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Capitanata uses notes as they were colours and wears the clothes of the Renaissance’s man. The eight tracks inspired to the legendary frescoes painted by Botticelli adapt the sound of the old medieval instruments like the liute, the harp and the majestic organ of the churches of Prato, Pisa and Certosa, adding marvellous beauty to these compositions that elevate the spirit to supreme truths. In order to inspire himself to the birthplaces of the Tuscany where Botticelli has lived, the artist has studied and used the old majestic organ of some churches of Prato and Pisa where the great Master has painted some of his bestworks . Capitanata has lived in the churches and in the abbeys of the Tuscany meditating and composing at dawn and during the stained sunsets of Tuscany hills. The artist(he is also a painter) uses notes as colours wearing the clothes of the Renaissance’s man. The light and shade draperies of the acoustic instruments of the age add marvellous splendour to the compositions elevating the minds to supreme truths. The total recovery of the medieval culture allows it to create eight tracks that translate themselves in the sonorous column of as many legendary frescoes as painted by Botticelli. The opening track (The Life of Botticelli) accompanied from the church organ and three French horns introduces to the vision of the Adoration of the Magi where the sound of a the liute, the organ, the choruses and the orchestra project the scene of the mystical event. In The Spring his music arranged with several types of harp participates to the ritual dance and to the pictorial ring-a-ring-a-roses on the tree-lined background. The Birth of Venere is the top of the entertainment divided between physical passion, ecstasy and spiritual purity with growing orchestral sounds that reminds us to Ravel’ s Bolero. The sonorous comment for The Portrait of a Man with Medal is crepuscular and meditative and it is entrusted to the soft interplay between the liute, the harmonium and the flute. The Oration in the Garden that shows the prayer of Jesus to the Father before His capture , has the holy colour of the majestic organ. The image shown in The Slander is a nearly theatrical scene where the King Mida is seated on the throne placed side by side from two feminine figures (the Suspicion and the Ignorance): here the music is entrusted to the old church organs (constructed by hand during the first years of the 17th century) and shows us every particular, stimulating the idea that the listener and the virtual visitor are part of the picture. Introduced by the prayer in Latin of Father Benedict, The Madonna of the Magnificat composed in the church of the Certosa and executed with a church organ shows the purer essence of the Madonna with the angels. Masterpiece.

Capitanata uses notes as they were colours and wears the clothes of the Renaissance’s man. The eight tracks inspired to the legendary frescoes painted by Botticelli adapt the sound of the old medieval instruments like the liute, the harp and the majestic organ of the churches of Prato, Pisa and Certosa, adding marvellous beauty to these compositions that elevate the spirit to supreme truths. In order to inspire himself to the birthplaces of the Tuscany where Botticelli has lived, the artist has studied and used the old majestic organ of some churches of Prato and Pisa where the great Master has painted some of his bestworks . Capitanata has lived in the churches and in the abbeys of the Tuscany meditating and composing at dawn and during the stained sunsets of Tuscany hills. The artist(he is also a painter) uses notes as colours wearing the clothes of the Renaissance’s man. The light and shade draperies of the acoustic instruments of the age add marvellous splendour to the compositions elevating the minds to supreme truths. The total recovery of the medieval culture allows it to create eight tracks that translate themselves in the sonorous column of as many legendary frescoes as painted by Botticelli. The opening track (The Life of Botticelli) accompanied from the church organ and three French horns introduces to the vision of the Adoration of the Magi where the sound of a the liute, the organ, the choruses and the orchestra project the scene of the mystical event. In The Spring his music arranged with several types of harp participates to the ritual dance and to the pictorial ring-a-ring-a-roses on the tree-lined background. The Birth of Venere is the top of the entertainment divided between physical passion, ecstasy and spiritual purity with growing orchestral sounds that reminds us to Ravel’ s Bolero. The sonorous comment for The Portrait of a Man with Medal is crepuscular and meditative and it is entrusted to the soft interplay between the liute, the harmonium and the flute. The Oration in the Garden that shows the prayer of Jesus to the Father before His capture , has the holy colour of the majestic organ. The image shown in The Slander is a nearly theatrical scene where the King Mida is seated on the throne placed side by side from two feminine figures (the Suspicion and the Ignorance): here the music is entrusted to the old church organs (constructed by hand during the first years of the 17th century) and shows us every particular, stimulating the idea that the listener and the virtual visitor are part of the picture. Introduced by the prayer in Latin of Father Benedict, The Madonna of the Magnificat composed in the church of the Certosa and executed with a church organ shows the purer essence of the Madonna with the angels. Masterpiece.

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