Excellent addition to any prog rock music collection.
Although admittedly a posthumous release, I was very surprised at the rather dismissive tenor of many of the reviews of this album to date. Hopefully this record will be reappraised soon as being a release worthy of anyone's consideration as I feel it does enhance an already rich legacy left behind by this very fine and innovative band. (So what if Charisma wanted to ride the slipstream of the lucrative ELP juggernaut?)
Antonello Venditti è nato a Roma l'8 marzo 1949.
Appena adolescente, compone due delle sue canzoni più famose, Roma capoccia e Sora Rosa. L'occasione di farle ascoltare in pubblico arriva alla fine degli anni sessanta con la partecipazione alle attività del celebre locale romano Folkstudio, assai importante per la formazione dei giovani autori e la crescita musicale della città (vi suonò anche Bob Dylan). In questo locale conosce molti altri cantautori e musicisti tra cui Francesco De Gregori e Rino Gaetano.
È proprio con De Gregori e la collaborazione di Giorgio Lo Cascio ed Ernesto Bassignano che Antonello comincia ad esibirsi al Folkstudio in uno spazio del programma denominato "I giovani del folk".
Christopher Wrench commands a broad solo repertoire including the complete organ works of Bach, whilst also working as a liturgical musician, pedagogue & chamber player. He teaches organ at the Queensland Conservatorium Griffith University & directs the music programme at St Mary’s Anglican Church, Kangaroo Point in Brisbane. In 2008 he was awarded the Lord Mayor’s Australia Day Cultural Award for his outstanding contribution to the musical life of Brisbane.
At 1st sight, they appear to have nothing in common – but disregarding the stylistic elements & a difference of 2 centuries, you soon recognize that both are in a sense, musical architects, who as piano virtuosos were equally interested in miniature forms & inspired by folk music. On the 1 hand you have Scarlatti, who, after moving to Spain in 1729 composed almost exclusively for harpsichord & integrated elements of Spanish folklore into his compositions in an experimental way; on the other hand Bartk, who boosted the recognition of the rich native Hungarian peasant songs to an independent folk art, & was also influenced by Arabic folk music.