• logo

Felice Santelli & Luca Marazzi - Rare Masterpieces for Flute And Guitar (2017)

Felice Santelli & Luca Marazzi - Rare Masterpieces for Flute And Guitar (2017)
  • Title: Rare Masterpieces for Flute And Guitar
  • Year Of Release: 2017
  • Label: Da Vinci Classics
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 57:36
  • Total Size: 189 MB
  • WebSite:
Tracklist:

1. Felice Santelli & Luca Marazzi – Serenata al Alba del Dia: I. Andante moderato (03:04)
2. Felice Santelli & Luca Marazzi – Serenata al Alba del Dia: II. Allegro (01:57)
3. Felice Santelli & Luca Marazzi – Centone di sonate, MS 112, No. 1 in A Major: I. Introduzione Larghetto - Allegro Maestoso, Tempo di marcia (Transcription for Flute and Guitar) (04:42)
4. Felice Santelli & Luca Marazzi – Centone di sonate, MS 112, No. 1 in A Major: II. Rondoncino Allegro (Transcription for Flute and Guitar) (03:19)
5. Felice Santelli & Luca Marazzi – Quintetto, Op. 156: I. Allegro (Arrangement for Flute and Guitar) (01:10)
6. Felice Santelli & Luca Marazzi – Quintetto, Op. 156: II. Allegretto (Arrangement for Flute and Guitar) (08:59)
7. Felice Santelli & Luca Marazzi – Sonatina, Op. 205: I. Allegretto grazioso (04:01)
8. Felice Santelli & Luca Marazzi – Sonatina, Op. 205: II. Tempo di siciliana (03:37)
9. Felice Santelli & Luca Marazzi – Sonatina, Op. 205: III. Scherzo - Rondò (04:32)
10. Felice Santelli & Luca Marazzi – Bachianas Brasileiras No. 5, W391: No. 1, Ária (Transcription for Flute and Guitar) (04:41)
11. Felice Santelli & Luca Marazzi – Distribuição de flores, W381 (03:43)
12. Felice Santelli & Luca Marazzi – Suite Buenos Aires: I. Pompeya (03:45)
13. Felice Santelli & Luca Marazzi – Suite Buenos Aires: II. Palermo (03:47)
14. Felice Santelli & Luca Marazzi – Suite Buenos Aires: III. San Telmo (02:50)
15. Felice Santelli & Luca Marazzi – Suite Buenos Aires: IV. Microcentro (03:21)

Duo only recently arrived at its full and true appearance, the flute and guitar duet has always been in the early days almost at the margins of the most distinguished chamber groups and often relegated to the interchangeability of a violin and a harp or even a violin and a piano. The interchangeability that the flute would have known for almost the whole of the ‘700 and a part of the nineteenth-century was derived from a fortunate stratagem adopted by many publishers and composers to increase sales of compositions originally intended solely for the violin or which in general part of a large-scale repertoire that was primarily used and consumed by amateur educated people. Perhaps one of the first attempts of matching these two instruments in an original work dates back to Jean-Baptiste Bédard (ca.1755 – ca.1815?) with La Gavotte de Vestris et les Folies d’Espagne Op.39.


As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
  • Unlimited high speed downloads
  • Download directly without waiting time
  • Unlimited parallel downloads
  • Support for download accelerators
  • No advertising
  • Resume broken downloads