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TC 0569
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TC 0569
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MERULO, C.: Toccate d'intavolatura d'organo (Tasini)

MERULO, C.: Toccate d'intavolatura d'organo (Tasini)

The Classical Shop
release date: August 2014

Originally recorded in 2014

Artists:

Francesco Tasini

Soloist

Venue:

Basilica di San Petronio, Bologna, Italy

Venue

Basilica Palatina di Santa Barbara, Mantua, Italy

Venue

Basilica Palatina si Santa Barbara, Mantua, Italy

Venue

Record Label
Tactus

Genre:

Instrumental


Classical

Total Time - 213:43
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MERULO, C.: Toccate d'intavolatura d'organo (Tasini)

     
 

CLAUDIO MERULO

     


Select Complete Single Disc for
 

Toccate d'intavolatura d'organo, Book 1

 
1 Toccata prima 06:50
2 Toccata seconda 10:14
3 Toccata terza 07:25
4 Toccata quarta 06:16
5 Toccata quinta 06:00
6 Toccata sesta 07:33
7 Toccata settima 08:46
8 Toccata ottava 09:11
9 Toccata nona 08:26
     
     


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Toccate d'intavolatura d'organo, Book 2

 
1 Toccata prima 07:59
2 Toccata seconda 10:31
3 Toccata terza 07:44
4 Toccata quarta 09:28
5 Toccata quinta 08:52
6 Toccata sesta 09:18
7 Toccata settima 10:29
8 Toccata ottava 10:00
     
     
     


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1 Toccata nona 10:07
2 Toccata decima 11:34
     
 

Toccate dal fondo Giordano

 
3 Toccata prima di Ms. Claudio 08:46
4 Toccata seconda di Ms. Claudio 07:21
5 Toccata terza di Ms. Claudio 04:41
6 Toccata quarta di Ms. Claudio 08:58
7 Toccata quinta di Ms. Claudio 06:06
8 Toccata sesta con minue 02:59
9 Toccata settima di Claudio Merulo del terzo tono 08:09
     
 Francesco Tasini Soloist


The Canzoni et sonate per sonar con ogni sorte de instrumenti date back to 1615: thus three years after his death, Gabrieli is commemorated by one of the very rare publications entirely dedicated to him. There are 17 canzonas (one for 5 voices, three for 6 and 7, six for 8, two for 10 and 12) and 4 sonatas (for 14, 15, and 22 voices, and the last for three violins). It is surprising that the other eight-voice canzona of the preceding collection is not reprinted here, considering that the two pieces are the underlying idiomatic basis of this new antho logy. There is an intimate relationship between these works and the motets of the same year: all of them, in their magnificence, celebrate the glory of the Venetian state. The contrast between the polyphonic and chordal moments of the first canzona develops here into a contest between the more “soloistic” sections in duet with the bass and the ripieno of the 22 voices. The contrast between ternary and binary rhythms is associated with the multiple exposition and to an ever-expanding development, while the devices of rhythmic and melodic augmentation, diminution, inversion and alteration are strengthened by the particular use of motifs based on the triad, which increasingly give a character of modern tonality to Gabrieli’s music. From this point of view, the old blends with the new: the division of the orchestral forces into multiple choirs, on the one hand, confirms a respectful attitude toward tradition while, on the other, it provides an incentive toward that experimentation which is so evident in the Sonatta a tre violini, an exemplary model of the new instrumental composi tions of the Seicento.

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