Ars Pro Vita are two brothers. They live in Porto Alegre, Brazil. Ars Pro Vita is the result of a flood of ideas to realize projects which subjects may always reflect their views on life, human nature and its idiosyncrasies. Music is an art form. Life needs art to stay alive. Their aim is to spread our music as a form of art to serve life. Art For Life. Ars Pro Vita.
Minor is about freedom and its absence. The scenery could take place today, but it was set at the time of free people, kidnappers, large wooden ships and total lack of the concept of human rights. Along the songs Minor tells about life, affection, fear, suffering and his quest in search to escape from slavery. Minor is timeless. Minor screams for an inherent value of life. Minor could be me, could be you, could be anyone. Minor wants to tell his story… so that it doesn't happen ever again.
Works for percussion and orchestra can be timbral gimmickry from the workshops of compositional Avantgardists; or they are rhythmically inspired by the nature of the solo instrument. However, they can also be full of melody and feeling. This is true of Avner Dormans Spices, Perfumes, Toxins! a concerto for two percussionists and orchestra. Instead of hailing from a theoretical ivory tower, this work adheres to the basic form of the solo concerto. In spite of this, every note speaks the language of modernism while steering clear of typically engineered moments.
Spanish composer and electronics maven who specializes in ambient space music.
The historical-instrument ensemble Ars Antiqua Austria under violinist/conductor Gunar Letzbor has specialized in neglected repertory of the eighteenth century, and few composers fit their aims better than Antonio Caldara, a Venetian trained in the grand tradition at St. Mark's cathedral. He had a distinguished career that took him to Mantua, (perhaps) to the then-Austrian court at Barcelona, to Rome, and finally to Vienna itself, where he became vice-kapellmeister under emperor Charles VI. As with other composers in this milieu, most of his production was vocal. The 12 Sinfonie a quattro recorded here are very brief specimens of the kind of sinfonia that served as a curtain raiser for an opera or oratorio, the genre from which the independent symphony ultimately evolved. In this case the sinfonias are taken from oratorios, named in the subtitles of each work. They consist of three or four movements, many of them extremely short but not excluding counterpoint and even little fugal finales. The tone is restrained, in keeping with the religious subject matter, and the texture is pretty constant aside from a few violin solos. Combine that with the technically smooth but rather deadpan readings from Letzbor, a disciple of Reinhard Goebel and Nikolaus Harnoncourt, the result, at least for the general listener, is a very subdued hour of music in a program that would unlikely have been performed in its own time.(James Manheim)
A ubiquitous Viennese figure in the early 1700s, Francesco Conti was one of several gifted Italian Baroque composers who settled in foreign lands. If Caldara remains the most durable Italian figure in Vienna, Conti's star — on this evidence — deserves to be dusted down and given a second chance. These four cantatas from eight Cantate am istromenti probably date from the first decade of the century and feature the most delectable plethora of obbligato instruments imaginable.