P&P - Promozione e ProduzioneHomeHomeAbout usTitlesEmail

Titles available on-line and for corporate clients.
Current Titles
Ordering Information

Check out the items in your shopping cart!

Artistic Activities
From Baroque to the Present: The on-line repository for Baroque Music.
PPMusic and the Young and other links.

Promote and market your business through classical CDs and concerts with us.
Order existing CDs and personalize their external package.
Personalise the internal part of the CD packaging with your company's message.
New CD production, fully customized. News
Links, mailing list, chat and message boards: the interactive corner of PPMusic.
About Us




CD Cover

Chopin, Price: 9.29 Euros
Each additional coverpak (single CD) is only 8.29 Euros and each additional coverbook (double CD) is only 14.49 Euros.


Polonaise in C Major for Cello and Piano, op. 3, Sonata for Cello and Piano in G Minor, op. 65, Gran duo Concertant in E Major on Themes from "Robert le Diable" for Cello and Pianoe

Rocco Filippini and Michele Campanella play Chopin in this extraordinary recording offered to you by P&P Classica. lassica 

Introduction et Polonaise Brillante in C Major for Pianoforte and Violoncello, op. 3.

When he wrote this poloniase Chopin was nineteen years old and was spending his holidays with Prince Antoni Radziwilli. This composition was dedicated to the Prince, who was himself an amateur cellist, and to his daughter Wanda, a seventeen year old, to whom Chopin was giving music lessons "she is beautiful and it is a real pleasure to put her delicate little fingers in the right position" he confided to a friend. Before that date Chopin had written a few polonaises for the pianoforte, one of which, written when he was eight years old, had provoked the enthusiasm of the critics in Warsaw who did not hesitate to declare at the time that they thought they had before them a genius. Apart from his previous experiments, it was indeed with the polonaise for the pianforte and violoncello that Chopin laid down the secure foundations for what was to come after, even though subsequently this form of composition would be reserved to the pianoforte. Chopin often saw this polonaise as a pleasing, sparkling "divertimento" designed to entertain the listening audience in the salons. Composed in 1829, in April of the following year Chopin added the "introduction" to the piece to be played by the cellist Kaczynski. Chopin would later dedicate this piece to Joseph Merk (who was born in Vienna 18.1.1795 and died in the same city on 16.6.1852), the famous first cellist for the Opera Orchestra of Vienna who would later hold the chair of violoncello at the conservatory of the Austrian capital.

Sonata for Violoncello and Pianoforte in G Minor, op. 65. I. Allegro Moderato - II Scherzo. Allegro con Brio - III. Largo - IV. Finale. Allegro.

Composed between 1845 and 1846 and published in 1847, Chopin dedicated this sonata to his great friend Auguste Joseph Franchomme. Indeed, with this friend he performed three movements from the piece in one of his last Paris recitals which was held at the Sala Pleyel. Franchomme (who was born in Lille on 10.4.1808 and died in Paris on 21.1.1884) was a very famous cellist who had a brilliant career. In 1887 he held a position of importance in the Orchestra of the Opera, a year later much the same at the Théatre Italien, then a high appointment with the "Societé des Concerts du Conservatoire", before going on to finish his professional activity as Professor at the Paris Conservatory. Franchomme worked with Chopin on a number of works, including the composition of the "Grand Duo Concertant in E Major on Themes from Robert le Diable". In the sonata op. 65 Chopin exploits the great resources of his creativity and inventiveness with the piano and places them at the service of the special characteristics of the violoncello. The initial theme of the first movement (allegro moderato) is introduced by the pianoforte which then leads on to the "sweet" entrance of the violoncello. A constant alternation of different musical situations then follows: moments of great force and lyricism, moments of languor, sudden virtuouso advances involving cascades of notes, and all this in an interwoven lattice which has no pause. We hear the whole Chopin we expect to encounter but we also hear, with regard to the part of the violoncello, the intervention of the "specialist". The second movement (scherzo) begins in decisive and brilliant fashion and here the melody is led for long periods by the violoncello; the "cantabile" which precedes the finale is captivating. A dialogue based upon "proposals and answers" which are closely connected to each other in a rarefied atmosphere characterises the largo of the third movement. The finale (allegro) opens with the usual presentation of the pianoforte which is taken up by the violoncello which then introduces a new musical stimulus by proposing it to begin with in a rather simple way which then becomes more complicated. In the background of the whole movement is to be found in a more or less clear and limpid fashion the unequivocal suspicion of a tarantella.

Grand Duo Concertant in E Major on Themes from "Robert le Diable" for Violoncello and Pianoforte.

"Robert le Diable" is the work on a grandiose scale with which Giacomo Meyerbeer (born in Tasdorf, Berlin on 5.9.1791 and died in Paris on 2.5.1864) managed to command the attention of the critics and the general public. The ingredients to ensure that this work became almost a vogue phenomenon to be followed are all present and are very easily identified: the Gothic subject which forms the basis of the plot, its setting in exotic Sicily, a writing style as applied to the text which was clearly innovative, and melodies of an Italian taste. Here we are in the Sicily of the thirteenth century and events take place in Palermo. Robert, the son of a Norman Princess, lives with a friend of his who is a rather sinister figure, or more precisely Bertram (who is actually the devil and who would also turn out to be his father) whose aim is to damage Robert's soul. In this enterprise, however, he would fail. Performed, after many years of work, at the Opéra of Paris on 21 November 1831, this work immediately obtained an enormous success. Many pianists of the epoch, much influenced by it, took on the difficult task of rewriting its principal arias. The likes of Thalberg, Herz, Adam, Kalkbrenner and Liszt were joined by Chopin, newly arrived in Paris, who, together with his friend the cellist Franchomme, took the motifs of this work, which had deeply touched his sensibility, and reworked them in his unmistakable style.

© P&P - Promozione e Produzione, Rome.