About the tracks: Giulio Caccini (c. 1550-1618), composer, harpist and singer, he was a member of the renowned Cappella Giulia in Rome. After getting transferred to Florence, he was a member of the Camerata de' Bardi, starting a new vein that would have led to the birth of melodrama. The very famous Adagio by Tomaso Albinoni (1671 -1751), of musical line and harmony typically Venetian, has been for many years the subject of contrasting opinions about its actual origin and paternity. It nevertheless remains a splendid example of Venetian-style soloist music that is valorised in the transcribed version for trumpet and organ of Mauro Maur. The French Charles Gounod (1818-1893) was captivated by the music at a very young age with works by Rossini and Mozart heard in Paris during the years of his adolescence. Prolific composer of operas of success, he wrote this very pure Meditation, later called the Ave Maria, which was an instant hit and is still today one of the most spiritual works performed. Transcriptions from the nineteenth century of the Lacrimosa and of the Ave Verum, adopted mainly by the sopranos, were performed with the accompaniment of forte piano, harmonium or string quartet. The value of this transcription is in the simplicity, in its essential harmonies that make enjoying Wolfgang Amadeus Mozart (1756 -1791) in its truest color. Moreover, he himself stated: "The organ is, in my eyes and in my ears, the king of instruments." The purity of extraordinary phrases of Franz Schubert (1797-1828) in the Ave Maria is a paradigmatic example. Beyond being one of the most widely performed works with solo voice, this work lends itself admirably to the version for trumpet and organ that Mauro Maur and Francoise de Clossey interpreted with a refined search of intimacy and tension with a superhuman mystery. The exquisite Air Ombra mai fu, drawn from the work Serse of the majestic Georg Friedrich Handel (1685 -1759), now known with the name Largo, appears here as a splendid and brief prayer on the "wisdom of thought" and the "rectitude of life." A version of Handel for organ solo was found recently in Vienna. From the immense and extraordinary production of Johann Sebastian Bach (1685 -1750), the “Kantor of Leipzig”, is proposed here the famous Air on the G string of the Third Suite for Orchestra. Subject of numerous transcriptions, this meditative-style work is a very efficient version for trumpet and organ; the color of these instruments are clearly visible in the sky shining from the world of Bach, engraving with clear notes of this eternal Baroque masterpiece. In the tender Air Quia respexit humilitatem from the great Magnificat BWV 243, rise two voices intertwined in a prayer full of harmonies, here sing together the trumpet and the “oboe d'amore”, register of the organ. A large and tenebrous Otello, in the second last work of Giuseppe Verdi (1813 -1901), stands by the side of Desdemona, with vocal writing with hints of immense humanity, especially during the time of prayer to Maria preceding the death of the unhappy and unfaithful wife of Otello. Large dramatic success, the current transcription for trumpet and organ picks up the records stamps important to composer from Busseto. From Alessandro Stradella (1639 -1682), the brilliant inventor of the Concerto Grosso, author of numerous cantatas and oratories, is presented here the Aria da Chiesa: Pieta Signore. Contemporary of Corelli, Stradella had an adventurous and turbulent life but he was able to compose sweet and gentle music, worthy of admiration for the beauty of the harmonic construction of his works in which he knows how to insert original melodies and always attentive to changes rapidly succeeding in his time. The Ave Maria from the opera Cavalleria Rusticana composer Pietro Mascagni in Livorno (1863 -1945) is also sometimes called Meditation. Although these titles have not been imagined by the composer, this aria is now well known worldwide as a prayer of the 19th century, thanks to the musicality that manages to convey the spirit in a dimension of great serenity. From a brief but fruitful musical production of French Georges Bizet (1838 -1875), the Agnus Dei, beautiful music of the work the Arlésienne, takes the musical style of the old canon with two voices, communicating with modern harmonies and a musical line composed with great knowledge. Bizet manages to immerse the listener in the color of the spirituality of ancient origins. Renowned composer and organist Belgian Cesar Franck (1822 -1890), completed studies at the Conservatoire de Paris, he devoted himself to organ concerts and to composition. Professor at the Conservatoire de Paris, he wrote many works for organ, including Panis Angelicus, from his Messe Solennelle, which was transcribed by the composer himself for cello, harp, voice and organ. Mauro Maur, trumpet virtuoso, international concertist, Solo Trumpet of the Orchestra of the Teatro dell'Opera di Roma from 1985 to 2010, teacher stated, he graduated in Trieste very young and the very next day he went to Paris where he won the first prize at the Conservatoire National Supérieur de Paris under the guidance of the great Pierre Thibaud. While he was still studying at the Conservatory, he won the audition for the chair of first trumpet with the Orchestre National du Capitole de Toulouse (directed by Michel Plasson) with which he performed all over the world. It was in France that, at the age of 18, he began to be asked as a soloist with renowned organists, chamber orchestras and to be present in the most important festivals. He also completed courses at the Northwestern University in Chicago with A. Herseth, V. Cichowicz and A. Jacobs. Gold medallist at the International Competition of Toulon, First Prize unanimously at the Conservatoire National Supérieur de Paris Competition , he also won the competition in Lille in France and the Opera Theatre of Rome, the San Carlo Theatre in Naples and the National Academy of Santa Cecilia in Italy. He also played in the world's most renowned concert halls as a soloist: Carnegie Hall in New York, New York Lincoln Center, Hollywood Bowl in Los Angeles, Boston Symphony Hall, Semper Opera in Dresden, Hercules Hall in Munich, Grosses Festspielhaus in Salzburg, Athens Megaron, Seoul Arts Center, Suntory Hall in Tokyo, Festspielhaus Vienna, Salle Pleyel in Paris, Nuovo Auditorium of Santa Cecilia in Rome, Teatro La Fenice in Venice, La Scala in Milan, among others interpreting concertos by Tartini, Albinoni, Haydn, Hummel, Telemann, Morricone, Piccioni, Rota, Jolivet, etc. The unanimous critics acclaim incomparable beauty of his sound, his splendid high register, his high calibre, his musical and creative fantasy. At less than thirty years old, Mauro Maur had already toured the world, have been asked by I Solisti Veneti from Claudio Scimone, Ennio Morricone, with whom he has recorded over 100 soundtracks, and who dedicated his Concerto for Trumpet and Orchestra "Ut". Mikis Theodorakis, Riz Ortolani, Jerry Goldsmith, Georges Delerue writed for him and asked his trumpet in original soundtracks for international movies. He innovate the literature of the modern trumpet creating new compositions written for him by Bussotti, Clementi, Vlad, Mannino Dashow, etc.. He was regularly present in several popular television programs (Maurizio Costanzo Show, Tappeto Volante, La Notte di Marzullo). He played for the State Funerals of Federico Fellini and Giulietta Masina, with whom they were bound by friendship and by work. Mauro Maur is a professor at the Faculty of the YOA Orchestra of the Americas. He has given master classes at the prestigious Moscow Tchaikovsky Conservatory, at McGill University in Canada, at the Conservatory of Palermo, Florence, Rome, at the Neojiba of Salvador, Panama, in various African states, etc.. He has been a teacher for the higher education of the Conservatory S. Cecilia in Rome. He has recorded with the BMG Ariola, RCA, Sony Columbia and Denon. Mauro Maur was awarded the Oder Prize to the career in 2008 and the following year, the prestigious Sigillo Trecentesco, the highest honor of the city of Trieste. Mauro Maur was honoured, as suggested by the Italian President of the Council of Ministers, of the honorary title of Knight of the Order "al Merito della Repubblica Italiana". The Order of Merit of the Italian Republic is the highest honour instituted by Italy and is designed to reward distinguished actions towards the Italian nation. Italian-Canadian refined musician, sought interpreter of American classics, Francoise de Clossey was born in Montreal where she graduated as a concertist at the University of Montreal under the direction of Natalie Pepin, and later to perfect with the founder of the Nouvel Ensemble Moderne (NEM), Lorraine Vaillancourt. Winner of the "Music Competition of Quebec" and the "National Competition of Music of Canada", Francoise de Clossey began very young to be sought in the North American festivals. For several years already, she resided in Italy (her mother is Neapolitan) and she has performed at several international festivals including the Festival International de Musique de Menton, the Festival of the City of Paris, the Settimane musicali of Munich, the Carintische Sommer in Austria, the Concerti del Vaticano in Rome, etc. Francoise de Clossey played in the finest concert halls in the world, such as the Palacio de Bellas Artes of Mexico, the Kunsthalle in Munich, the Teatro dell'Opera of Rome, the Tchaikovsky Hall in the Moscow Conservatory, the National Center of The Performing Arts in Beijing, etc. In addition to playing as a soloist in Canada and the United States, she has performed in Italy, France, Germany, England, Switzerland, Austria, Croatia, Spain, Sweden, Russia, Latvia, Georgia, Hungary, Poland, Argentina, Brazil, Chile, Panama, Guatemala, Mexico, Saudi Arabia, Armenia, Lebanon, Tunisia, Libya, Morocco, Ethiopia, Egypt, Nigeria, Gabon, Congo, Zambia, Mozambique, South Africa, Singapore and China. Francoise de Clossey has played several creations with the world premiere of a work of H. M. Gorecki, the first North American Sciarrino and Gubaidulina and the world premieres of the Italian composers Andrea Morricone, Marco Frisina and Mario Pagotto. She recently performed works by Heitor Villa-Lobos led by I. Karabtchevsky, collaborated with Brazilian singer Gilberto Gil and played with Paquito D'Rivera Orchestra. Her interpretations of the great North Americans Oscar Peterson, Dave Brubeck, Aaron Copland, George Gershwin, Leonard Bernstein, are always up to great acclaim in recitals couple with Mauro Maur, with whom she was recently invited to perform for the King and Queen of Sweden. In addition to having recorded several CDs, Francoise de Clossey has participated in several recordings for radio and television worldwide. She worked at the University of Montréal, at the Conservatory S. Cecilia in Rome and at the Festival "MusicaRiva" in Riva del Garda in Italy. She is part of the Faculty of the YOA Orchestra of the Americas. She signed a major recording contract for a series of recordings in duet with Mauro Maur, with whom she has collaborated since 2003. The group was a great success among the public and critics, who emphasizes the distinction, the freshness and the musicality of interpretations. Francoise de Clossey received the International Prize for Women "Beato Angelico" in 2006 and the Oder Prize to the career in 2008.