Luca Sartore - Giovanni Morandi: Complete Organ Works, vol. 6 (2025) [Hi-Res]
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BAND/ARTIST: Luca Sartore
- Title: Giovanni Morandi: Complete Organ Works, vol. 6
- Year Of Release: 2025
- Label: Da Vinci Classics
- Genre: Classical Organ
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:12:58
- Total Size: 365 mb / 1.21 gb
- WebSite: Album Preview
Tracklist
01. Settima Raccolta di Sonate per gli organi moderni: No. 1 in D Major
02. Settima Raccolta di Sonate per gli organi moderni: No. 2 in E-Flat Major
03. Settima Raccolta di Sonate per gli organi moderni: No. 3 in C Minor
04. Settima Raccolta di Sonate per gli organi moderni: No. 4 in A Minor
05. Settima Raccolta di Sonate per gli organi moderni: No. 5 in F Major
06. Settima Raccolta di Sonate per gli organi moderni: No. 6 in B-Flat Major
07. Ottava Raccolta di Sonate per gli organi moderni, Op. 25: No. 1 in E Minor
08. Ottava Raccolta di Sonate per gli organi moderni, Op. 25: No. 2 in C Major
09. Ottava Raccolta di Sonate per gli organi moderni, Op. 25: No. 3 in A Minor
Giovanni Morandi (1777–1856) was one of the most significant Italian organists and composers of the early 19th century, standing at the crossroads between tradition and innovation in organ music. Born in Pergola, in the Marche region of Italy, he received his first musical training from his father, a respected composer and musician. This early exposure laid the foundation for a career that would encompass performance, composition, pedagogy, and a profound engagement with the evolving landscape of Italian organ music.
The Italy of Morandi’s time was dominated by opera, a genre that overshadowed all other forms of musical expression. This operatic hegemony had a profound effect on organ music as well: organs were often used to mimic orchestral textures, and it was not uncommon for church services to include transcriptions of operatic arias, overtures, or even ballet music. While this practice might seem surprising to modern audiences, it was a natural consequence of the cultural and musical environment of 19th-century Italy, where the boundaries between sacred and secular music were often fluid.
Morandi himself had a deep connection to the operatic world. In 1803, he made his documented debut as a “maestro al cembalo” in a theatrical production. The following year, he married Rosa Morolli, a talented soprano who would go on to have a distinguished career. Their marriage marked the beginning of a dynamic musical partnership, with Morandi accompanying his wife on extensive tours across Italy and into France. This role was not merely that of an accompanist; he was actively engaged in the musical life of the theaters where she performed, working as a répétiteur, composer, and musical advisor. Through these experiences, he developed a keen understanding of operatic style, an influence that would permeate his own compositions, albeit in a distinct and carefully moderated manner.
Morandi’s years on the road came to an abrupt halt in 1824, when his wife died suddenly. This event marked a profound turning point in his life. After two decades spent in the itinerant world of opera, he withdrew from the theatrical circuit and settled permanently in Senigallia, a coastal city in the Marche region. This relocation, however, did not signal a retreat from musical life. On the contrary, Morandi became deeply involved in the cultural and civic affairs of his adopted city. He took on the position of maestro di cappella at the Cathedral of Senigallia, a role he held until 1836, and he played an instrumental role in the foundation and direction of the Società dei Filomusicori, an association dedicated to the dissemination and promotion of music through concerts and educational initiatives.
As an organist, Morandi was deeply engaged with the evolving technological landscape of organ building. He was frequently consulted on matters of organ construction and maintenance, working closely with builders to adapt instruments to the changing needs of performance. His compositions reflect this engagement, as he took full advantage of the timbral and technical possibilities offered by contemporary organs, often challenging the received tradition whilst seeking a personal voice of his own.
Morandi’s compositional output was vast and diverse, including not only organ music but also sacred choral works, chamber music, and pedagogical pieces. His published organ works are particularly significant, demonstrating his ability to reconcile the operatic influences of his time with the structural and aesthetic demands of liturgical music. His numerous collections of organ sonatas—grouped into “Raccolte” or thematic compilations—were conceived with a practical liturgical function, providing music for key moments in the Catholic Mass, such as the Offertory, Elevation, and Post-Communion.
The flow of Giovanni Morandi’s compositions was steady throughout his artistic life. For nearly half a century, Morandi constantly wrote organ works, although (understandably) his Wanderjahre, his years of wandering, witnessed a slightly less abundant output. Morandi’s approach to organ registration appears to have been influenced by the instruments built by Gaetano Callido, one of the leading organ-builders of the time. This also mirrors Morandi’s constant relationship with the monasteries of his area of residence, and for which he wrote many of his works. In the city of Senigallia where Morandi spent several decades of his life, there were no less than four such organs, and evidently the composer was highly familiar with them.
Unlike many of his contemporaries, who indiscriminately transferred operatic material into the organ repertoire, Morandi maintained a more nuanced approach. While his music exhibits a lyrical and expressive quality reminiscent of opera, he was careful to preserve a sense of dignity and appropriateness for the sacred setting. His works often display an orchestral conception of the organ, employing rich harmonic textures, varied registrations, and dynamic contrasts that evoke the grandeur of the symphonic world while remaining within the stylistic boundaries of church music.
Beyond his role as a composer and performer, Morandi was also an influential pedagogue. His teaching method emphasized both technical proficiency and expressive nuance, ensuring that his students developed not only the mechanical skills required for organ playing but also a deep appreciation for the artistic and liturgical dimensions of the instrument. Many of his students went on to have significant careers, further disseminating his stylistic principles and reinforcing his influence within Italian organ music.
Morandi’s later years were dedicated to composition, teaching, and the cultivation of musical life in Senigallia. He remained active as a composer until his death in 1856, leaving behind a substantial body of work that continues to shed light on an often-overlooked period of Italian organ music. Though his name may not be as widely recognized today as some of his operatic contemporaries, his contributions to the Italian organ repertoire were significant, bridging the gap between the past and the future, and laying the groundwork for subsequent generations of organists and composers.
Following his death, Morandi’s music gradually fell into relative obscurity, largely overshadowed by the continued dominance of opera in Italy and the shifting trends in European organ music. However, in recent years, there has been a resurgence of interest in his works, particularly among performers and scholars dedicated to rediscovering the richness of 19th-century Italian organ music. His compositions, once considered primarily functional pieces for liturgical use, are now being reevaluated for their artistic merit and historical significance.
Through his compositions, pedagogical efforts, and advocacy for the organ, Giovanni Morandi stands as a pivotal figure in 19th-century Italian music. His legacy is one of innovation and refinement, demonstrating that even in an era dominated by opera, there was still room for the organ to assert its unique voice.
The present recording, which constitutes the sixth volume of the complete organ works by Morandi published by Da Vinci Classics, encompasses the seventh and eighth Collections of Sonatas “for the modern organs”, written respectively in 1832 and in 1836. The Seventh series is not indicated as such, but simply as Sei Sonate; furthermore, it bears no opus number indication. Contrariwise, the Eighth Collection is numbered clearly both as the eighth volume of Morandi’s series of collections, and as his op. 25.
The Seventh Collection is twice as long as the Eighth; together they comprise nine Sonatas, and Morandi’s liking for multiples of three is evident in the organization of his compositions. Moreover, in the Eighth collection, it is possible to surmise an authorial intention in the tonal organization of the works, whose keys constitute an inverted A-minor triad (E minor, C major, A minor). Normally, the groupings by three so frequently found in Morandi’s oeuvre mirror a liturgical destination: the first Sonata is destined for Offertory, and normally has a quick pace, at times preceded by a slow introduction; the second Sonata is for Elevation, and has a slow tempo; the Post Communio, i.e. the third Sonata, is brisk and does not normally request changes in registration.
The Six Sonatas of the Seventh Collections display a recurring model (it is found in the first, third, and fourth Sonata), which constitutes one of the two main “archetypes” of Sonata employed by Morandi. In this model, the influence of Rossini is particularly evident. (Rossini was a family friend for Morandi and his wife, and he owed them some important steps of his career as a young composer). This formal model is more extended with respect to the other, as its Reprise includes a re-exposition of all three themes presented in the Exposition. In other Sonatas, instead, Morandi opted for an abbreviated Reprise, where only the third theme was presented, before a concluding cadenza and coda.
These Sonatas, with their variety and diversity, contribute to the reconstruction of the vast field of inspiration of Morandi’s artistry. The works recorded in this sixth volume, conveying the full maturity of Morandi’s genius, are a living testimony to his gifts and skill, and a fascinating reminder of the fecundity of his creativity.
01. Settima Raccolta di Sonate per gli organi moderni: No. 1 in D Major
02. Settima Raccolta di Sonate per gli organi moderni: No. 2 in E-Flat Major
03. Settima Raccolta di Sonate per gli organi moderni: No. 3 in C Minor
04. Settima Raccolta di Sonate per gli organi moderni: No. 4 in A Minor
05. Settima Raccolta di Sonate per gli organi moderni: No. 5 in F Major
06. Settima Raccolta di Sonate per gli organi moderni: No. 6 in B-Flat Major
07. Ottava Raccolta di Sonate per gli organi moderni, Op. 25: No. 1 in E Minor
08. Ottava Raccolta di Sonate per gli organi moderni, Op. 25: No. 2 in C Major
09. Ottava Raccolta di Sonate per gli organi moderni, Op. 25: No. 3 in A Minor
Giovanni Morandi (1777–1856) was one of the most significant Italian organists and composers of the early 19th century, standing at the crossroads between tradition and innovation in organ music. Born in Pergola, in the Marche region of Italy, he received his first musical training from his father, a respected composer and musician. This early exposure laid the foundation for a career that would encompass performance, composition, pedagogy, and a profound engagement with the evolving landscape of Italian organ music.
The Italy of Morandi’s time was dominated by opera, a genre that overshadowed all other forms of musical expression. This operatic hegemony had a profound effect on organ music as well: organs were often used to mimic orchestral textures, and it was not uncommon for church services to include transcriptions of operatic arias, overtures, or even ballet music. While this practice might seem surprising to modern audiences, it was a natural consequence of the cultural and musical environment of 19th-century Italy, where the boundaries between sacred and secular music were often fluid.
Morandi himself had a deep connection to the operatic world. In 1803, he made his documented debut as a “maestro al cembalo” in a theatrical production. The following year, he married Rosa Morolli, a talented soprano who would go on to have a distinguished career. Their marriage marked the beginning of a dynamic musical partnership, with Morandi accompanying his wife on extensive tours across Italy and into France. This role was not merely that of an accompanist; he was actively engaged in the musical life of the theaters where she performed, working as a répétiteur, composer, and musical advisor. Through these experiences, he developed a keen understanding of operatic style, an influence that would permeate his own compositions, albeit in a distinct and carefully moderated manner.
Morandi’s years on the road came to an abrupt halt in 1824, when his wife died suddenly. This event marked a profound turning point in his life. After two decades spent in the itinerant world of opera, he withdrew from the theatrical circuit and settled permanently in Senigallia, a coastal city in the Marche region. This relocation, however, did not signal a retreat from musical life. On the contrary, Morandi became deeply involved in the cultural and civic affairs of his adopted city. He took on the position of maestro di cappella at the Cathedral of Senigallia, a role he held until 1836, and he played an instrumental role in the foundation and direction of the Società dei Filomusicori, an association dedicated to the dissemination and promotion of music through concerts and educational initiatives.
As an organist, Morandi was deeply engaged with the evolving technological landscape of organ building. He was frequently consulted on matters of organ construction and maintenance, working closely with builders to adapt instruments to the changing needs of performance. His compositions reflect this engagement, as he took full advantage of the timbral and technical possibilities offered by contemporary organs, often challenging the received tradition whilst seeking a personal voice of his own.
Morandi’s compositional output was vast and diverse, including not only organ music but also sacred choral works, chamber music, and pedagogical pieces. His published organ works are particularly significant, demonstrating his ability to reconcile the operatic influences of his time with the structural and aesthetic demands of liturgical music. His numerous collections of organ sonatas—grouped into “Raccolte” or thematic compilations—were conceived with a practical liturgical function, providing music for key moments in the Catholic Mass, such as the Offertory, Elevation, and Post-Communion.
The flow of Giovanni Morandi’s compositions was steady throughout his artistic life. For nearly half a century, Morandi constantly wrote organ works, although (understandably) his Wanderjahre, his years of wandering, witnessed a slightly less abundant output. Morandi’s approach to organ registration appears to have been influenced by the instruments built by Gaetano Callido, one of the leading organ-builders of the time. This also mirrors Morandi’s constant relationship with the monasteries of his area of residence, and for which he wrote many of his works. In the city of Senigallia where Morandi spent several decades of his life, there were no less than four such organs, and evidently the composer was highly familiar with them.
Unlike many of his contemporaries, who indiscriminately transferred operatic material into the organ repertoire, Morandi maintained a more nuanced approach. While his music exhibits a lyrical and expressive quality reminiscent of opera, he was careful to preserve a sense of dignity and appropriateness for the sacred setting. His works often display an orchestral conception of the organ, employing rich harmonic textures, varied registrations, and dynamic contrasts that evoke the grandeur of the symphonic world while remaining within the stylistic boundaries of church music.
Beyond his role as a composer and performer, Morandi was also an influential pedagogue. His teaching method emphasized both technical proficiency and expressive nuance, ensuring that his students developed not only the mechanical skills required for organ playing but also a deep appreciation for the artistic and liturgical dimensions of the instrument. Many of his students went on to have significant careers, further disseminating his stylistic principles and reinforcing his influence within Italian organ music.
Morandi’s later years were dedicated to composition, teaching, and the cultivation of musical life in Senigallia. He remained active as a composer until his death in 1856, leaving behind a substantial body of work that continues to shed light on an often-overlooked period of Italian organ music. Though his name may not be as widely recognized today as some of his operatic contemporaries, his contributions to the Italian organ repertoire were significant, bridging the gap between the past and the future, and laying the groundwork for subsequent generations of organists and composers.
Following his death, Morandi’s music gradually fell into relative obscurity, largely overshadowed by the continued dominance of opera in Italy and the shifting trends in European organ music. However, in recent years, there has been a resurgence of interest in his works, particularly among performers and scholars dedicated to rediscovering the richness of 19th-century Italian organ music. His compositions, once considered primarily functional pieces for liturgical use, are now being reevaluated for their artistic merit and historical significance.
Through his compositions, pedagogical efforts, and advocacy for the organ, Giovanni Morandi stands as a pivotal figure in 19th-century Italian music. His legacy is one of innovation and refinement, demonstrating that even in an era dominated by opera, there was still room for the organ to assert its unique voice.
The present recording, which constitutes the sixth volume of the complete organ works by Morandi published by Da Vinci Classics, encompasses the seventh and eighth Collections of Sonatas “for the modern organs”, written respectively in 1832 and in 1836. The Seventh series is not indicated as such, but simply as Sei Sonate; furthermore, it bears no opus number indication. Contrariwise, the Eighth Collection is numbered clearly both as the eighth volume of Morandi’s series of collections, and as his op. 25.
The Seventh Collection is twice as long as the Eighth; together they comprise nine Sonatas, and Morandi’s liking for multiples of three is evident in the organization of his compositions. Moreover, in the Eighth collection, it is possible to surmise an authorial intention in the tonal organization of the works, whose keys constitute an inverted A-minor triad (E minor, C major, A minor). Normally, the groupings by three so frequently found in Morandi’s oeuvre mirror a liturgical destination: the first Sonata is destined for Offertory, and normally has a quick pace, at times preceded by a slow introduction; the second Sonata is for Elevation, and has a slow tempo; the Post Communio, i.e. the third Sonata, is brisk and does not normally request changes in registration.
The Six Sonatas of the Seventh Collections display a recurring model (it is found in the first, third, and fourth Sonata), which constitutes one of the two main “archetypes” of Sonata employed by Morandi. In this model, the influence of Rossini is particularly evident. (Rossini was a family friend for Morandi and his wife, and he owed them some important steps of his career as a young composer). This formal model is more extended with respect to the other, as its Reprise includes a re-exposition of all three themes presented in the Exposition. In other Sonatas, instead, Morandi opted for an abbreviated Reprise, where only the third theme was presented, before a concluding cadenza and coda.
These Sonatas, with their variety and diversity, contribute to the reconstruction of the vast field of inspiration of Morandi’s artistry. The works recorded in this sixth volume, conveying the full maturity of Morandi’s genius, are a living testimony to his gifts and skill, and a fascinating reminder of the fecundity of his creativity.
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