Giovanni Battista Martini (1706-1784) was born in Bologna, in that era part of the Papal States. His father, Antonio Maria Martini, a violinist, taught him the elements of music and the violin and he later learned singing and harpsichord playing and the art of counterpoint from Giacomo Antonio Perti. Having received his education in classics from the priests of the "Congregation of the Oratory of Saint Philip Neri”, he became a priest himself in 1722. In 1725, though only nineteen years old, he received the appointment of chapel-master at the Basilica of San Francesco in Bologna, where his compositions attracted attention. At the invitation of amateurs and professional friends he opened a school of composition at which several celebrated musicians were trained; as a teacher he consistently declared his preference for the traditions of the old Roman school of composition. Martini was a zealous collector of musical literature, and possessed an extensive musical library, estimated at 17,000 volumes. Among his many students was…Wolfgang Amadeus Mozart, who held him in high regard and always spoke fondly of him. “Padre” Martini, as he was called, wrote an immense oeuvre of more than 2500 works, many of them sacred vocal works. His keyboard works include more than 100 sonatas.

This new recording presents the complete organ works of Martini, consisting mainly of Sonatas, but also shorter pieces like fugues, toccatas and preludes. In his earlier works Martini adopted the style of his illustrious predecessors, the masters of Baroque counterpoint, later he wrote in a less learned, more elegant and “pleasant” style, according to the demands of his audience. Played on a variety of historic Italian organs from the 18th century by Manuel Tomadin, one of the foremost Italian organists of today, a scholar and passionate musician, with an impressive discography to his name.

REVIEW:

Scholar, bibliophile, musicologist, teacher, composer: the life of Giovanni Battista Martini was divided between faith and scores. After brilliant studies, he was admitted to orders at the Monastery of San Francesco in his native Bologna. He became chapel master at just nineteen years old. It was from there that he corresponded with luminaries of the time, where he taught for five decades without asking for remuneration, to students from all over Europe. A certain W.A. Mozart took lessons (a CD by Stefano Molardi from Divox paid tribute to this meeting). A selfless, affable, modest person - revered as such. And prolific: sacred music of course, but also symphonies, and numerous keyboard pages.

Until now, however, the discography had not panicked around the organ work of Padre Martini, sporadically included in the 18th century anthologies of gallant style. Few albums are entirely dedicated to him...As in his box sets covering works by Johann Ludwig Krebs, Hans Leo Hassler and Christian Erbach on the same label, Manuel Tomadin sees broad and dares long-distance running, total immersion: nothing less than an announced complete works edition, here a dozen hours on the clock; a treasure hunt. We do not know according to what criteria the works were distributed over the nine discs, but the fact remains that the allocation optimizes the timings (78'47, 75'15, 77'42, 79'32, 77'41 , 79'09, 75'23, 78'36, 75'41).

The two large collections of sonatas [Op. 2 and Op. 3] are there, except that the fifth of opus 3, dedicated to the harpsichord, does not appear...The rest provides a harvest of sweet Sonata sui flauti, Toccatas, Elevazioni, (simili) solemn Pieni, but also liturgical contributions...

...the exhaustive discovery turns out to be addictive...The recipes never tire (we salute here a certain genius for loquacity), the delicacies are renewed, especially as Manuel Tomadin chooses the registrations masterfully. Another incentive for immoderation in listening: the box set alternates locations from one disc to another. No less than nine historic organs from Northern Italy, including five by Gabriel Callido, all built at the end of the settecento except that of Val di Zoldo (1812, the last of this maker), and the Pescetti of Polcenigo, a bit earlier (1732). The distinguished plenitude of the Principals, the enchanting Flutes, the luscious basses, the verbose reeds which take us to the theater: we swoon, especially when the sound recordings flatter the ear like this.

...the desire for completeness did not compromise the care of the production, carried out over only sixteen months. Manuel Tomadin, who is known to be an expert in the less luminous and more austere regions of Northern Germany, here demonstrates a sonic imagination and a Latin volubility which do more than convince...his marathon approach does not prevent perfectionism or preciousness. In this regard, note that the last page of the booklet details the temperature and humidity of each session.

For this great euphonious work and its lively and colorful interpretation, this inexhaustible candy box erects a powerful bulwark against all gloom.

-- Crescendo

Pietro Yon (1886-1943) played in what is widely regarded as one of the finest-ever performances of Beethoven’s Missa solemnis, conducted at Carnegie Hall in 1935 by Arturo Toscanini. Yon was sharing the stage with the likes of Elizabeth Rethberg and Ezio Pinza; he had acquired a comparable celebrity within the organ world in his lifetime, having emigrated from Italy to the US at the age of 21, and become Organist of St Patrick’s Cathedral in New York, the foremost seat of Catholicism in the US. A New York Times profile portrayed him as an adopted New Yorker who moved in high-society circles and enjoyed ragtime and vaudeville, and he welcomed the likes of Caruso and Toscanini to his home as friends. When he died in 1943, the world-famous conductor numbered among the 1300 mourners at St Patrick’s. Yon’s own music has a post-Romantic, mid-Atlantic flavour reflecting his background without belonging to a single ‘school’. Christmas in Settimo Vittone or Rapsodia Italiana draw on his Piedmontese heritage. The trio of large-scale organ sonatas occupying the third album emerge from the virtuoso tradition of 19th-century keyboard writing exemplified by Liszt and translated to the organ by French contemporaries such as Guilmant and Vierne. Album 1 is dedicated to a collection of 12 Divertimenti including not only the Italian-themed character pieces mentioned above but also an expansive ‘American Rhapsody’ – like a transatlantic version of Howells, perhaps, sharing its chromatic harmony with the music of Leo Sowerby – and shorter study-like pieces which exploit the full range of colours available on the organ of St Patrick’s which he had extensively renovated and updated to reflect changing tastes, rather as Pierre Cochereau did at Notre-Dame in Paris.

The industrious Simone Stella has produced critically acclaimed complete sets of keyboard music by Buxtehude, Bohm, Reincken, Walther, Froberger and Pachelbel. Now he ventures further off the beaten track with the complete surviving organ music of Friedrich Wilhelm Zachow (1663-1712), a Leipzig-born musician long known to posterity almost exclusively as the first and formative teacher of the prodigious George Frideric Handel. Over the course of Handel’s teenage years he became a proficient violinist and organist as well as composer, thanks to the efforts of Zachow, whose library included much of the best music then published in Europe. His own music has remained undeservedly in the shadows, for Zachow can be counted among the most distinguished and original composers of keyboard music in the generation before J.S. Bach. There are three- and four-voice chorale settings and variations, devotional in spirit but full of lively contrasts. More ambitious are the chorale fugues and partitas, which demonstrate considerable ingenuity on Zachow’s part as he embeds the old themes within intricate textures while maintaining a vividly drawn musical line. Most interesting in this respect are the 12 variations on Jesu meine Freude, which inevitable invite and by no means suffer from comparison with Bach’s motet. Zachow’s music evidently exploits the untempered tuning and the bright timbres of the instruments of his day, which Simone Stella has respected in his choice of a modern Pinchi organ at the Auditorium Varrone (former church of San Giorgio) in Rieti. With only a single rival recording available (at full price), Simone Stella’s new set commends itself to all collectors of Baroque organ music.

Born around 1570, Christian Erbach apparently pursued the career of a musician from his earliest years. By his early 30s he had taken over organist positions in Augsburg previously held by the better known Hans Leo Hassler (the subject of another unrivaled compendium by Manuel Tomadin on Brilliant Classics, 95331). Like Hassler, Erbach was evidently influenced as a composer by Italian and in particular Venetian flavors of polychoral and effervescent writing even in his instrumental output. The predominant forms in this set are toccatas, canzonas and ricercars, as well as instrumental ‘settings’ of the Magnificat and the Ordinary of the Mass for liturgical use. Erlebach himself must have been an organist of tremendous flourish and with an ear for liturgical theatre, to judge from the colorful array of textures he demands in his music. Both his music and his renown as a teacher exercised a formative influence over the next two generations of German organ music – from which eventually emerged its own dominant figure, Johann Sebastian Bach (who also looked over to the other side of the Alps for stylistic inspiration).

In an extensive booklet introduction to Erlebach’s life and works, the organist Manuel Tomadin makes available much research otherwise unavailable in English. He has chosen to make this comprehensive set on a selection of organs in northern Italy and Austria, all of them equipped with the registral possibilities to make the composer’s music sing in its own language, and several of them dating from Erlebach’s own time, based in Bologna, Mantova, Pistoia and farther afield. All the instruments are illustrated in the booklet with color photographs and a detailed registration plan, making the set invaluable for both organ buffs and any listener with a broader interest in the German Baroque.

Conceived on a grand scale, Lloyd’s late choral works build fruitfully upon his previous experience in other genres. They share with his operas an innate lyricism, natural affinity with the human voice, and feeling for the long line, while their structural balance, intensive working out of motifs, and rich orchestral palette owe a significant debt to his prolific symphonic output. Lloyd produced the final score of his Requiem a month before his death. It is inscribed ‘to the memory of Diana, Princess of Wales’. Compassionate, reassuring, and even, at times, joyful, this is a conscious leave-taking on the part of the composer. His compact and cogent setting of Psalm 130 constitutes, arguably, his most fluently effective use of a cappella choral writing.

Dandrieu’s Premier Livre de Pièces d’Orgue was printed a year after the composer died in 1738. It contains six suites of pieces in differing church tones; each followed by six versets suitable for performance under the canticle Magnificat. While the Magnificat verses have a logical sequence; the other movements in the suites are somewhat haphazardly planned. Even setting aside the Pascal hymn in the Premier Suite; the remaining pieces have no apparent order; perhaps reflecting a desire to make the publication as generally useful as possible. The first suite’s two fugues are the only cantus firmus pieces in the collection and are based on the hymn Ave Maris Stella and the Pascal proclamation Exultet coelum laudibus (CD 1: 3 and 4). Like the remaining fugues; which are independent; the style is serious: each is marked Majestueusement [sic] and follows the prescriptions of several composers’ prefaces from the late 17th and early 18th centuries. While no fugues from this epoch are as carefully crafted as those of the Rouennais organist Jehan Titelouze (Paris; 1623 and 1626); their placing within organised organ masses and hymns; often as the second verset of a Kyrie; Gloria or hymn; demonstrates an underlying association between genre and rhetoric. We see similar associations with the opening movements of each Magnificat set; but they work on two levels. They are austere and reserved solely for a plein jeu combination of stops: foundation stops from 16 feet to both mixtures but without reeds. According to André Raison they are to be played solemnly with absolute finger legato. A second rhetorical association is the link between registration and text. It has been mentioned that fugues were often used as the second verse of hymns and in mass sections; and a similar association between a plein jeu and the first Kyrie; Gloria or Sanctus; or the first verse of a psalm or canticle exists in nearly every organ composer’s publication until late into the 18th century. This is not by accident since associating sounds and text would help guide congregants – many of whom were neither literate nor conversant with Latin – through the complexities of the ceremony. Indeed; such an association is well within the ceremonials’ inclusive philosophies. Several commentators associate plein jeu pieces with Titelouze; and while the registration provides a link with the north European school of organ playing; particularly of such composers from Flanders and the Spanish Netherlands as Jan Pieterzoon Sweelinck; other genres are decidedly more French. Thus; we have bourrées (e.g.; Duo; Magnificat V; CD2: 15); menuets (e.g.; Basse de Cromorne; Magnificat III; CD1: 33); gavottes (e.g.; Trio; Magnificat V; CD2: 16); gigues (Magnificat IV; CD2: 5); Italianate gigas (Duo; Magnificat III; CD1: 26) and; as mentioned previously; rustic dances in the guise of musettes. It is not only dance forms that permeate French organ music; since we also see the influence of the air de cour in the tender récits (e.g.; Magnificat III; CD1: 33); concerted viol music in the two Tierce en Taille pieces (Suites IV and V) and even Lullyan ouvertures; which form the basis of the offertoires. These are exclusively reserved for grands jeux combinations that juxtapose concertante and ripieno sections using combinations of reeds; cornets and foundation stops that mimic the grand orchestral writing popular with Parisian apparatchiks of the opera.