Composer: Girolamo Frescobaldi, Giovanni de Macque, Rocco Rodio, Luigi Rossi, Michelangelo Rossi, Giovanni Salvatore, Scipione Stella, Bernardo Storace
Performer: Francesco Corti, Andrés Locatelli
Format: FLAC (tracks)
Label: Arcana
Catalogue: A547
Release: 2023
Size: 1.7 GB
Recovery: +3%
Scan: yes
01. Frescobaldi: Toccata prima, F 2.01
02. Macque: Capriccio sopra re fa mi sol
03. Macque: Consonanze stravaganti
04. Macque: Prima gagliarda
05. Rodio: Terza ricercata
06. Frescobaldi: Toccata decima
07. Stella: Partite sopra la Romanesca
08. Lambardo: Toccata
09. Lambardo: Gagliarda
10. Frescobaldi: Partite sopra ruggiero (1615-37)
11. Frescobaldi: Capriccio sopra la Battaglia (1637)
12. Frescobaldi: Balletto e ciaccona (1637)
13. Rossi M: Toccata Prima in C
14. Frescobaldi: Gagliarda Seconda (1627)
15. Storace: Ciaccona (harpsichord)
16. Rossi M: Corrente terza from ‘Toccate e corenti d’intavolatura d’organo e cimbalo’ (Rome, c. 1634)
17. Frescobaldi: Toccata nona non senza fatiga si giunge al fine (1627)
18. Frescobaldi: Capriccio nono, di durezze, F 4.09
19. Frescobaldi: Toccata Settima
20. Frescobaldi: Recercar con obligo di cantare la quinta parte
21. Frescobaldi: Gagliarda quinta, F 3.31
22. Salvatore: Canzone francese seconda
23. Frescobaldi: Cento Partite sopra Passacagli
24. Rossi L: Passacaille del sign[or]Louigi
25. Macque: Prima gagliarda
In 1594 Carlo Gesualdo, Prince of Venosa, arrived in Ferrara for his marriage to Donna Eleonora d’Este. His meeting with the musical circles of Ferrara, and in particular with Luzzasco Luzzaschi, was to make an important impact on the musical development of the young Girolamo Frescobaldi. In his maturity Fre scobaldi arrived at a deeply personal fusion between the musical forms of North Italian (and more specifically Venetian) derivation and the musical experimentation of the southern school. The aim of this recording project is to explore the reciprocal influ ences between great keyboard master from Ferrara and his colleagues from the Kingdom of Naples. Represented here in a dialogue with Frescobaldi’s works are not only the great experimental figures from the years bridging the 16th and 17th centuries (J. De M acque, Rodio, Stella), but also the composers from the following generation who absorbed and built on Frescobaldi’s example (Storace, Salvatore, L. Rossi), as well as contemporaries who adopted a parallel course (M. Rossi). This fertile musical exchange, w hich culminated in the profoundly distinctive innovations of Frescobaldi himself, fully exemplifies the spirit of experimentation and musical innovation typical of the early 17th century, a period that, like few others, sought out and celebrated aesthetic renewal.