the libretto. On the other hand, he yielded to the requests of the Roman authorities and agreed to change the site of the action and the identity of the protagonists. Consequently, the scene movedfrom Stockholm to Boston and King Gustav became the Count of Warwick, Governor of Massachusetts.The prelude to the second act is very short and introduces the scene at the place where the scaffold stands. In only a few measures, Verdi skillfully succeeds in condensing the interior restlessness of the protagonists, alongside a prayer of hope.

Preludio all' atto II : dall' opera 'Un Ballo in Maschera'

For the first draft of the libretto of Un ballo in maschera (1859), Giuseppe Verdi drew his inspiration from the grand-opéra Gustave III by Auber, an opera performed for the first time in Paris in 1833 that depicted the assassination of the King of Sweden. However, censorship, first in Naples and then in Rome, intervened and imposed heavy modifications. Perhaps because it was too demanding, Verdi showed no intransigence with the requests coming from Naples and refused to alter the libretto. On the other hand, he yielded to the requests of the Roman authorities and agreed to change the site of the action and the identity of the protagonists. Consequently, the scene movedfrom Stockholm to Boston and King Gustav became the Count of Warwick, Governor of Massachusetts.The prelude to the second act is very short and introduces the scene at the place where the scaffold stands. In only a few measures, Verdi skillfully succeeds in condensing the interior restlessness of the protagonists, alongside a prayer of hope.

Jubelklänge : Marsch

Ernst Uebel (1882-1959) was born in Klingenthal in Vogtland (Germany), where he spent most of his life working as an instrument maker and conducted the municipal concert band, a task he performed for more than 30 years. In the year 1926 Ernst Uebel composed the march Jubelklänge and gained worldwide fame with it. The march, with its beautiful melodies and exciting drive, was played at many occasions around the world including the coronation festivities for Queen Elizabeth II in London and the Winter Olympics in Sapporo. In this arrangement the march has been adapted to suit the demands of a modern concert band whilst successfully maintaining the traditional character of theoriginal.

Jubelklänge : Marsch

Ernst Uebel (1882-1959) was born in Klingenthal in Vogtland (Germany), where he spent most of his life working as an instrument maker and conducted the municipal concert band, a task he performed for more than 30 years. In the year 1926 Ernst Uebel composed the march Jubelklänge and gained worldwide fame with it. The march, with its beautiful melodies and exciting drive, was played at many occasions around the world including the coronation festivities for Queen Elizabeth II in London and the Winter Olympics in Sapporo. In this arrangement the march has been adapted to suit the demands of a modern concert band whilst successfully maintaining the traditional character of theoriginal.

Mosaici Bizantini

Three Byzantine mosaics, to be seen in churches in Venice and Palermo inspired Franco Cesarini to compose this work. He took the musical motives from Gregorian chants. The mosaics concerned deptic the following extracts from "TheGospel According to St. Matthew". I. The NativityThe Magi from the East: "Where is the newborn King of the Jews? For we have seen his star in far-off eastern lands and we have come to worship Him." II. The Temple of JerusalemAndlook! The curtain secluding the Holiest Place in the Temple was split apart from top to bottom: and the earth shook and rocks broke, and tombs opened and many godly men and women who had died, come back to life again. III. Angelofthe ResurrectionAn angel of the Lord come down from heaven drew near, rolled away the stone and sat upon it. His countenance was lightning and his attire white as snow.

Mosaici Bizantini

Three Byzantine mosaics, to be seen in churches in Venice and Palermo inspired Franco Cesarini to compose this work. He took the musical motives from Gregorian chants. The mosaics concerned deptic the following extracts from "The Gospel According to St. Matthew". I. The NativityThe Magi from the East: "Where is the newborn King of the Jews? For we have seen his star in far-off eastern lands and we have come to worship Him." II. The Temple of JerusalemAnd look! The curtain secluding the Holiest Place in the Temple was split apart from top to bottom: and the earth shook and rocks broke, and tombs opened and many godly men and women who had died, come back to life again. III. Angelof the ResurrectionAn angel of the Lord come down from heaven drew near, rolled away the stone and sat upon it. His countenance was lightning and his attire white as snow.