Among the common musical instruments, the organ is the only one to have a particular status, deriving from its own handmade nature: it is an immovable instrument. It is true that there are also smaller models, the positivi and the portativi, but we don’t think about them when we talk about organ and, without diminishing their importance, these smaller models haven’t had a central role in the long history of the instrument and of its literature. For this reason, if for a string instrument, for example, we refer to some of its owners (“The Stradivari Contessa of Polignac”, “The Guarnieri ex- Vieux-temps”), for an organ we refer to the place – church, auditorium or city - that hosts it (“The Cavaillé-Coll in Daint-Ouen”, “The Gabler in Weingarten”)
This harmony between place and instrument is not only something emotional, but it has an higher value: organ building traditions, the features of the single instruments, the availability of some organ stops deeply influence deeply the way of thinking the writing of the musician who, with that instrument, trains himself and works. What would be possible with an eighteenth century German instrument, won’t be always possible with a coeval French organ, and so on, in every point of view.
The organ of Santa Maria delle Assi Church in Modena adds to these geographical peculiar-ity the interest of a particular historical stratification of sound material: if the definitive order is the one by Alessio Verati (1859) who came from Bologna, it is the rearrangement of an instrument built by Agostino Traeri (Modena, 1763) that embodies valuable materials by Paolo Cipri from Ferrara (from the original 1584 organ, most of the pipes of Ripieno (Principal chorus) and Flauto in VIII are preserved: they make this instrument suitable for the performance of repertoire of the padan area)
In what we had said up to this point, it is implicitly explained the meaning of a listening trip which is organised not in a chronological order but with a geographical structure: it will begin in Ferrara and, through Ravenna, it will return on the Via Emilia to go up again from Forlì until Piacenza. Its conclusion will be also, it is at least allowed to hope that, a new beginning
Inhalt/Titel
- Girolamo Frescobaldi (1583 – 1643) - Quinta Toccata sopra i pedali per l’organo, e senza (Secondo Libro di Toccate, 1637)
- Arcangelo Corelli (1653 – 1750) - Concerto X (Concerto Grosso n. 10, op. 6, trascrizione di Thomas Billington, 1790 ca.)
- Ignazio Cirri (1711 – 1787) - Sonata I (Dodici Sonate per Organo, op. 1, 1763 ca.)
- Giuseppe Sarti (1729 – 1802) - Sinfonia per organo
- Girolamo Cavazzoni (1525 – post 1577) - Canzon sopra “I le bel e bon”
- Adriano Banchieri (1568 – 1634) - Sonata Ottava, in aria francese
- Adriano Banchieri (1568 – 1634) - Seconda Canzone Italiana
- Giovanni Battista Martini (1706 – 1784) - Andante (Pieni per l’Organo)
- Giovanni Battista Martini (1706 – 1784) - Toccata (Versetti in D la sol re 3.a Magg.re 6° tuono)
- Anonimo bolognese (sec. XVIII) - Elevazione
- Jacopo Fogliano (1468 - 1548) - Recerchare
- Giulio Segni (1498 – 1561) - Ricercar III (Musica Nova, 1540)
- Martino de Leonardis (secc. XVII – XVIII) - Toccata per Organo (1713)
- Ferdinando Provesi (1770 – 1823) - Sinfonia
- Giuseppe Verdi (1813 – 1901) - Consumazione (dall’opera Rigoletto, trascr. di Paolo Sperati)
- P. Davide da Bergamo (1791 – 1863) - Sonatina per Offertorio o Postcomunio
- P. Davide da Bergamo (1791 – 1863) - Suonata
- Massimo Berzolla (1963) - Piccolo Requiem per un’anima gentile (2000)
Angaben zur Produktsicherheit
Herstellerinformationen:
Elegia Classics
Rushmore Road 200
London
Vereinigtes Königreich
info@elegiaclassics.com
http://www.elegiaclassics.com