SKU: 18172199505

antologia del centenario pollini

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antologia del centenario polliniCENTENARY ANTHOLOGY ( CVLD247 ) Author : CESARE POLLINI Performer : CONSERVATORY ORCHESTRA TRACKLIST 1 Scherzo in F major (1880), for orchestra 2 Nocturne in D major (1882), for orchestra Orestes Radish (1871 1938) 3 Elegy on the death of Cesare Pollini (Andante) for strings 4 : 8 Suite op. 3 in E major for violin, cello and piano Allegro non troppo Largo espressivo Tempo di Minuet Mesto (In the manner of a Romance) Presto 9 : 11 Three album sheets

CENTENARY ANTHOLOGY ( CVLD247 )

Author : CESARE POLLINI
Performer : CONSERVATORY ORCHESTRA

TRACKLIST
1 - Scherzo in F major (1880), for orchestra
2 - Nocturne in D major (1882), for orchestra

Orestes Radish (1871-1938)
3 - Elegy “on the death of Cesare Pollini” (Andante) for strings

4 : 8 - Suite op. 3 in E major for violin, cello and piano
Allegro non troppo / Largo espressivo / Tempo di Minuet / Mesto (In the manner of a Romance) / Presto

9 : 11 - Three album sheets (1903)
Waiting (Presto) / Melancholy (Andante sostenuto quasi adagio) / First snow (Andante con moto)

12 - Nocturne (Mesto), No. 2 from Six Album Sheets (1878)
13 - Presto scherzoso No. 5 from Six album sheets (1878)
14 - Funeral March (Adagio Maestoso) in B flat minor (1874)
15 - Romance (Quasi adagio)

16 : 19 - Sonata in F minor (1874/1899)
Allegro passione / Sostenuto / Intermezzo / Finale (Energetic/Very agitated)

INTERPRETERS
Orchestra of the Conservatory “Cesare Pollini” (tracks 1/2)
Giuliano Medeossi director (tracks 1/2)
Orchestra of Padua and Veneto (tracks 3)
Pietro Billi director (tracks 3)
Andrea Vio violin (tracks 4-8)
Angelo Zanin cello (tracks 4-8)
Aldo Orvieto piano (tracks 4-8)
Maura Mazzonetto piano (tracks 9-14)
Giovanni Tirindelli piano (tracks 15-19)

Technical notes

Cesare Pollini, son of the Paduan nobleman Luigi de' Pollini, was born on 13 July 1858. He began studying piano at a very young age under the guidance of his mother Luigia dei conti de' Cassis-Faraone. In 1878, Count Pietro Suman sent some of Pollini's compositions - until then practically self-taught - to Antonio Bazzini, an illustrious composer, violinist and professor at the Milan Conservatory, who welcomed him into his class in 1880 and of whom he soon became one of the favorite students. Two years later, Pollini returned to Padua to take over the direction of the Musical Institute, founded there on 29 June 1879. On 5 December 1886, Pollini undertook a long concert tour in Germany with the violinist Antonio Freschi, also a student of Bazzini. On 2 January the duo made their debut in Munich, receiving very favorable reviews, in particular from the 'Berliner Tagblatt?. Among the pieces performed was the Suite op. 3 dedicated to Richard Strauss, who was present at the performance. The tour continued to Frankfurt, Stuttgart, Berlin, Vienna. In 1889 he was invited by the Queen to the Royal Villa of Monza to hold a concert in honor of Emperor Wilhelm II and in 1892 King Umberto I named him a knight of SS. Maurizio and Lazzaro, personally presenting him with the insignia in Monza. On January 26, 1912, Cesare Pollini died suddenly at the age of 54. The news of his death was spread by newspapers throughout Italy. The Padua institute decided to give itself a new name in memory of its director.

The half century between the annexation to the Kingdom of Italy and the First World War is a time of decadent retreat, a historical moment in which the post-unification disappointment is intertwined with the climate of despair over the awareness of Italy's cultural backwardness compared to the world beyond the Alps. For Padua too, it is a very intense and contradictory period of material and cultural reorganization, of proud quartering on traditional positions, but also of bold openings and a slow path of rapprochement with contemporary Europe. A significant presence in cultural life between the end of the nineteenth century and the beginning of the twentieth century, Cesare Pollini - in the words of Arrigo Boito - "occupied among the most select art lovers a special degree of eminence and nobility". In the many experiences acquired in his intense activity as a concert performer, composer and musicologist, Pollini had cultivated an extraordinary wealth of stimuli that he made available to the cultural life of Padua with admirable generosity. Thanks to his friendship with illustrious figures from the Italian and German musical world (the aforementioned Richard Strauss and Antonio Bazzini, but also Giuseppe Martucci, Giovanni Sgambati, Oscar Chilesotti and many others), he was passionately committed to promoting European musical culture in the Paduan area, renewing concert choices and refining the public's musical taste. Worthy of note in this regard was his commitment as organizer of the "musical mornings" at Palazzo Selvatico Estense, concert cycles whose programs were aimed at presenting the German romantic repertoire, until then practically unknown in Italy and considered unbearably boring by the public: "The concert program aroused the most serious mistrust due to the absolute exclusion of vocal pieces and the predominance of classical authors, whose names gave the shivers to the great majority of amateurs and made them foresee that terrible tedium that in similar circumstances always falls, like a nightmare, on the heads of these amateurs." Padua shared with the major centers of the Peninsula the tension between musical habits crushed by the theater and by the consumption of the salon and the pedagogical will of an elite to bring local culture and taste closer to European models. Significant in this regard is the drafting of the Terminologia musicale tedesco-italiana that Pollini will publish in 1894 by the F.lli Bocca of Turin. Numerous were also the commemorative concerts organized by the maestro in the context of the artistic program of the Paduan Institute: for the seventh anniversary of the death of Richard Wagner (1890), in commemoration of Gioachino Rossini and Giuseppe Tartini (1892), of Anton Rubinstein (1895), of Antonio Bazzini (1897), of Johannes Brahms (1898), of Giuseppe Verdi (1901), of Edvard Grieg (1908).

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    Karen Joan
    Alexandria, US
    ★★★★★ 5
    A Martian Named Smith
    There is no question that Robert Anson Heinlein is one of the Fathers of Science Fiction. There is also no question that STRANGER IN A STRANGE LAND is his most famous work, having been called "the most famous science fiction novel ever written." Is it his best? Perhaps not. But it is a ground breaking classic, one that I enjoy reading again and again. STRANGER IN A STRANGE LAND is the story of Valentine Michael Smith (Mike), a male born of human parents on the first Earth colony ship to Mars. Literally born as the ship landed on Mars, Mike's parents and the rest of the crew died, and Mike was raised by Martians. 25 years later, a second Earth colony ship lands on Mars, and discovers Mike, the native inhabitants of Mars, and a host of unanswered questions. Mike returns to Earth, and STRANGER IN A STRANGE LAND is the detailed chronicle of his introduction to, interaction with, and transformation of human culture. STRANGER IN A STRANGE LAND was Heinlein's first truly adult science fiction novel, and he took on some pretty heady topics. Politics, religion, sex, equality, and the concept of a truly un-human culture (which happened to be superior), to name a few. Heinlein wove these themes into STRANGER IN A STRANGE LAND, each of which contributed to his idealistic vision of a perfect world.He intermixed shock value, logic, and plain good storytelling to get his points across, and I think he did so quite wonderfully. 1. Religion. Heinlein was not an atheist, as some have claimed. He did believe in a higher power; what he did not have any use for was organized religion. He believed in faith. If you had faith, true faith, then the trappings of religion were unnecessary and superfluous. They just did not matter. The Church of All Worlds in STRANGER IN A STRANGE LAND was set up to show that no matter what the religious trapping were, it was faith that really mattered. He also created a religion where happiness and self-belief were the main drivers, rather than fire, brimstone, and fear. Makes great sense to me. 2. Sex. Contrary to popular belief, STRANGER IN A STRANGE LAND did not promote promiscuity or free love. What Heinlein did was to create a world where people were open about sex, where it was enjoyable and exciting, but with it came great responsibility. In this world, sex wasn't hidden, secret, or naughty; rather it was honest and pure and fun. People who could develop this utopian attitude became happier, healthier, less jealous, more caring, and, yes, more sexual. Responsibility to partners, offspring, and an entire extended family became the norm. In his own way, by exploring sexuality, Heinlein was exploring and redefining the meaning of family. He was also trying to define sex as a miraculous union, and to show that humans should treat it as the miracle of bonding and "growing closer" that it is. 3. Equality. Before the sexual revolution and equality for women, Heinlein clearly believed in equality of the sexes, equality of the races, equality of faiths...basically the equality of all humans. Yes, he felt women should be treated with respect and reverence and be protected and nurtured because they gave birth and perpetuated the species, but he clearly believed that they were intelligent and capable. He also believed that women had sexual needs equal to those of men and had the right to pursue those needs. 4. Politics. In STRANGER IN A STRANGE LAND, Heinlein clearly had little use for government, politics, or politicians. He believed that government in general was a necessary evil, but preferred that it be kept small and out of his business. He didn't care what it was based on or what guided it - astrology was the ridiculous example used in STRANGER IN A STRANGE LAND - as long as it left him alone. Works for me. He also had little use for entitlements, and expected human beings to work for what they received. Again, works for me. 5. Un-Human, Superior Culture. Heinlein did a remarkable and revolutionary thing when he created the Martian culture of STRANGER IN A STRANGE LAND. The Martians of this novel are clearly not humanoids from another planet. They do not think like humans, act like humans, look like humans, reproduce like human, live like humans, or do anything like we do here on the planet Earth. There is nothing remotely recognizable about these Martians; they are completely alien. We can't them, and they can't understand us. They are older, more advanced, and can perceive the universe around them in ways that humans do not. But humans can, if properly taught, learn some of the things that Martians do. What a marvelous concept. In 1962 the original version of STRANGER IN A STRANGE LAND won the Hugo Award for the Best Science Fiction Novel of the Year. After Heinlein's death in 1988, his wife Virginia discovered the original uncut manuscript and arranged to have it published in 1991. It is interesting to read the two books side by side, to see the differences, and to compare them. I enjoy both versions very much, and am still not sure which is my favorite. Whatever version you choose, I HIGHLY RECOMMEND STRANGER IN A STRANGE LAND. Whether you have read it before or not, whether you love it or not, you will find it to be an interesting and thought-provoking read.
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    Reviewed in the United States on June 20, 2009
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    Marcel Dupasquier
    Chelsea, US
    ★★★★★ 4
    A strange book I don’t grok
    I have started to read this book directly after I had read “The Moon is a harsh Mistress” and after the first chapter, I almost stopped reading again. The first chapter starts promisingly enough, after a Mars expedition with only four couples, finding the fitting couples that contained all the required capabilities in themselves had been difficult enough, had failed, years later, another expedition is started, and this time, the flight takes much shorter. They find a young man there and bring him back, but how they treat him here, locked and no women allowed, for the first time really showed me how old Robert Heinlein’s books really are and here, for the first time, it was an annoyance. What would happen if a woman would visit him? We find out in the second chapter, and the answer is, basically, nothing. Then, for about 10% of the book, we get Jill, working in the hospital where the Man from Mars is kept, discussing with Ben, a journalist, about the implication of the Man from Mars. Once he owns the whole Mars, once he owns a majority of Lunar Enterprises. In any case, the government under the Secretary General cannot keep him alive. Then, finally, some action occurs: Ben tries to get the Man released, but fails miserably; Jill subsequently tries to prisonbreak with the Man. They escape to Ben’s place but the henchmen are not far away. They ring at the door, there is a confrontation and... it’s over. They go to another benefactor, Jubal, who keeps Jill and the Man hidden for rest of almost half of the book. There, Jubal thinks about how to help the Man, together with getting Ben back, while he tries to learn as much as possible about the Martian and Mars. Then, the henchmen appear again, ready to arrest everybody, and after the Martian makes the policemen disappear once more, Jubal eventually manages to bluff the Secretary General into calling back the second arresting team and agreeing to meet with the Man from Mars with him, Jubal, as the official delegate for the Martian. At the meeting, Jubal does what he can to make the Man’s live safe: He gives the Secretary General the mandate the manage the money of the Martian with the payment as much money as he sees fit. Having thus secured the Martian’s safety, the Martians keeps living at Jubal’s place and learning. They visit a service of the Fosterite church, where people gamble, visit the bar and have stories with women but when the archbishop wants to have one-to-one talk with the Martian, latter recognizes former’s evilness and discorporates him. Eventually, the Man from Mars has learned all he can at Jubal’s and he and Jill set out for the world. They join a circus troupe where the Martian performs a levitating trick with Jill, only it is not a trick, he really does so. But they are unsuccessful, the marks see right through it. They leave again, but not before they have listened to a snake charmer sermon about the Fosterites and before they make her a water brother. They next move to Las Vegas where Jill works in a show and the Martian as croupier and they elucidate naughty pictures. Thereafter, they go to San Francisco, where the Martian reads all the books about the various religions without grokking anything. They then visit a zoo where the Martian breaks out laughing as he, observing monkeys, finally groks people. They founded their own church, but it’s not a religion. The Martian had hereto shown some extraordinary capabilities, such as being able to enter a trance state where he could stay under water for hours, telekinesis and the ability to discorporate things or beings at will. Had the reader so far been wondering how he could do that, if the Old Ones on Mars has changed him somehow on Mars, now it become clear that this was not the case. Everybody can do it but, in order to facilitate such deeds, which were connected to Martian creed, one had to understand the Martian concepts, which one could only by firstly learning the Martian language. The Martian church was thus foremost a Martian language school. That was however not all it was. The Martian idea was that there was no God than God in everyone of us. All other religions were considered as truths, only that they were kind of hiding that God was each of us, and thus the creed was “Thou are God.” In the Martian church, also free love was practiced. We get hence a chapter where Ben was shocked by this and fled the church most hurriedly to report to Jubal, only to join it again the next chapter. And of course, we get Fosterites who try to start a persecution against their competitors. The end then also makes sense, but I don’t understand why. It was on one hand logical but on the other hand why was it necessary? This is thus not really a work of science fiction and but rather a theological treatise. I think it could have shortened somehow, then realized, that what the original editors thought as well. It was my third book I read from Robert Heinlein, Starship Troopers was a good concept which Joe Haldeman made into a good book, the Moon is a harsh Mistress was a quick read that kept me hooked, but considering, it is basically a story of the American struggle for independence, just on the Moon, and it will also be my last. There are other science fictions authors out there.
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    Reviewed in the United States on November 15, 2022
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    b slev
    Carnegie, US
    ★★★★★ 5
    seekers paradise
    Format: Kindle
    Some of this book disturbed me a little but overall I found it amazing and fascinating. Possibilities abound in fantasy and can be just the thing you need to open up. Enjoy! I sure did.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on May 22, 2026
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    Jenni DaVinCat
    Dallas, US
    ★★★★★ 3
    We Should All Be a Little Stranger.
    I understand why this book is often cited as one of the most important sci-fi books of all time. While reading it, you might begin to question why it’s lumped into the sci-fi category because the themes are very human. It is science fiction, that cannot be argued, but it’s also a coming of age story, a religious story and at its very core, a story about love. Valentine Michael Smith was born and raised on Mars, but he is a human. He is brought back to Earth to learn what it means to be a human. This causes the reader to be forced to think outside of the box because Michael is not just coming from a different human culture, he has never learned what it means to be a human so any chapter told from his perspective is like an outsider, looking in on human culture. It’s wildly fascinating to think about ourselves in this manner. As Michael progresses in his grokking of humans, he gets out to explore the world and to challenge it. Our concepts of God/religion and sex/love are strange to him. We tend to not really think about it from an outside perspective because this is just the way life is, but being forced to think about it, makes for a very fascinating read. I’d never really considered myself to be a “prude” but there were times that this book made me feel that way. At times, the reader must take a step back and remember that Heinlein did intend for many of the themes to be viewed as satire of what is commonly accepted. There were a few negatives when reading this book, however. It was written in the sixties, which was a very different time from today in terms of the way women are spoken to/about and how they are treated. Heinlein wasn’t too bad in this regard, but there were a few sentences that made me stop for a second. Heinlein also has some of his characters go on these long drawn-out speech tangents that go on for pages and pages. I felt it was a little unnecessary to go on for that long, especially considered the length of the uncut version. It took me a little while to get through this book and normally I’m a pretty quick reader. Negatives aside, I do feel like this book is important. The story itself is not challenging, but as I stated before, it challenges the reader to think about humans from an outside perspective and that is fascinating. He really doesn’t seem to rely too much on Sci-fi elements, preferring to focus on the human elements of the story (love, religion etc.). If you’re looking for something long and fulfilling, this may just be the sci-fi book for you!
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    Reviewed in the United States on September 29, 2016
    K
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    Kendal Brian Hunter
    Fort Morgan, US
    ★★★★★ 5
    Wicked Satire, yet Strangely Familiar
    Format: Mass Market Paperback
    Heinlein's satire is wicked and well-placed, reminiscent of Voltaire and Swift. IF you love British comedy, you'll love this book. Both come from the same sarcastic taproot. I'm still debating whether or not the main charter is Smith or Jubal. Maybe it is us, since we need to recognize that we are Juba, and must nurture, and eventually become like Smith. Smith's reflective, contemplative message, reminds of Thomas A Kempis ( ), James Allen ( ), Lao Tzu ( ). Smith's message is nothing new: as C. S. Lewis pointed out, "Really great moral teachers never do introduce new moralities: it is quacks and cranks who do that... The real job of every moral teacher is to keep on bringing us back, time after time, to the old simple principles which we are all so anxious not to see." . In fact, Smith's slogan "Thou art God" is merely run-of-the-mill Christianity: * "Inasmuch as ye have done it unto one of the least of these my brethren, ye have done it unto me." * "Be ye therefore perfect, even as your Father which is in heaven is perfect." * "Therefore, what manner of men ought ye to be? Verily I say unto you, even as I am." * "Ye are gods; and all of you are children of the most High." * "God became man so that man might be god." * "It is a serious thing to live in a society of possible gods and goddesses to remember that the dullest and most uninteresting person you may talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship, or else a horror and corruption such as you now meet if at all only in a nightmare. . . . There are no ordinary people. You have never met a mere mortal, Nations, cultures, arts, civilizations, these are mortal, and their life is to ours as the life of a gnat. But it is immortals whom we joke with, work with, marry, snub, and exploit--immortal horrors or ever lasting splendours." . Heinlein seems to have stolen a page from Søren Kierkegaard, who tried to re-Christianize Christianity ( , 458). To paraphrase John, "Brethren, I write no new commandment unto you, but an old commandment which ye had from the beginning." As I read this book, Smith struck me as oddly familiar. His first name, Michael, refers to the Archangel, the captain of the Lord's army. The second name, Valentine, is the patron saint of all shades of love, phileo, agape, eros, and romance. The last name, Smith, makes him Everyman. But I wonder if there is something more. What happens to Smith is common to all founders of religions--Abraham, Jesus, Mohammed, and so forth. There is evolution, turns and twists of fate, and eventual triumph. However, there is a deeper nuance. Society begins with vulgarized Christianity, then there was the Fosterite Revolution, and another apostasy and commercialization of religion as a Megachurch. And lastly comes along Smith, with his Martian philosophy. This bears a strong parallel to the life of Joseph Smith . In fact, both have a similar martyrdom: "Thou art God" versus "O Lord My God." The satire can get tedious at time, but I think this flaw is excusable. As I read, I kept thinking that this book could loose about 1/3rd of the text. But on the other hand, the artistry and beauty of the wicked satire forces me to say, "Leave it alone." Note: This book is the Q document for so much other fiction. I see shades of "Dune" here and there. Smith the new prophet is akin to Ender, the Speaker for the Dead. And if you have seen Star Trek: The Original Series episode "Charlie X," some of the elements will seem a bit too familiar. Keep in mind that this book came first, and that it does a much better job of mixing wit and wisdom than Kirk and Spock. There is no comparison--after reading this book, "Charlie X" rolls like a flat tire.
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    Reviewed in the United States on July 9, 2007

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