The marriage of classical music structures with rock instrumentation remains one of the most ambitious sonic experiments of the 20th century. While British bands like Deep Purple and Emerson, Lake & Palmer pioneered this fusion, Italian progressive rock took the concept to a deeply emotional, cinematic level. At the absolute apex of this movement sits the Genoese band with their groundbreaking albums, Concerto Grosso Per I New Trolls (1971) and Concerto Grosso N.2 (1976).

Despite their musical contributions, Trolls have not been without controversy. Critics argue that their practice of sampling and reworking existing music without clear attribution or compensation for the original creators raises significant ethical questions. This issue touches on broader debates about copyright, artistic ownership, and the fair use of sampled material in music production. Proponents of Trolls counter that their work serves as a form of homage and keeps the spirit of the original music alive, introducing it to new audiences.

Whether you are a prog rock scholar, a classical fusion enthusiast, or an audiophile seeking dynamic range, New Trolls – Concerto Grosso No. 1 & No. 2 in FLAC is an essential addition. These albums do not just “mix” rock and classical—they reinvent both.

In No. 1, Adagio , the FLAC encodes the decay of guitar feedback into the string pizzicato – lost in lossy codecs as pre-echo or truncation.