Simone Vebber, Marco Cortinovis - Fusco, Vebber, Nodari, Geminiani, Tasini, Galanti, La Licata, Uvietta: Segno Presente, Vol. 2 (New Music for Ancient Organ) (2021)
BAND/ARTIST: Simone Vebber, Marco Cortinovis
- Title: Fusco, Vebber, Nodari, Geminiani, Tasini, Galanti, La Licata, Uvietta: Segno Presente, Vol. 2 (New Music for Ancient Organ)
- Year Of Release: 2021
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:05:09
- Total Size: 307 mb
- WebSite: Album Preview
Tracklist
01. On Solid Ground, for Organ: I. A Link to the past
02. On Solid Ground, for Organ: II. Daydream
03. Improvisation on a bass by R. Fusco, for Organ
04. Vortex speculorum (Freely inspired to the Sonata quarta S.736a by Benedetto Marcello)
05. Invenzione No. 1 in aeolian-doric mode, for Organ
06. Invenzione No. 3 in ionic mode, for Organ
07. Commentaria in vitam S. Claræ Virginis, for Organ: I. Moderato
08. Commentaria in vitam S. Claræ Virginis, for Organ: II. Adagio
09. Commentaria in vitam S. Claræ Virginis, for Organ: III. Moderato e con discrezione
10. Commentaria in vitam S. Claræ Virginis, for Organ: IV. Point d’orgue. Adagio
11. Messa per organo antico: I. Ingresso
12. Messa per organo antico: II. Offertorio
13. Messa per organo antico: III. Comunione
14. Messa per organo antico: IV. Finale
15. L'orologio nero di Cézanne, for Organ
16. Sonatina, for Organ: I. Toccata per l’ottava corta
17. Sonatina, for Organ: II. Refrain (Variazioni su un tema di Federico Uvietta)
18. Sonatina, for Organ: III. Scherzo
Fusco: On Solid Ground
The tradition of improvising on repeated bass lines extends back to the Renaissance and continues today in Jazz and Blues music.
On Solid Ground (2013) is a set of original ground bass lines which provide the harmonic foundation for variations and improvisations rooted in traditions of the past but with a contemporary flair.
I began work on this suite by recording improvisations and transcribing them for different combinations of instruments: first lute duo, then two clavichords, piano solo, and finally the present version for solo organ.
The first movement A Link to the Past fuses early music gestures with contemporary harmonies and modal mixtures and draws inspiration from the 1992 Nintendo video game The Legend of Zelda.
The second movement Daydream lures the listener into a trance with sweet harmonies and hypnotic figurations.
To conclude the suite Simone Vebber returns to the chord progression of the first movement as a starting point his own improvisations which display a wonderful array of tone colors, organ registrations, articulations and gestures. R.F.
Geminiani: Vortex speculorum
The piece freely rewrites a short musical fragment extracted from the IV Sonata by Benedetto Marcello which returns several times during the composition in always different elaborations and variations through passages and transitions that, passing from tonal to tonal, from consonance to dissonance, they move away and get closer to the musical text proposed in a swirling reference of mirrors, as the title of the composition itself suggests. P.G.
Nodari: Invenzioni
The two pieces belong to two separate collection (1st and 2nd series). All the six Invenzioni composing them were thought for the Italian ancient organ (only manual) with the consequent restrictions at the expense of harmony and instrumental technique (the others four Invenzioni you can find into another cd by Da Vinci Classics: Marco Nodari Vertigo). The first piece presented in this cd is built on the Aeolian and Dorian mode with a overall polyphonic texture, it has a strict and sometimes stony character. The second piece is very different: it’s built on Ionian mode, it has a more homophonic texture, with a ABA structure underlined by organ’s registers, and it is moved, brilliant, playful. M.N.
Francesco Tasini:
Commentaria in vitam S. Claræ Virginis
The four Commentaria in vitam S. Claræ Virginis (for early organ) have been written and performed on the occasion of the solemnity of St. Clare of Assisi (August 11th). These pieces were imagined as a commentary to readings excerpted from the Legend of St. Clare (Legenda S. Claræ Virginis). The premiere took place in Cortona, in the church of the Monastery of the Poor Clares on August 11th, 2003; Lorenzo Cherubini, aka Jovanotti, participated as a reader. The score has been published by the Casa Musicale Edizioni Carrara of Bergamo in 2015 (in the series «organistica. Rivista bimestrale di Musica per organo di Autori classici e contemporanei», xxv, 2, March/April 2015). The organ found in the monastery church is a Positive instrument built in 1832 by Giuseppe Paoli (1786-1855) with the collaboration of his son Serafino (1809-?). Its manual has 45 notes (C1-C5) with a first short octave, and a pedalboard with short octave (8 pedals, C1-B1). All pieces are built on the Kyrie of the XI Gregorian Mass, In Dominicis infra annum (Orbis factor). F.T.
Antonio Galanti: Messa per organo antico
As concerns the heritage of early organ building, Italy is the richest nation. Almost all of the historical instruments are found in the churches, where they were built for the liturgy preceding the Second Ecumenical Vatican Council. The Messa per organo antico was not conceived in order to demonstrate the capability of the “old” organs to play the role required by the new Conciliar needs: this was unnecessary – just as, for example, it is unnecessary to demonstrate a similar capability for the “very old” Romanic churches. During the worship, the organist should ordinarily improvise, with correspondence to the time and rite. The performance of written music, indeed, should correspond to the moments of greatest officialness and solemnity.
The Messa per organo, therefore, aims at becoming a modest contribution to the liturgical repertoire for early instruments, and could be employed on particular occasions, replacing singing or improvisation. The four movements, naturally, can also be employed as Preludes or Postludes to the songs, and for concert performance.
The Mass is composed of the four principal parts which can today be possibly played by the organ alone: “Ingresso”, “Offertorio”, “Comunione” and “Finale”.
The pieces are conceived for a basic instrument, with a manual of 45 keys (C1-C5), with a short first octave and a pedalboard with eight pedals (C1-B1), with short octave and constantly united to the manual. The performance is positively possible on instrument with mesotonic tuning. A.G.
01. On Solid Ground, for Organ: I. A Link to the past
02. On Solid Ground, for Organ: II. Daydream
03. Improvisation on a bass by R. Fusco, for Organ
04. Vortex speculorum (Freely inspired to the Sonata quarta S.736a by Benedetto Marcello)
05. Invenzione No. 1 in aeolian-doric mode, for Organ
06. Invenzione No. 3 in ionic mode, for Organ
07. Commentaria in vitam S. Claræ Virginis, for Organ: I. Moderato
08. Commentaria in vitam S. Claræ Virginis, for Organ: II. Adagio
09. Commentaria in vitam S. Claræ Virginis, for Organ: III. Moderato e con discrezione
10. Commentaria in vitam S. Claræ Virginis, for Organ: IV. Point d’orgue. Adagio
11. Messa per organo antico: I. Ingresso
12. Messa per organo antico: II. Offertorio
13. Messa per organo antico: III. Comunione
14. Messa per organo antico: IV. Finale
15. L'orologio nero di Cézanne, for Organ
16. Sonatina, for Organ: I. Toccata per l’ottava corta
17. Sonatina, for Organ: II. Refrain (Variazioni su un tema di Federico Uvietta)
18. Sonatina, for Organ: III. Scherzo
Fusco: On Solid Ground
The tradition of improvising on repeated bass lines extends back to the Renaissance and continues today in Jazz and Blues music.
On Solid Ground (2013) is a set of original ground bass lines which provide the harmonic foundation for variations and improvisations rooted in traditions of the past but with a contemporary flair.
I began work on this suite by recording improvisations and transcribing them for different combinations of instruments: first lute duo, then two clavichords, piano solo, and finally the present version for solo organ.
The first movement A Link to the Past fuses early music gestures with contemporary harmonies and modal mixtures and draws inspiration from the 1992 Nintendo video game The Legend of Zelda.
The second movement Daydream lures the listener into a trance with sweet harmonies and hypnotic figurations.
To conclude the suite Simone Vebber returns to the chord progression of the first movement as a starting point his own improvisations which display a wonderful array of tone colors, organ registrations, articulations and gestures. R.F.
Geminiani: Vortex speculorum
The piece freely rewrites a short musical fragment extracted from the IV Sonata by Benedetto Marcello which returns several times during the composition in always different elaborations and variations through passages and transitions that, passing from tonal to tonal, from consonance to dissonance, they move away and get closer to the musical text proposed in a swirling reference of mirrors, as the title of the composition itself suggests. P.G.
Nodari: Invenzioni
The two pieces belong to two separate collection (1st and 2nd series). All the six Invenzioni composing them were thought for the Italian ancient organ (only manual) with the consequent restrictions at the expense of harmony and instrumental technique (the others four Invenzioni you can find into another cd by Da Vinci Classics: Marco Nodari Vertigo). The first piece presented in this cd is built on the Aeolian and Dorian mode with a overall polyphonic texture, it has a strict and sometimes stony character. The second piece is very different: it’s built on Ionian mode, it has a more homophonic texture, with a ABA structure underlined by organ’s registers, and it is moved, brilliant, playful. M.N.
Francesco Tasini:
Commentaria in vitam S. Claræ Virginis
The four Commentaria in vitam S. Claræ Virginis (for early organ) have been written and performed on the occasion of the solemnity of St. Clare of Assisi (August 11th). These pieces were imagined as a commentary to readings excerpted from the Legend of St. Clare (Legenda S. Claræ Virginis). The premiere took place in Cortona, in the church of the Monastery of the Poor Clares on August 11th, 2003; Lorenzo Cherubini, aka Jovanotti, participated as a reader. The score has been published by the Casa Musicale Edizioni Carrara of Bergamo in 2015 (in the series «organistica. Rivista bimestrale di Musica per organo di Autori classici e contemporanei», xxv, 2, March/April 2015). The organ found in the monastery church is a Positive instrument built in 1832 by Giuseppe Paoli (1786-1855) with the collaboration of his son Serafino (1809-?). Its manual has 45 notes (C1-C5) with a first short octave, and a pedalboard with short octave (8 pedals, C1-B1). All pieces are built on the Kyrie of the XI Gregorian Mass, In Dominicis infra annum (Orbis factor). F.T.
Antonio Galanti: Messa per organo antico
As concerns the heritage of early organ building, Italy is the richest nation. Almost all of the historical instruments are found in the churches, where they were built for the liturgy preceding the Second Ecumenical Vatican Council. The Messa per organo antico was not conceived in order to demonstrate the capability of the “old” organs to play the role required by the new Conciliar needs: this was unnecessary – just as, for example, it is unnecessary to demonstrate a similar capability for the “very old” Romanic churches. During the worship, the organist should ordinarily improvise, with correspondence to the time and rite. The performance of written music, indeed, should correspond to the moments of greatest officialness and solemnity.
The Messa per organo, therefore, aims at becoming a modest contribution to the liturgical repertoire for early instruments, and could be employed on particular occasions, replacing singing or improvisation. The four movements, naturally, can also be employed as Preludes or Postludes to the songs, and for concert performance.
The Mass is composed of the four principal parts which can today be possibly played by the organ alone: “Ingresso”, “Offertorio”, “Comunione” and “Finale”.
The pieces are conceived for a basic instrument, with a manual of 45 keys (C1-C5), with a short first octave and a pedalboard with eight pedals (C1-B1), with short octave and constantly united to the manual. The performance is positively possible on instrument with mesotonic tuning. A.G.
Year 2021 | Classical | FLAC / APE
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