Full Album available // Ida Presti & Alexandre Lagoya: Classical Music for two Guitars 🎧 Qobuz (Hi-Res) cutt.ly/NezFCDyr Tidal (Hi-Res) cutt.ly/YezFVNEQ 🎧 Apple Music (lossless) cutt.ly/debalDEN Deezer cutt.ly/HezFBtsJ 🎧 Spotify (mp3) cutt.ly/PezFBzLC TH-cam Music (mp4) cutt.ly/tezFBO32 🎧 Amazon music (soon) Idagio (off) 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/classicalmusicreference_com_presti_lagoya Tomaso Albinoni (1671-1751) & Remo Giazotto (1910-1998) 00:00 Adagio in G minor (transcription: Alexandre Lagoya) (2024 Remastered, Studio 1965) Alessandro Marcello (1673-1747) 08:06 Concerto in D minor. Andante (transcription: Alexandre Lagoya) (2024 Remastered, Studio 1965) Nicoló Paganini (1782-1840) 12:50 Sonata Concertante. II. Adagio assai ed espressivo (2024 Remastered, Studio 1966) Guitars : Ida Presti & Alexandre Lagoya Recorded in 1965-66 New Mastering in 2024 by AB for classicalmusicreference.com/ ❤ Support me on Patreon cutt.ly/ZezaldhI 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB Tomaso Albinoni was a renowned violinist and singing master, but his training is not known (some musicologists suggest Legrenzi). Coming from a very wealthy family of paper merchants in Venice, Albinoni could devote himself to music without fear of financial worries. It is known, however, that his operas were frequently performed outside of Italy in the 1720s, notably in Munich. In addition to some thirty cantatas, of which only one has been published (Amsterdam around 1701), it is his instrumental works that have come down to us, thanks to a printed publication. Tomaso Albinoni left about 300 works. He composed about eighty operas of which almost nothing remains. Indeed, nearly seventy of these scores were destroyed during the bombing of Dresden in February 1945. An Italian musicologist, Remo Giazotto, biographer of the composer, refused to believe it. He went to the ruins of the Dresden library and found a small fragment of paper containing a few notes by Albinoni. He used it to compose an original work, published in 1958: Albinoni's Adagio. The true composer of this piece is never hidden: Giazotto's name is clearly mentioned on the score, which is officially called "Adagio in G minor on two thematic excerpts and a figured bass by Tomaso Albinoni by Remo Giazzotto". The musicologist would have liked to make known the musician of whom he was a specialist. The genesis of this adagio therefore remains mysterious. If the real contribution of Albinoni in this composition leaves no doubt, on the other hand the exact elements coming from the latter, used in the writing of this work, remain a subject of discussion for which several hypotheses clash without bringing proof or definitive conclusions. Since Giazotto died in 1998, it is possible that the truth will never be discovered about the compositional elements due to Albinoni that were used in this universally known pastiche. Contrary to many fanciful presentations of this work, it is not an adagio that the publisher has tried to attribute to T. Albinoni, nor is it a work by Albinoni that has been reconstructed or arranged by Giazotto. As the publisher Ricordi stated from the beginning, when the score was first published in 1958, it is an original work, composed by Remo Giazotto himself, who only used thematic elements and the figured bass of a lost work by Albinoni for his composition. A confusion between the composer of this work - Remo Giazotto - and its inspirer - Tomaso Albinoni - is still widely maintained today, especially by the numerous producers of arrangements of this famous adagio, no doubt for commercial reasons, the name of Albinoni being much more commercial and better known than that of Giazotto. The classical guitar is capable of producing a wide spectrum of tonal colors and individual effects, which modern players and composers have expanded upon. Presti-Lagoya fully utilized these possibilities, even elevating some of the most well-known techniques to a new level of development-for example, the muted notes (resembling pizzicato on the violin) and sharp staccato. Beethoven is said to have described the guitar as "a miniature orchestra," and he very well might have said this if he had heard this duo. Other Album available // Bach: Guitar Pieces by Julian Bream 🎧 Qobuz cutt.ly/GeH8w0Re Tidal cutt.ly/1eH8e9Jj 🎧 Apple Music cutt.ly/seH8esOq Deezer cutt.ly/ieH8rkuO 🎧 Amazon Music cutt.ly/7eH8r0qG Spotify cutt.ly/HeH8tsRL 🎧 TH-cam Music cutt.ly/veH8tIqR SoundCloud cutt.ly/NeH8tLHf
Tomaso Albinoni was a renowned violinist and singing master, but his training is not known (some musicologists suggest Legrenzi). Coming from a very wealthy family of paper merchants in Venice, Albinoni could devote himself to music without fear of financial worries. It is known, however, that his operas were frequently performed outside of Italy in the 1720s, notably in Munich. In addition to some thirty cantatas, of which only one has been published (Amsterdam around 1701), it is his instrumental works that have come down to us, thanks to a printed publication. Tomaso Albinoni left about 300 works. He composed about eighty operas of which almost nothing remains. Indeed, nearly seventy of these scores were destroyed during the bombing of Dresden in February 1945. An Italian musicologist, Remo Giazotto, biographer of the composer, refused to believe it. He went to the ruins of the Dresden library and found a small fragment of paper containing a few notes by Albinoni. He used it to compose an original work, published in 1958: Albinoni's Adagio. The true composer of this piece is never hidden: Giazotto's name is clearly mentioned on the score, which is officially called "Adagio in G minor on two thematic excerpts and a figured bass by Tomaso Albinoni by Remo Giazzotto". The musicologist would have liked to make known the musician of whom he was a specialist. The genesis of this adagio therefore remains mysterious. If the real contribution of Albinoni in this composition leaves no doubt, on the other hand the exact elements coming from the latter, used in the writing of this work, remain a subject of discussion for which several hypotheses clash without bringing proof or definitive conclusions. Since Giazotto died in 1998, it is possible that the truth will never be discovered about the compositional elements due to Albinoni that were used in this universally known pastiche. Contrary to many fanciful presentations of this work, it is not an adagio that the publisher has tried to attribute to T. Albinoni, nor is it a work by Albinoni that has been reconstructed or arranged by Giazotto. As the publisher Ricordi stated from the beginning, when the score was first published in 1958, it is an original work, composed by Remo Giazotto himself, who only used thematic elements and the figured bass of a lost work by Albinoni for his composition. A confusion between the composer of this work - Remo Giazotto - and its inspirer - Tomaso Albinoni - is still widely maintained today, especially by the numerous producers of arrangements of this famous adagio, no doubt for commercial reasons, the name of Albinoni being much more commercial and better known than that of Giazotto. The classical guitar is capable of producing a wide spectrum of tonal colors and individual effects, which modern players and composers have expanded upon. Presti-Lagoya fully utilized these possibilities, even elevating some of the most well-known techniques to a new level of development-for example, the muted notes (resembling pizzicato on the violin) and sharp staccato. Beethoven is said to have described the guitar as "a miniature orchestra," and he very well might have said this if he had heard this duo. Other Album available // Bach: Guitar Pieces by Julian Bream 🎧 Qobuz cutt.ly/GeH8w0Re Tidal cutt.ly/1eH8e9Jj 🎧 Apple Music cutt.ly/seH8esOq Deezer cutt.ly/ieH8rkuO 🎧 Amazon Music cutt.ly/7eH8r0qG Spotify cutt.ly/HeH8tsRL 🎧 TH-cam Music cutt.ly/veH8tIqR SoundCloud cutt.ly/NeH8tLHf
Full Album available // Ida Presti & Alexandre Lagoya: Classical Music for two Guitars
🎧 Qobuz (Hi-Res) cutt.ly/NezFCDyr Tidal (Hi-Res) cutt.ly/YezFVNEQ
🎧 Apple Music (lossless) cutt.ly/debalDEN Deezer cutt.ly/HezFBtsJ
🎧 Spotify (mp3) cutt.ly/PezFBzLC TH-cam Music (mp4) cutt.ly/tezFBO32
🎧 Amazon music (soon) Idagio (off)
🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/classicalmusicreference_com_presti_lagoya
Tomaso Albinoni (1671-1751) & Remo Giazotto (1910-1998)
00:00 Adagio in G minor (transcription: Alexandre Lagoya) (2024 Remastered, Studio 1965)
Alessandro Marcello (1673-1747)
08:06 Concerto in D minor. Andante (transcription: Alexandre Lagoya) (2024 Remastered, Studio 1965)
Nicoló Paganini (1782-1840)
12:50 Sonata Concertante. II. Adagio assai ed espressivo (2024 Remastered, Studio 1966)
Guitars : Ida Presti & Alexandre Lagoya
Recorded in 1965-66
New Mastering in 2024 by AB for classicalmusicreference.com/
❤ Support me on Patreon cutt.ly/ZezaldhI
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
Tomaso Albinoni was a renowned violinist and singing master, but his training is not known (some musicologists suggest Legrenzi). Coming from a very wealthy family of paper merchants in Venice, Albinoni could devote himself to music without fear of financial worries. It is known, however, that his operas were frequently performed outside of Italy in the 1720s, notably in Munich. In addition to some thirty cantatas, of which only one has been published (Amsterdam around 1701), it is his instrumental works that have come down to us, thanks to a printed publication. Tomaso Albinoni left about 300 works. He composed about eighty operas of which almost nothing remains. Indeed, nearly seventy of these scores were destroyed during the bombing of Dresden in February 1945.
An Italian musicologist, Remo Giazotto, biographer of the composer, refused to believe it. He went to the ruins of the Dresden library and found a small fragment of paper containing a few notes by Albinoni. He used it to compose an original work, published in 1958: Albinoni's Adagio. The true composer of this piece is never hidden: Giazotto's name is clearly mentioned on the score, which is officially called "Adagio in G minor on two thematic excerpts and a figured bass by Tomaso Albinoni by Remo Giazzotto". The musicologist would have liked to make known the musician of whom he was a specialist.
The genesis of this adagio therefore remains mysterious. If the real contribution of Albinoni in this composition leaves no doubt, on the other hand the exact elements coming from the latter, used in the writing of this work, remain a subject of discussion for which several hypotheses clash without bringing proof or definitive conclusions. Since Giazotto died in 1998, it is possible that the truth will never be discovered about the compositional elements due to Albinoni that were used in this universally known pastiche. Contrary to many fanciful presentations of this work, it is not an adagio that the publisher has tried to attribute to T. Albinoni, nor is it a work by Albinoni that has been reconstructed or arranged by Giazotto. As the publisher Ricordi stated from the beginning, when the score was first published in 1958, it is an original work, composed by Remo Giazotto himself, who only used thematic elements and the figured bass of a lost work by Albinoni for his composition.
A confusion between the composer of this work - Remo Giazotto - and its inspirer - Tomaso Albinoni - is still widely maintained today, especially by the numerous producers of arrangements of this famous adagio, no doubt for commercial reasons, the name of Albinoni being much more commercial and better known than that of Giazotto.
The classical guitar is capable of producing a wide spectrum of tonal colors and individual effects, which modern players and composers have expanded upon. Presti-Lagoya fully utilized these possibilities, even elevating some of the most well-known techniques to a new level of development-for example, the muted notes (resembling pizzicato on the violin) and sharp staccato. Beethoven is said to have described the guitar as "a miniature orchestra," and he very well might have said this if he had heard this duo.
Other Album available // Bach: Guitar Pieces by Julian Bream
🎧 Qobuz cutt.ly/GeH8w0Re Tidal cutt.ly/1eH8e9Jj
🎧 Apple Music cutt.ly/seH8esOq Deezer cutt.ly/ieH8rkuO
🎧 Amazon Music cutt.ly/7eH8r0qG Spotify cutt.ly/HeH8tsRL
🎧 TH-cam Music cutt.ly/veH8tIqR SoundCloud cutt.ly/NeH8tLHf
Adoro o violão e ficou muito linda ❤a música 🎶 e o violão. 👏👏👏👏👏👏👏👏👏
Thank you, for this music, it's very good.
Tomaso Albinoni was a renowned violinist and singing master, but his training is not known (some musicologists suggest Legrenzi). Coming from a very wealthy family of paper merchants in Venice, Albinoni could devote himself to music without fear of financial worries. It is known, however, that his operas were frequently performed outside of Italy in the 1720s, notably in Munich. In addition to some thirty cantatas, of which only one has been published (Amsterdam around 1701), it is his instrumental works that have come down to us, thanks to a printed publication. Tomaso Albinoni left about 300 works. He composed about eighty operas of which almost nothing remains. Indeed, nearly seventy of these scores were destroyed during the bombing of Dresden in February 1945.
An Italian musicologist, Remo Giazotto, biographer of the composer, refused to believe it. He went to the ruins of the Dresden library and found a small fragment of paper containing a few notes by Albinoni. He used it to compose an original work, published in 1958: Albinoni's Adagio. The true composer of this piece is never hidden: Giazotto's name is clearly mentioned on the score, which is officially called "Adagio in G minor on two thematic excerpts and a figured bass by Tomaso Albinoni by Remo Giazzotto". The musicologist would have liked to make known the musician of whom he was a specialist.
The genesis of this adagio therefore remains mysterious. If the real contribution of Albinoni in this composition leaves no doubt, on the other hand the exact elements coming from the latter, used in the writing of this work, remain a subject of discussion for which several hypotheses clash without bringing proof or definitive conclusions. Since Giazotto died in 1998, it is possible that the truth will never be discovered about the compositional elements due to Albinoni that were used in this universally known pastiche. Contrary to many fanciful presentations of this work, it is not an adagio that the publisher has tried to attribute to T. Albinoni, nor is it a work by Albinoni that has been reconstructed or arranged by Giazotto. As the publisher Ricordi stated from the beginning, when the score was first published in 1958, it is an original work, composed by Remo Giazotto himself, who only used thematic elements and the figured bass of a lost work by Albinoni for his composition.
A confusion between the composer of this work - Remo Giazotto - and its inspirer - Tomaso Albinoni - is still widely maintained today, especially by the numerous producers of arrangements of this famous adagio, no doubt for commercial reasons, the name of Albinoni being much more commercial and better known than that of Giazotto.
The classical guitar is capable of producing a wide spectrum of tonal colors and individual effects, which modern players and composers have expanded upon. Presti-Lagoya fully utilized these possibilities, even elevating some of the most well-known techniques to a new level of development-for example, the muted notes (resembling pizzicato on the violin) and sharp staccato. Beethoven is said to have described the guitar as "a miniature orchestra," and he very well might have said this if he had heard this duo.
Other Album available // Bach: Guitar Pieces by Julian Bream
🎧 Qobuz cutt.ly/GeH8w0Re Tidal cutt.ly/1eH8e9Jj
🎧 Apple Music cutt.ly/seH8esOq Deezer cutt.ly/ieH8rkuO
🎧 Amazon Music cutt.ly/7eH8r0qG Spotify cutt.ly/HeH8tsRL
🎧 TH-cam Music cutt.ly/veH8tIqR SoundCloud cutt.ly/NeH8tLHf
Special