Fabio Bonizzoni - Girolamo Frescobaldi: Toccatas & Partitas (2012)
BAND/ARTIST: Fabio Bonizzoni
- Title: Girolamo Frescobaldi: Toccatas & Partitas
- Year Of Release: 2012
- Label: Glossa
- Genre: Classical
- Quality: flac lossless +Booklet
- Total Time: 02:36:22
- Total Size: 881 mb
- WebSite: Album Preview
Tracklist
CD1
01. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata prima
02. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata seconda
03. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata terza
04. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata quarta
05. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata quinta
06. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata sesta
07. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Partita sopra l'aria di Monicha
08. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Partite sopra l'aria della Romanesca
09. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Partita sopra l'aria di Ruggiero
10. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata settima
11. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata ottava
12. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata nona
13. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata decima
14. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Aria detto Balletto
CD2
01. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata prima
02. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata seconda
03. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata settima
04. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata nona, "Non senza fatiga si giunge al fine"
05. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata decima
06. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata undecima
07. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata terza, "per l'organo da sonarsi alla levatione"
08. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata quarta, "per l'organo da sonarsi alla levatione"
09. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata quinta, "sopra i pedali per l'organo e senza"
10. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata sesta, "sopra i pedali per l'organo e senza"
11. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata ottava, "di durezze e ligature"
12. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Canzona quinta
13. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata undecima
14. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Canzona prima
15. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Canzona terza
16. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Aria detta la Frescobalda
17. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Ancidetemi pur
18. Digital Booklet: Frescobaldi: Toccatas & Partitas
For as much as Fabio Bonizzoni is drawn to the splendours of Baroque music for voices and orchestra – as demonstrated through his award-winning recordings with La Risonanza – his keyboard-playing instincts are constantly urging him to tackle masterpieces of the keyboard repertory. Most recently having applied his musical insight and virtuosity to Bach’s 'Die Kunst der Fuge', Bonizzoni now pits himself against another, albeit earlier, Baroque master in Girolamo Frescobaldi.
Frequently-cited as being as important for keyboard music as Monteverdi was for vocal and dramatic fare, the genius of the Ferrara-born Frescobaldi was amply recognised when working in Rome and Florence – periods when he published (and revised) the two books of toccatas (but including canzonas and partitas or variations sets) recorded by Bonizzoni here. Frescobaldi’s toccatas allow for, and draw from Bonizzoni, great interpretative flexibility, calling for rhythmic freedom, not to say drama and emotion. Indeed, Bonizzoni, clearly mindful of the new demands of the seconda prattica in Frescobaldi’s time, likens the toccatas to being madrigals without words: poetry lies at the heart of his performances.
This new recording from Glossa has Bonizzoni playing on a splendid modern copy of an Italian Baroque harpsichord and on the idiosyncratic organ of the Basilica of Santa Barbara in Mantua. Along the way, Bonizzoni has puzzled out, and describes in the booklet, how best to draw out the sound appropriate for Frescobaldi’s music from this mysterious instrument.
For as much as Fabio Bonizzoni is drawn to the splendours of Baroque music for voices and orchestra – as demonstrated through his award-winning recordings with La Risonanza – his keyboard-playing instincts are constantly urging him to tackle masterpieces of the keyboard repertory. Most recently having applied his musical insight and virtuosity to Bach’s 'Die Kunst der Fuge', Bonizzoni now pits himself against another, albeit earlier, Baroque master in Girolamo Frescobaldi.
Frequently-cited as being as important for keyboard music as Monteverdi was for vocal and dramatic fare, the genius of the Ferrara-born Frescobaldi was amply recognised when working in Rome and Florence – periods when he published (and revised) the two books of toccatas (but including canzonas and partitas or variations sets) recorded by Bonizzoni here. Frescobaldi’s toccatas allow for, and draw from Bonizzoni, great interpretative flexibility, calling for rhythmic freedom, not to say drama and emotion. Indeed, Bonizzoni, clearly mindful of the new demands of the seconda prattica in Frescobaldi’s time, likens the toccatas to being madrigals without words: poetry lies at the heart of his performances.
This new recording from Glossa has Bonizzoni playing on a splendid modern copy of an Italian Baroque harpsichord and on the idiosyncratic organ of the Basilica of Santa Barbara in Mantua. Along the way, Bonizzoni has puzzled out, and describes in the booklet, how best to draw out the sound appropriate for Frescobaldi’s music from this mysterious instrument.
CD1
01. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata prima
02. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata seconda
03. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata terza
04. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata quarta
05. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata quinta
06. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata sesta
07. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Partita sopra l'aria di Monicha
08. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Partite sopra l'aria della Romanesca
09. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Partita sopra l'aria di Ruggiero
10. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata settima
11. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata ottava
12. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata nona
13. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata decima
14. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Aria detto Balletto
CD2
01. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata prima
02. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata seconda
03. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata settima
04. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata nona, "Non senza fatiga si giunge al fine"
05. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata decima
06. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata undecima
07. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata terza, "per l'organo da sonarsi alla levatione"
08. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata quarta, "per l'organo da sonarsi alla levatione"
09. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata quinta, "sopra i pedali per l'organo e senza"
10. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata sesta, "sopra i pedali per l'organo e senza"
11. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Toccata ottava, "di durezze e ligature"
12. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Canzona quinta
13. Toccate e partite d'intavolatura di cimbalo et organo, Book 1: Toccata undecima
14. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Canzona prima
15. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Canzona terza
16. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Aria detta la Frescobalda
17. Toccate, canzone, versi d'hinni, Magnificat, gagliarde, correnti, Book 2: Ancidetemi pur
18. Digital Booklet: Frescobaldi: Toccatas & Partitas
For as much as Fabio Bonizzoni is drawn to the splendours of Baroque music for voices and orchestra – as demonstrated through his award-winning recordings with La Risonanza – his keyboard-playing instincts are constantly urging him to tackle masterpieces of the keyboard repertory. Most recently having applied his musical insight and virtuosity to Bach’s 'Die Kunst der Fuge', Bonizzoni now pits himself against another, albeit earlier, Baroque master in Girolamo Frescobaldi.
Frequently-cited as being as important for keyboard music as Monteverdi was for vocal and dramatic fare, the genius of the Ferrara-born Frescobaldi was amply recognised when working in Rome and Florence – periods when he published (and revised) the two books of toccatas (but including canzonas and partitas or variations sets) recorded by Bonizzoni here. Frescobaldi’s toccatas allow for, and draw from Bonizzoni, great interpretative flexibility, calling for rhythmic freedom, not to say drama and emotion. Indeed, Bonizzoni, clearly mindful of the new demands of the seconda prattica in Frescobaldi’s time, likens the toccatas to being madrigals without words: poetry lies at the heart of his performances.
This new recording from Glossa has Bonizzoni playing on a splendid modern copy of an Italian Baroque harpsichord and on the idiosyncratic organ of the Basilica of Santa Barbara in Mantua. Along the way, Bonizzoni has puzzled out, and describes in the booklet, how best to draw out the sound appropriate for Frescobaldi’s music from this mysterious instrument.
For as much as Fabio Bonizzoni is drawn to the splendours of Baroque music for voices and orchestra – as demonstrated through his award-winning recordings with La Risonanza – his keyboard-playing instincts are constantly urging him to tackle masterpieces of the keyboard repertory. Most recently having applied his musical insight and virtuosity to Bach’s 'Die Kunst der Fuge', Bonizzoni now pits himself against another, albeit earlier, Baroque master in Girolamo Frescobaldi.
Frequently-cited as being as important for keyboard music as Monteverdi was for vocal and dramatic fare, the genius of the Ferrara-born Frescobaldi was amply recognised when working in Rome and Florence – periods when he published (and revised) the two books of toccatas (but including canzonas and partitas or variations sets) recorded by Bonizzoni here. Frescobaldi’s toccatas allow for, and draw from Bonizzoni, great interpretative flexibility, calling for rhythmic freedom, not to say drama and emotion. Indeed, Bonizzoni, clearly mindful of the new demands of the seconda prattica in Frescobaldi’s time, likens the toccatas to being madrigals without words: poetry lies at the heart of his performances.
This new recording from Glossa has Bonizzoni playing on a splendid modern copy of an Italian Baroque harpsichord and on the idiosyncratic organ of the Basilica of Santa Barbara in Mantua. Along the way, Bonizzoni has puzzled out, and describes in the booklet, how best to draw out the sound appropriate for Frescobaldi’s music from this mysterious instrument.
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