Tags
Language
Tags
April 2024
Su Mo Tu We Th Fr Sa
31 1 2 3 4 5 6
7 8 9 10 11 12 13
14 15 16 17 18 19 20
21 22 23 24 25 26 27
28 29 30 1 2 3 4
https://canv.ai/
The picture is generated by canv.ai

We are excited to announce that Canv.ai now features a built-in translator, allowing you to communicate in your native language. You can write prompts in your language, and they will be automatically translated into English, facilitating communication and the exchange of ideas!

We value freedom of speech and guarantee the absence of censorship on Canv.ai. At the same time, we hope and believe in the high moral standards of our users, which will help maintain a respectful and constructive atmosphere.


👉 Check for yourself!

Sophie Yates - Il Cembalo Transalpino: Music from the Fitzwilliam Collection (2019)

Posted By: ArlegZ
Sophie Yates - Il Cembalo Transalpino: Music from the Fitzwilliam Collection (2019)

Sophie Yates - Il Cembalo Transalpino: Music from the Fitzwilliam Collection (2019)
EAC | FLAC | Image (Cue & Log) ~ 404 Mb | Total time: 65:16 | Scans included
Classical | Label: Chandos | # CHAN 0819 | Recorded: 2017

All the music in this programme comes from the Fitzwilliam Museum, Cambridge, and most of it was collected by its founder, Richard, Seventh Viscount Fitzwilliam of Merrion (1745 – 1816). A polymath, lover of music, amateur composer and harpsichordist, musically active from about 1760 until his death, Fitzwilliam created a legacy of exceptional importance to English musical culture.

Sophie Yates - Romanesca: Italian Music for Harpsichord (1997)

Posted By: ArlegZ
Sophie Yates - Romanesca: Italian Music for Harpsichord (1997)

Sophie Yates - Romanesca: Italian Music for Harpsichord (1997)
EAC | FLAC | Image (Cue & Log) ~ 356 Mb | Total time: 63:37 | Digital booklet
Classical | Label: Chandos | # CHAN 0601 | Recorded: 1996

Absolutely first-class introduction to the brilliant world of early/mid 17th-century Italian harpsichord music, by one of the very best (THE best?) young players in a highly-competitive field. All the big composers are here in about the right proportion - yes, there's considerably more Frescobaldi and, to a lesser extent, Picchi, but also satisfying representative glimpses of vital historical figures like de Macque and Merulo. And ALL the selections are beautiful in themselves and superbly played. Yates is an expert on historical instruments and I think it shows in her discerning choice for this recording - she plays a Ransom & Hammett 1994 build based on Italian c1600 models.