Naxos
Andrea Gabrieli: Keyboard Music / Glen Wilson
$19.99
Only 2 left
Details
- Composer
- GABRIELLI, ANDREA
- Artist
- Glen Wilson
- Format
- CD
- Label
- Naxos
- Released
- Aug 31, 2010
- Catalog #
- 8572198
- UPC
- 747313219872
About
Nobody interested in early keyboard music should miss this disc.
Some of the most important forms of keyboard music have their origin in the 16th century, in particular the prelude, the toccata and the fugue. In Italy, in the mid-16th century, crucial developments in keyboard composing took place. Among the composers who were responsible for the evolution of keyboard music was Andrea Gabrieli. For that reason a disc which is completely devoted to his keyboard oeuvre is of great importance. It also sheds light on a part of Gabrieli's oeuvre which is not that well-known.
Andrea Gabrieli was born in Venice and was educated as an organist. In 1557 he applied for the position of organist of San Marco, as the successor to Girolamo Parabosco. He failed, and Claudio Merulo was appointed, who would then develop into one of the main musical personalities in Venice in the next 25 years. In the early 1560s Gabrieli came into contact with Orlandus Lassus. In 1562 Lassus' employer, Duke Albrecht V of Bavaria, went to Frankfurt to attend the coronation of Emperor Maximilian II. In his retinue were both Lassus and Gabrieli. But his heart apparently was in Venice. In 1566 he was appointed as organist of San Marco - alongside Merulo - and he resisted an attempt by Lassus to make him return to Bavaria to enter the service of Duke Albrecht. Little is known about him as a person, but in his liner-notes Glen Wilson includes a quotation which suggests Gabrieli was a demanding teacher.
This disc presents a survey of the various genres in vogue at the time. It doesn't include all genres to which Gabrieli contributed. Wilson has omitted that part of his oeuvre intended for the organ. Therefore the Intonazioni which were to be played before a vocal piece, indicating the pitch to the singers, are missing. Instead we get two preludes here, which also can be played at the organ. This kind of piece was originally improvised, and it doesn't surprise me that they were mostly not printed. That’s certainly thre case with the two played here which have both come down to us in manuscript. The other free form with improvisational origins is the toccata. Venice was the main centre of toccata writing, and Gabrieli played an important role in the development of this form. The two toccatas on this disc are in three contrasting sections.
The toccata has roots in the ricercar, one of the main forms of keyboard music at the time. Two types of ricercar are known in music history, the imitative and the non-imitative. The former is the kind of ricercar used in Italy and developed by Gabrieli into a piece on a single theme. In addition he deployed various techniques which were to become a standard part of the fugue in the baroque era, like inversion and diminution. Gabrieli also wrote ricercars on vocal subjects. The Ricercar sopra Pour ung plaisir is an example; it is based on a chanson by Thomas Crecquillon. Here he only uses themes from this chanson, unlike in the canzonas on vocal models, like the Canzona Frais et gaillard, again on a chanson by Crecquillon. In this the upper voice of the vocal original is treated according to the diminution technique which was so popular in Italy. Part of it involves the breaking up of the longer notes in fast passages and the addition of ornaments. The madrigals Anchor che col partire by Cipriano de Rore and Io mi son giovinetta by Domenico Ferrabosco are treated the same way. Lastly Wilson plays two independent pieces, the Ricercar arioso and the Canzon ariosa which may have a vocal character but are not based on vocal models.
The interest of this programme lies in the range of forms on display here. Moreover Wilson has ordered the pieces in such a way that there is a maximum of variety. That is also due to the alternating use of two different instruments. Most pieces are performed on a harpsichord, but it is nice to hear a spinet as well, which was a common instrument but is not often used in recordings. Both instruments are built after Venetian models of the 16th century. "Their soft iron single-stringing produces a more vocal sound than that usually associated with later types of Italian harpsichords", Glen Wilson states.
And he is right: the sound of the instruments suits the music very well. He is also an excellent guide through Gabrieli's oeuvre, and brings out the idiosyncracies of his music convincingly. He plays brilliantly but never in an exhibitionist way. The tempi are well-chosen, and the counterpoint is allowed to blossom.
Nobody interested in early keyboard music should miss this disc.
-- Johan van Veen, MusicWeb International
Some of the most important forms of keyboard music have their origin in the 16th century, in particular the prelude, the toccata and the fugue. In Italy, in the mid-16th century, crucial developments in keyboard composing took place. Among the composers who were responsible for the evolution of keyboard music was Andrea Gabrieli. For that reason a disc which is completely devoted to his keyboard oeuvre is of great importance. It also sheds light on a part of Gabrieli's oeuvre which is not that well-known.
Andrea Gabrieli was born in Venice and was educated as an organist. In 1557 he applied for the position of organist of San Marco, as the successor to Girolamo Parabosco. He failed, and Claudio Merulo was appointed, who would then develop into one of the main musical personalities in Venice in the next 25 years. In the early 1560s Gabrieli came into contact with Orlandus Lassus. In 1562 Lassus' employer, Duke Albrecht V of Bavaria, went to Frankfurt to attend the coronation of Emperor Maximilian II. In his retinue were both Lassus and Gabrieli. But his heart apparently was in Venice. In 1566 he was appointed as organist of San Marco - alongside Merulo - and he resisted an attempt by Lassus to make him return to Bavaria to enter the service of Duke Albrecht. Little is known about him as a person, but in his liner-notes Glen Wilson includes a quotation which suggests Gabrieli was a demanding teacher.
This disc presents a survey of the various genres in vogue at the time. It doesn't include all genres to which Gabrieli contributed. Wilson has omitted that part of his oeuvre intended for the organ. Therefore the Intonazioni which were to be played before a vocal piece, indicating the pitch to the singers, are missing. Instead we get two preludes here, which also can be played at the organ. This kind of piece was originally improvised, and it doesn't surprise me that they were mostly not printed. That’s certainly thre case with the two played here which have both come down to us in manuscript. The other free form with improvisational origins is the toccata. Venice was the main centre of toccata writing, and Gabrieli played an important role in the development of this form. The two toccatas on this disc are in three contrasting sections.
The toccata has roots in the ricercar, one of the main forms of keyboard music at the time. Two types of ricercar are known in music history, the imitative and the non-imitative. The former is the kind of ricercar used in Italy and developed by Gabrieli into a piece on a single theme. In addition he deployed various techniques which were to become a standard part of the fugue in the baroque era, like inversion and diminution. Gabrieli also wrote ricercars on vocal subjects. The Ricercar sopra Pour ung plaisir is an example; it is based on a chanson by Thomas Crecquillon. Here he only uses themes from this chanson, unlike in the canzonas on vocal models, like the Canzona Frais et gaillard, again on a chanson by Crecquillon. In this the upper voice of the vocal original is treated according to the diminution technique which was so popular in Italy. Part of it involves the breaking up of the longer notes in fast passages and the addition of ornaments. The madrigals Anchor che col partire by Cipriano de Rore and Io mi son giovinetta by Domenico Ferrabosco are treated the same way. Lastly Wilson plays two independent pieces, the Ricercar arioso and the Canzon ariosa which may have a vocal character but are not based on vocal models.
The interest of this programme lies in the range of forms on display here. Moreover Wilson has ordered the pieces in such a way that there is a maximum of variety. That is also due to the alternating use of two different instruments. Most pieces are performed on a harpsichord, but it is nice to hear a spinet as well, which was a common instrument but is not often used in recordings. Both instruments are built after Venetian models of the 16th century. "Their soft iron single-stringing produces a more vocal sound than that usually associated with later types of Italian harpsichords", Glen Wilson states.
And he is right: the sound of the instruments suits the music very well. He is also an excellent guide through Gabrieli's oeuvre, and brings out the idiosyncracies of his music convincingly. He plays brilliantly but never in an exhibitionist way. The tempi are well-chosen, and the counterpoint is allowed to blossom.
Nobody interested in early keyboard music should miss this disc.
-- Johan van Veen, MusicWeb International
Tracklist 19 tracks
-
1 Praeambulum primi toni 01:28
- Track
- 1
- Title
- Praeambulum primi toni
- Duration
- 01:28
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
2 Ricercar del primo tuono alla quarta alta (Libro Secondo, 1595) 06:28
- Track
- 2
- Title
- Ricercar del primo tuono alla quarta alta (Libro Secondo, 1595)
- Duration
- 06:28
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
3 Crecquillon - Ricercar sopra Pour ung plaisir (Libro Quinto, 1605) 02:24
- Track
- 3
- Title
- Crecquillon - Ricercar sopra Pour ung plaisir (Libro Quinto, 1605)
- Duration
- 02:24
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
4 Toccata primi toni 03:38
- Track
- 4
- Title
- Toccata primi toni
- Duration
- 03:38
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
5 Capriccio sopra il Pass' e mezo Antico (Libro Terzo, 1596) 03:49
- Track
- 5
- Title
- Capriccio sopra il Pass' e mezo Antico (Libro Terzo, 1596)
- Duration
- 03:49
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
6 Lassus - Canzona, "Susanne un jour" (Libro Quinto, 1605) 04:24
- Track
- 6
- Title
- Lassus - Canzona, "Susanne un jour" (Libro Quinto, 1605)
- Duration
- 04:24
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
7 Canzona, "Qui la dira" (Libro Sesto, 1605) 03:47
- Track
- 7
- Title
- Canzona, "Qui la dira" (Libro Sesto, 1605)
- Duration
- 03:47
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
8 Toccata del nono tono (Libro Primo, 1593) 05:08
- Track
- 8
- Title
- Toccata del nono tono (Libro Primo, 1593)
- Duration
- 05:08
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
9 Ricercar del primo tono (Libro Terzo, 1596) 02:49
- Track
- 9
- Title
- Ricercar del primo tono (Libro Terzo, 1596)
- Duration
- 02:49
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
10 Praeambulum quarti toni 02:15
- Track
- 10
- Title
- Praeambulum quarti toni
- Duration
- 02:15
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
11 Ricercar quarti toni (Libro Secondo, 1595) 05:34
- Track
- 11
- Title
- Ricercar quarti toni (Libro Secondo, 1595)
- Duration
- 05:34
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
12 Crecquillon - Canzona, "Frais and galliard" (Libro Quinto, 1605) 03:46
- Track
- 12
- Title
- Crecquillon - Canzona, "Frais and galliard" (Libro Quinto, 1605)
- Duration
- 03:46
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
13 Ferrabosco - Madrigale, "Io mi son giovinetta" (Libro Terzo, 1596) 04:17
- Track
- 13
- Title
- Ferrabosco - Madrigale, "Io mi son giovinetta" (Libro Terzo, 1596)
- Duration
- 04:17
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
14 Toccata del decimo tuono (from Il Transilvano) 02:08
- Track
- 14
- Title
- Toccata del decimo tuono (from Il Transilvano)
- Duration
- 02:08
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
15 Ricercar del primo tuono (Libro Secondo, 1595) 06:42
- Track
- 15
- Title
- Ricercar del primo tuono (Libro Secondo, 1595)
- Duration
- 06:42
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
16 Ricercar Arioso (Libro Quinto, 1605) 03:29
- Track
- 16
- Title
- Ricercar Arioso (Libro Quinto, 1605)
- Duration
- 03:29
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
17 Ricercar del terzo tuono (Libro Secondo, 1595) 03:35
- Track
- 17
- Title
- Ricercar del terzo tuono (Libro Secondo, 1595)
- Duration
- 03:35
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
18 Canzon ariosa (Libro Terzo, 1596) 02:34
- Track
- 18
- Title
- Canzon ariosa (Libro Terzo, 1596)
- Duration
- 02:34
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson
-
19 Rore - Madrigale, "Anchor che co'l partire" (Libro Terzo, 1596) 04:01
- Track
- 19
- Title
- Rore - Madrigale, "Anchor che co'l partire" (Libro Terzo, 1596)
- Duration
- 04:01
- Composer
- Andrea Gabrieli
- Performer
- Glen Wilson