Released 1958 (according to the Library of Congress Catalog) label EPIC, LC 3480 Monumenta Italicae Musicae
Instrument not mentioned in the documentation.
Robert Tifft, the webmaster of the Egida Giordani Sartori website added to the information May 2016: I’m sorry to say I don’t have a lot of details about Sartori’s recording. I can tell you it was originally issued in Europe as Philips A 00334 L with the title “Clavicembalisti del XVIIo secolo” and that the Epic edition was published in 1958. Her other Philips recordings from around this time all seem to have been recorded 1955-56. The harpsichord, I am almost certain, is a Neupert, but there is no documentation to prove this. Many of her recordings do identify her instrument as a Neupert, which was the most widely available harpsichord at that time

Cover Archaic Greek Head photographed at the Metropolitan Museum of Art
Library of Congress catalogue card number R58-1110.

00:00 Frescobaldi: Toccata Prima dal Secondo Libro
04:10 Frescobaldi: Aria detta la Frescobalda
09:56 Frescobaldi: Partite 12 sopra L’ aria di Ruggiero
18:35 Michel Angelo Rossi: Ottava Corrente, Decima Corrente e Settima, Toccata dal Libro di Toccate e Correnti
26:18 Bernardo Pasquini: Toccata con 10 Scherzo del Cuoco
30:33 Bernardo Pasquini: Partite Diverse di Follia
38:38 Alessandro ScarIatti: Toccata in A Major
46:30 Alessandro ScarIatti: Toccata in G Minor (Spirituoso, Largo)

The addition of a keyboard to various plucked or plectron played instruments-an event which took place at some period between the 14th and 15th Centuries-was a step that was to lead by way of many different kinds of instruments such as the psaltery, dulcimer and scacchiere to’ the spinet and harpsichord.
At first, all kinds of music were performed Qn these instruments, but none was written especially for them. On account of its harmonic and polyphonic possibilities the harpsichord was also used to accompany singers or other instruments. At the end of the 16th Century, like the organ, it was given the role of realising the continuo part.
During the 16th Century, Composers began to write music especially for the harpsichord or the organ but not until late in the 17th Century was there any difference in the performance of this music Qn either Qf these two’ instruments. Organists were also harpsichordists. Only in the 18th Century, with Domenico Scarlatti, did harpsichord, technique acquire the specific character that distinguished it completely from that of the organ.
The composers who wrote for the harpsichord_ used many different forms.: the ricercare, canzone, fantasia, capriccio, toccata, partite (variations) and later the so’nata and dance forms such as the saltarello, padovana, venziana, the passamezzo, corrente, gagliarda, allemanda and giga. The grouping of some of these dances gave rise to the Suite. There were many harpsichordists in Italy: the first o’ne whose name has been recorded was Giulio da Modena. He was followed by a host of composer-performers who created the Italian School, which outshone all other important national schools in inventive genius

GIROLAMO FRESCOBALDI (1583-1643). Frescobaldi was the pupil of Luzzasco Luzzaschi, one of the first Composers to write music fo’r a single voice with harpsichord accompaniment (“Madrigali per cantare et Sonare, a uno’, e doi, e tre soprani,” published by Verovio at Rome, in 1601). At the beginning of 1607 he was organist in the church of S. MariaoIn Trastevere, Rome, and in June of the same year he went to Antwerp, where he appears to have stayed a year. From 1608 to’ 1628 he was in Ro’me, organist of S1. Peter’s. From here he went to’ FIorence into the service of the Grand Duke of Tuscany, but in 1634 he returned to Rome where he got back the Post of Qrganist in St. Peter’s which he held until his death. He also wrote vocal music but the majority of his works is dedicated to the harpsichord or organ. After the great, austere figure Qf Frescobaldi comes that of one of his pupils,

MICHEL ANGELO ROSSL Neither the date of his birth nor that of his death are known for certain but he was active at Rome as violinist, organist and composer between 1620 and 1660. He wrote a book of “Toccate e Correnti” for organ or harpsichord, from which come the two “Correnti” and the extraordinarily “modern” Seventh Toccata.

BERNARDO PASQUINI (1637-1710) is represented on this record by the famous “To’ccata con Io scherzo del Cucco” and by the “Partite diverse di Fo’llia.”. Pasquini was born in Tuscany at Massa Valdinievole and while young he went to Rome and obtained the post of organist in S_ Maria Maggiore and that of musical director of Prince G. B. Borghese. He won fame as an o’rganist and had many pupils. Often he played in company with Arcangelo Corelli. He wrote several operas, oratorios, cantatas and a great deal of music for harpsichord: to’ccatas, suites, sonatas.

#Neupert #EgidaGiordani