Instead of playing through 's publications in sequence, he uses multiple instruments -- here a period harpsichord and organ -- and rearranges the works into new groupings, much as a keyboardist of 's time might have done. The grave, minor-inflected first notes of Toccata I are stunning in their historical implications. Although dated 1634, it may have been published in 1635 or early in 1636. Whether such a keyboardist would have switched off between harpsichord and organ is debatable, but ' readings are lively; together with his enthusiastic booklet notes in French and English, unlike an earlier French-only release in the series , they clarify the innovations and stylistic issues in 's music. Grassi also included two pieces for and one for spinet and violin which are not found in the other editions. Other notable elements are his chromatic harmonic idiom and the extraordinary richness of timbral colors he draws from his instrument.
Girolamo Frescobaldi: Il Primo Libro delle Canzoni ad una, due, tre e quattro voci in Italian. His desire seems to have been to achieve a keyboard music so natural that it would almost appear -- as if in nostalgia for the human voice -- that no mechanical instrument was intervening. The three editions of the Primo Libro contain a total of forty-eight canzonas for one, two, three or four instrumental voices in various combinations, all with ; as a result of revisions, sixteen of the canzonas exist in two substantially different versions. Most significant is the phrase affetti cantabile or songlike affetti , which refers to both a state of feeling the affetti of a piece is its mood and to the general indication that the many ornaments and figurations of the pieces should be played in a singing manner. The print is accurate and of particularly high quality; : 269 unusually for the period, close attention has been paid to the vertical alignment of the notes. It's a stunning, tight effect, and prepares the listener to appreciate it.
Highly recommended for fans of Baroque keyboard music, this disc bodes well for further releases in ' series. It then shifts to a texture of scale passages that lead out toward a grand, climactic sweep through most of the range of the instrument. . It consists of thirty canzonas from the Rome editions, of which twenty-eight are in both, and two in the Masotti score only, with the addition of ten new works. Florence: Studio per Edizioni Scelte. Of the works from 1628, none was reprinted without some change; in about half of those thirty pieces the changes are relatively minor, while others were substantially rewritten. The Robletti edition contains one piece, Canzon seconda, violino over cornetto, not included in the Masotti print, but omits three of the pieces in that edition, the Canzon Prima, detta la Bonvisia, the Canzona 34, detta la Sandoninia and the Canzona 37, detta la Sardina.
Canzona 18 is dedicated to Masotti. These songlike affetti are in fact the expressive common denominator of all 's toccatas. The second disc features music that has never been definitively attributed to , but ' notes and playing argue in favor of such an attribution. Toccata I is a good general example of the efforts in that direction Libro Primo contains. Unlike a number of earlier publications with score and parts, the two were not prepared together.
It is not known which of the editions came first: they may have been prepared simultaneously. Apparently written late in 's life he may have left the set unfinished , these are strict contrapuntal essays in the old canzona form of the Renaissance, but in each of them the counterpoint is interrupted by a little explosion of toccata-like, improvisatory music. The first piece in the book, Canzon Prima detta la Bonvisia, is named for Girolamo Bonvisi, cleric, who is also the dedicatee of the whole edition. The first, a 1627 book titled The Second Book of Toccatas, Canzonas, Versets, Hymns, Magnificats, Gagliardas, Courantes, and Other Scores for Harpsichord and Organ, sets off daring quasi-improvisatory toccatas against brief 30- to 45-second dances that marked a new emancipation of keyboard music from vocal models. Under 's masterful hands, keyboard playing truly came to life for the first time. The Fiori musicali of 1635 were published soon after the Venice edition of the canzonas. Oxford Music Online, Oxford University Press.
The content of the two editions is similar, but not identical; the Masotti score contains forty pieces, the Robletti partbooks thirty-five. The piece is made up of three larger sections that are themselves built in short phrase sections. Like the other editions of the Primo Libro, it is set in. New as the style was, his performance directions to the collection of necessity included words from a private lexicon. Oxford Music Online, Oxford University Press. His Capricci for organ were re-published in 1626, his second book of Toccate for keyboard and his Liber secundus of appeared in 1627, the two editions of the Primo Libro in 1628, and the Arie musicali in 1630. It was published in two different editions in in 1628, and re-issued with substantial revisions in in 1634.
Keyboardist offers fresh recordings of 's music that help enliven the virtues of this masterly but difficult composer. Eight canzonas from the 1628 editions are omitted. Grassi gave each of the thirty-seven canzonas a dedicatory name; as he explains in his to the score, these were the names of his friends and patrons, particularly the gentlemen of Lucca. The large sections are called passi and their surprising variety is one of the key elements of 's magnificent style. .
. . . . . . .