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Classic and Jazz Music from Japan to Italy

Da Vinci Classics and Jazz is an independent recording company with its offices in Osaka, a business hearth of Japan and part of the Osaka Mozart Association editorial branch, paired with Da Vinci Publishing for scores and books.

Devoted to presenting high-quality recordings of music of all styles, its production embraces all periods from the twelfth century to the twenty-first, including also jazz and world music as part of the human history of music, works that stand outside the bounds of traditional music culture and favouring never before recorded repertoire.

From the begining the label has extended its range of interest to large projects like the complete keyboard works by Johann Sebastian Bach, the cycle of Schubert’s sonatas at the piano and the New Music Masterworks series.

Da Vinci Classics and Jazz approaches every new project with a single goal: to capture the wider possible musical interest. Renowed sound engineers and music recording studios are collaborating closely with important productions to ensure the highest quality possible to music lovers.

Artist team includes today’s illustrious names and future’s promising talents as: Armonia delle Sfere, Maria Luisa Macellaro La Franca, Markus Stockhausen, Marco Vezzoso and many others.


Markus Stockhausen - "Explorations"

In the year 2014, the Italian pianist and teacher Alessandra Garosi invited Markus Stockhausen to conduct a seminar on "Intuitive Music and More" at the "Musica negli Horti" Festival in S.Quirico d' Orcia, Toscany. It finally took place in the summer of 2015. Twelve musicians from Germany, Austria and Italy met for four days and worked intensively on Intuitive Music under the guidance of Markus Stockhausen. Some musicians, like Stephanie Lepp, were experienced improvisers; for others this way of making music was completely new. Alessandra insisted from the beginning that a recording be made for publication and documentation of this seminar, and this is what you can hear now. In two sessions the musicians recorded this music. Enjoy it!


Markus Stockhausen has led many workshops on "Intuitive Music and More" in various countries, and he has published a number of CDs with Intuitive Music. His ideal is a music which is beyond all stylistic directions, but which denies none. This is the only way to allow intuition to be really free, and to produce a music which takes all circumstances into account (the acoustics and quality of the space, the time of day, the quality and willingness of the other musicians, one’s own feeling, the listeners present, the momentary inspiration), and thus gives the musician the greatest possible freedom of expression. It is perhaps the most challenging discipline because it gives the player complete responsibility. He decides on the pitch material, the structure, the expression – the complete form of the music, and that in real time. And the target is, for Markus Stockhausen, an integrated music which above all can touch people and their feelings, give their fantasy wings, lift them.


Stephanie Lepp, flute, alto flute, bansuri
Beate Schmalbrock, flute
Waltraud Stumme, violin
Marta Arcodia, clarinet
Agata Feudale Foti, clarinet
Carmelo Lamonica, clarinet
Ivan Corona, bass clarinet
Fabio Arcodia, soprano sax
Giuseppe Trimarchi, alto sax
Michael Schreiber, guitar
Veit Winkler, electronics
Davide Camarda, percussion
Nahyoun Kim, voice on "Imaginations"

Markus Stockhausen, conducting and trumpet

EXPLORATIONS is a project created and coordinated by Alessandra Garosi
Produced by "Festival Musica negli Horti"
Performed on July 9-10, 2015 in Palazzo Chigi, S. Quirico d'Orcia (Siena)
Recorded, mixed and mastered by Giovanni Caruso
All digital paintings by Tania Schifano ©
Design and art direction by 一般社団法人 Osaka Mozart Association
Produced by 一般社団法人 Osaka Mozart Association
The copyright in this sound recording is owned by Osaka Mozart Association

Pietro Soraci -J.S. Bach: Sämtliche Klavierwerke I: TOCCATEN

Johann Sebastian Bach Sämtliche Klavierwerke

The term “Toccata” refers to an instrumental composition with a maximum of virtuosity and a free form.
It is generally intended, according to different musical periods, to be played with the lute, the organ, the harpsichord or the piano.
Here is presented a new version of TOCCATAS by Johann Sebastian Bach in the revolutionary performance by pianist Pietro Soraci, performed on critical edition with the Bärenreiter patronage.

Pietro Soraci, born in Catania, Italy, showed his extraordinary natural talent in playing the piano since he was three years old, gaining the interest of the national press and televisions. He performed first when he was eleven, with the Orchestra of Bellini Opera Theater. He graduated with the highest score, cum laude, and honored with a special award of appreciation. After experiencing different approaches to the piano music and techniques through the contact with some of the major teachers he was awarded of several prizes in national and international piano competitions and in particular he was recognized as the best italian pianist by the international piano competition “Frederic Chopin” in Varsaw (Poland) in 1985. Currently he performs all over Europe and Italy by the main Music Institutions and Concert Seasons both as soloist and in ensembles. Moreover he is full Professor for the major degree in piano music by the Conservatorio di Milano “G. Verdi”.

Marco Vezzoso Quartet - Japan Live Tour15: The Osaka Concert

Marco Vezzoso is a trumpeter and composer born in Alba (Italy), for several years he has lived in France where he currently teaches Jazz trumpet at the National Conservatory of Nice “Pierre Cocherau”. He has also paired his academic career with an intense concert activity by traveling throughout Europe for the last 15 years as leader, soloist, sideman but also as a conductor of orchestras and ensembles variables, arranger and composer.

Marco Vezzoso says :

“The live was recorded during my stay in Japan, specifically in Osaka, where the public has received with great enthusiasm my music. All the pieces of the concert are original compositions written by me over the years on the occasion of my long trips, moments full of inspiration because for me being on tour is a bit like being in "exile" away from everything and everyone. My music reveals everything about myself, feelings, moods, experiences, places I visited and people I met. Every time I play is as if I took a step back in time but always with one foot in the present, or perhaps I should say with an ear in the past and the other in the present, since much of the concert consists of improvisation which is a reflection of the immediateness. I deeply believe in the beauty and power of simple things, then in my music I always try to be as simple as possible so to reach directly people's feelings knowing that Jazz and emotions are among the hardest things to describe in a simple and effective way.”

Marco Vezzoso, trumpet
Alessandro Collina, piano
Pierre Marcus, double bass
Jerome Achat, drum

Performed on December 9, 2015 in Osaka, Knowledge Theater into the DIM-Dicembre in musica 2015, second edition, Live recording.
Printed with the support of Istituto Italiano di Cultura di Osaka
Design and art direction by 一般社団法人 Osaka Mozart Association
Produced by 一般社団法人 Osaka Mozart Association
The copyright in this sound recording and artwork is owned by Osaka Mozart Association

Enzo Fornione - The Orange Side

The Orange Side is a project that starts almost entirely from the soul of improvisation. There is a subject line acting as a guide, but the harmonies, arpeggios, rhythm can move freely making way for the instant feeling, the interpretation of a moment, the pure “enjoyment” of the artist.
A “crossover” style was born this way, a crossing and a meeting between the sounds of jazz music and the pop themes whose origin finds its core in the perception that the orange color suggests for its ability to express energy and introspection at the same time, reflecting perfectly the meaning of the color under several perspectives.

Warm, bright, symbolizing the optimism, balance, concentration and determination. The tracks flow through these inspirations placing the color at the center of the soul and putting the music as a medium on which everyone can lay one’s own freedom and instincts.

Enzo Fornione began studying music at the age of nine. He graduated at the Conservatorio Giuseppe Verdi in Turin and studied jazz and composition with Palmino Pia.
He presented his own final-year essays as a sophomore and he won a scholarship at the third year of study.
After a classical education, he ranged among different musical genres driven by an innate artistic curiosity, creating his own multifaceted style, including pop, jazz and contemporary music.
In the jazz scene, he was the leader of the group New Swing (piano and voice) recording a double live CD awarded with the first prize at the Festival of Voghera. He was also a guest on the TV program “Periferie” broadcasted on RAI1 in Italy as well as in France.
As a pianist, he performed many concerts all over Italy, from Puccini Festival of Viareggio, Christmas Festival of Aosta, Altomonte Festival of Cosenza, in music conservatories, jazz clubs, theaters, from Torino Jazz to the Blue Note in Milan.
He recorded a CD “MILO” (Piano / Guitar) with Luca Allievi, original pieces with a latin jazz nuance composed by the two musicians. He collaborated with the actors Corrado Vallerotti and Mario Bois in presenting a musical/theatrical show based on the movie “La Leggenda del Pianista sull’Oceano”. He composed the music for the Primoatto Theater Company's show “Andy & Norman” and “Il Calapranzi” by H.Pinter directed by Mario Bois and performed by Alessandro Cosentini and Paolo Tibaldi.
He is the arranger and pianist for Giacomo Manfredi's CDs “The Dancer” and “Song of light and darkness”; he is the pianist for Chiara Rosso's CD “H2o” distributed by Egea for Italy.
He composed the music for the documentary “Assolo” and for the audio book “Nel tempo di un caffè” by M. Cadorin with the remarkable performance of Michele Placido, among other actors.
He wrote some songs for the latest Kachupa's CD “Giù la maschera” and the book of spiritual poems “Ladro di Parole” that won the Jury Prize at the European writing contest "Penna D'Autore".
He currently teaches at FFM of Fossano (IT).

Luisa Macellaro La Franca - LISZT • ERARD 1852

Luisa Macellaro La Franca - LISZT • ERARD 1852
Piano Works on Authentic Instrument

For Liszt a composition was rarely 'finished', but went on evolving throughout the years, it does not follow that later versions replace earlier ones. Some of his works exist in three or four radically different versions, all of which are there to be played. It is hardly surprising, in view of the speed with which he worked, that Liszt’s manuscripts tend to be untidy and a number of them border on the illegible.
The Erard piano gives this unfinished nuance, and it is exceptional how the sound of a different instrument, being the one in mind of the composer, could change the perspectives on pieces largerly performed today and well know in concert hall, giving also a different light on composer himself.

[1] Mephisto Waltz No.1, S.514
[2-5] Consolations S.172 no.1, 2, 3, 4
[5] 6omance oubliée, S.527
[7] Sonetto 123 del Petrarca S.161/6
[8] Sposalizio S.161/1
plus Chopin bonus track

Maria Luisa Macellaro La Franca (Palermo 1980), is a pianist, conductor and composer. She is considered as one of the most apreciated italian artist, she is an extravagant artist with a very different repertoire from old music with old fortepiano till modern music with modern piano. She began studying piano (under Maestro A. Sottile), composition (under Barbara Rettagliati and Stefano Canazza) and conducting (under maestro C. Caruso) at Conservatorio V. Bellini where she received her diploma with honours. She continued her studies at the University of Music of Zürich (Zürich Musikhochschule) under the guidance of K. Scherbakov (piano), U. Koella, N. Chastain (chamber music) A. Desponds (jazz ), Kees Boeke (ancient music) and M. Ziegler (Neue Musik) gaining the Konzertdiplom with highest honours.

She has played for several major theatres such as the Teatro Massimo of Palermo, the Amici dell’Opera of Piacenza, at the Sala San Giovanni in Cuneo (Italy), Konzert Saal of Musikhocschule Winterthur, Bleuer and Grosser Saal of Zürich, Musikkollegium of St Morizt, Sala Boccadoro in Lugano (Switzerland), the Grand Théâtre Opera Bordeaux and many others.

She is often invited as pianist and conductor in many international festivals such: Festival du Capferret( LEGE capferret), Rio de Janneiro International Festival ( Rio), Swiss Fest (Geneve), Balkan Fest ( Zurich), Festival d’Autunno (Cuneo), Como Lake Festival Pirandello and others.

In November 2012 has been played as Italian premiere at the Golden theatre in Palermo, attending the highest Italian State authorities and broadcasted live on Sky TV, Tele-Trinacria, TVM; the city of Villabate offered to her in that occasion the prize as “Ambassador of culture in the world 2012”.
One of her creation, Emes Symphony, commissioned by the French State for the anniversary of the European HOLOCAUST victims, has been performed at the Theatre Jean Vilar Eysines gaining a great success of audience and critics (more than 1200 people attended the 4 concerts) and will be carried out soon in several French cities at request of the French State. In February 2015 she made her debut as conductor in Berlin with Berliner Sinfonietta, as winner of IBM international conductor selection. Actually she is Principal conductor of Orchestre Symphonique Unisson ACME Bordeaux with whom she performs in many differents French theaters. As pianist and conductor she collaborate with most of famous musicians as Thibault Cauvin, Davide Alogna, Rudolf Koelman, Sarah O’brien.

Ensemble del Giglio - Tomás Luis de Victoria: Lamentatio

Tomás Luis de Victoria (1548-1611) was the greatest Spanish composer of the Counter-Reformation, who composed only sacred music. His Responsories show us the same intensity of the paintings by his contemporary Caravaggio and express the drama of the passion and the betrayal with sharp and real accents. Here Victoria expresses the theme of pain in a sublime way, with full dramatic participation and the musical expression is clearly modulated, based on the expressiveness of the text itself. The Office of the Holy Week, published in Rome in 1585, is one of his most inspired compositions, albeit strictly following the liturgical practice in terms of the form. For a late Renaissance composer like Victoria, who never composed a madrigal, the variety of history and richness of the narrative details of the Responsories offer numerous opportunities to paint the words, as well as describing states of mind that range from tragic to contemplative. With great effectiveness, Victoria sets intense textual passages to music, yet he also knows how to write music of great inspiration where the text does not provide easy pretexts. The strength of Victoria’s Responsories lies within the balance between the text and the music; he is able to magnify the text with a skillful balance of harmony and melodic fragments.This musical language so respectful of the text, unusual prior the late sixteenth century, was gradually lost in the Baroque period yet once again has become an objective for contemporary composers.If the idea of a sober style has proven attractive for many composers, clearly expressing oneself requires complete clarity with regard to what one intends to communicate. Victoria remains a model of this.

[1] Antonio Lotti (1667-1740): Crucifixus a 8 voci
[2] A. Baudino: Drere II (2007), «Chanto», clarinet
[3] Amicus meus
SATB - SOLI SM, CG (Tenebræ Responsories n°1)
[4] Iudas mercator pessimus
SSAT: SM, EB+LD, CC+FN, LC+PP - SOLI: SM, LD, CC (Tenebræ Responsories n°2)
[5] Unus ex discipulis meis
SATB - SOLI: FN, LC, SR (Tenebræ Responsories n°3)
[6] Eram quasi agnus innocens
SATB - SOLI: SM, FN, LC (Tenebræ Responsories n°4)
[7] A. Baudino: Drere II (2007), «Nel Mezzo», clarinet
[8] Tamquam ad latronem
SATB - SOLI: SM, FN, MM (Tenebræ Responsories n°7)
[9] Tenebræ factæ sunt
TTBB SOLI: PP, LC, MF, SR (Tenebræ Responsories n°8)
[10] Iesum tradidit impius
SSAT: SM, EB+LD, CC+FN, LC+PP - SOLI: SM, EB, FN (Tenebræ Responsories n°11)
[11] Caligaverunt oculi mei
SATB - SOLI: CG, PP, SR (Tenebræ Responsories n°12)
[12] O vos omnes
SSAT SOLI: SM, EB, FN, LC (Tenebræ Responsories n°14)
[13] A. Baudino: Drere II (2007), «RaG - suald», clarinet
[14] Ecce quomodo moritur iustus
SATB - SOLI: FN, PP, MF (Tenebræ Responsories n°15)
[15] Astiterunt reges terræ
SATB - SOLI: SM, FN, LC (Tenebræ Responsories n°16)
[16] Æstimatus sum
TTBB SOLI: PP, LC, MF, SR (Tenebræ Responsories n°17)
[17] Sepulto Domino
SATB - SOLI: FN, PP, SR (Tenebræ Responsories n°18)
[18] Ecce nunc benedicite Dominum, Psalm 133

Recorded at Church of St Teresa (“Chiesa delle Teresiane”) in the Institute of St Teresa (“Le
Teresiane”) in Mondovì (CN, Italy) on 1 and 2 November 2014
Miking and recording by Alberto Compagnone
Musical supervision by Elena Basso
Digital editing, mastering, texts and translations by Livio Cavallo
English text revision by Phillip Peterson

Ensemble del Giglio
directed by Livio Cavallo
Soprani: Sveva Martin (SM), Eleonora Briatore (EB), Laura Dho (LD)
Contralti: Claudia Cucchi (CC), Clara Giordano (CG), Fabrizio Nasali (FN)
Tenori: Livio Cavallo (LC), Massimiliano Mantovan (MM), Phillip Peterson (PP)
Bassi: Manuel Frontera (MF), Silvestro Roatta (SR)
Luca Cerelli, Clarinet

Pärt, Lentini, Frisina, Carrara, Caruso: Misericordiæ Vultus

“Extraordinary Jubilee of Mercy”, a collection of sacred pieces, much like a “sound vault”, illustrates the concept of sacred music in its broadest meaning through different types of frescoes. Not only as liturgical music for traditional sacred worship, but also as a collection of pieces that were not originally intended for this use. This collection is able to show periods, forms, styles and authors in an ideal combination of sacred matter that is confessional, metaphysical and transcendent.

Flavio Emilio Scogna: ‘Inno’, for Trumpet and Organ
Giovanni Caruso: ‘Alma Redemptoris Mater’, for Ensemble of Female Voices
Stefano Lentini: ‘Stabat Mater’, Concert for Violin and String Orchestra
Marco Frisina: ‘Adoro te devote’, for Voice, Choir and Orchestra”
Arvo Pärt: ‘Summa’, for Ensemble of Voices
Arvo Pärt: ‘Vater Unser’, for Soprano and Guitar
Marco Frisina: ‘Ave Maris Stella’, for Violin and String Orchestra
Stefano Lentini: ‘Liturgia delle ore - Orchestral Suite’ for Violin and String Orchestra
Cristian Carrara: ‘Luce’, for Mixed Ensemble
Cristian Carrara: ‘O Infinito Silenzio’, for Baritone and Orchestra

Roberto Abbondanza, baritone
Mauro Tortorelli, violin
Rodolfo Bonucci, violin
Bibiana Carusi, soprano
Angelo Colone, guitar
Nello Salza, trumpet
Alessandro Albenga, organ

Coro Musicanova

Orchestra da Camera “B. Marcello”
The City of Rome Contemporary Music Ensemble
Nova Amadeus Chamber Orchestra
Monesis Ensemble
Flavio Emilio Scogna, conductor

Vocal Ensemble Flos Florum, Giovanni Caruso, conductor
Fidelis et Amati Orchestra, Marco Frisina, conductor
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