Seite 1 (Side 1 / Face I): Werke von Girolamo Frescobaldi (1583-1643)
00:00 1. Toccata Quinta (Per l’organo sopra i pedali, e senza«) 3’36
03:33 2. Toccata Quarta (Per l’organo da sonarsi alla levatione«) 6’04
09:33 3. Toccata Prima 4’20
13:52 4. Toccata Terza (Per l’organo da sonarsi alla levatione«) 7’48
21:31 5. Toccata Sesta (Per l’organo sopra i pedali, e senza) 5’08
Gesamtzeit mit Pausen: 27’24
Seite 2 (Side 2 / Face 2): Meister des 18. Jahrhunderts
26:38 1. Bernardo Pasquini (1637-1710) Toccata dell’ottavo tono (in G) 3’44
30:22 2. Bernardo Pasquini (1637-1710) Sonata in c (»Elevazionc«) 4’06
34:25 3. Domenico Zipoli (1688-1726) Can zona (in g) 3’57
38:20 4. Giovanni Maria Casini (1652-1719) Pensiero per l’organo II (in D) 5’l0
43:22 5. Giuseppe (Joseffo) Bencini (Anfang des 18. Jahrhunderts) Fuga (in G) 2’05
45:28 6. Giuseppe (Joseffo) Bencini (An fang des 18. Jahrhunderts) Sonata (in f) 4’05
49:30 7. Nicolo Antonio Porpora (1686-1768) Fuga (in Es) 5’07
Gesamtzeit mit Pausen : 28’46
Recorded January 20 – 23. 1969 in Santa Maria del Riposo. Venice, Italy.
Released 1970 (not mentioned in the documentation source by Archiv Produktion 2533 043
Edition: Girolamo Frescobaldi, Orgel- und Klavierwerke Bd. IV: Das zweite Buch der Toccaten, Canzonen usw., 1637; ed. Pierre Pidoux, Kassel/Basel 1948 (Barenreiter 2204)
Instrument: Organo del Maestro Organaro Pietro Nacchini in Santa Maria del Riposo (gia’ Santa Maria delle Derelitte di Venezia); (Mark above the Manual: . DEO OPTIMA MAXIMO VIRGINISQUE MARIAE PETRI NACHINI OPUS 160 A. D. 1751«. Ancient instrument, restaurated without changing the original concept of the organ-builder Ruffatti, Padova 1960.
Composizione fonica dello strumento (Disposition/Specification):
Principale bassi 8′ Voce Umana 8′ 0′
Principale soprani 8′ Flauto in ottava (bassi e soprani) 4′
Ottava (bassi e soprani) Flauto XII 2 ‘ /,’
Quintadecima Ottavino soprani 2′
Decimanona Tromboncini bassi 8′
Vigesimaseconda Tromboncini soprani 8′
Vigesimasesta
Vigesimanona
Trigesimaterza Accessori (registri meccanici):
Trigesimasesta Timballi a manubrio
Contrabassi (pedali) 16′ Tremolo
Ottava 8′ Ripieno a maniglia
(‘” Voce umana, 0 Fiffaro: due Principali battenti)
Side 1
Girolamo Frescobaldi was born in Ferrara on September 9th 1583, and he had his first musical instruction from the most famous contemporary organist Luzzasco Luzzaschi. While still very young he moved to Rome, where he became organist and chorister at the Congregazione e Accademia di S. Cecilia. Through this post he met Cardinal Guido Bentivoglio, who introduced him into ecclesiastical and artistic circles in Rome. Subsequently he became organist at S. Maria in Trastevere.
Following the dismissal of Ercole Pasquini, he became organist of the Cappella Giulia in the Vatican Basilica. a position which he kept until his death on March 1st 1643. He was buried in the ·Basilica of the Holy Apostles in Rome. He is justly considered to be a master of counterpoint, and his knowledge of the subject enabled him ‘ to compose highly skilful transformations of thematic material, and to use extremely daring harmonic progressions. For a really correct musical interpretation one should study Frescobaldi’s own instructions carefully, in addition to relying also (as Frescobaldi recommends) on the discretion, “good taste” and “fine judgement” of the performer. The beat should not be too strictly observed, and the performance of the music should be rhythmically flexible and almost declamatory in style. It is extremely important, with this declamatory style,
to follow the general harmonic outline of the implied figured bass through to the various endings to which Frescobaldi alludes. The openings should be played adagio and arpeggiando, but it is obvious that this last direction applies to performance on the harpsichord, where the sound cannot be sustained, whereas arpeggios on the organ would not be effective. A further interesting point concerns the treatment of the semiquaver passages. Frescobaldi indicates that where semiquavers occur against quavers in the other hand, the semiquavers should be played as if they were dotted thus – the first short and the second long.
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