Andrea GABRIELI (1532/33 - 1585)
Keyboard Music
Praeambulum 1. toni [1:28]
Ricercar del 1° tuono alla quarta alta (II/2) [6:28]
Ricercar sopra Pour ung plaisir (after Crecquillon) (V/9)* [2:24]
Toccata 1. toni [3:38]
Capriccio sopra il Pass'e mezzo antico (III/12) [3:49]
Canzona Susanne un jour (after Lassus) (V/1)* [4:24]
Canzona Qui la dira (after anon) (VI/1) [3:47]
Toccata del 9° tono (I/12) [5:08]
Ricercar del 1° tono (III/1)* [2:49]
Praeambulum 4. toni [2:15]
Ricercar 4. toni (II/5) [5:34]
Canzona Frais et gaillard (Crecquillon) (V/2)* [3:46]
Io mi son giovinetta (after D. Ferrabosco) (III/11) [4:17]
Toccata del 10° tuono [2:08]
Ricercar del 1° tuono (II/1) [6:42]
Ricercar arioso (V/10)* [3:29]
Ricercar del 3° tuono (II/4) [3:35]
Canzon ariosa (III/9)* [2:34]
Anchor che co'l partire (after De Rore) [4:01]
Glen Wilson (harpsichord, spinet*)
rec. 5-7 June 2009, Monreale, Sicily, Italy. DDD
(The numbers in brackets refer to the books in which Gabrieli's keyboard music
has been published.)
NAXOS 8.572198 [72:15]
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
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Nobody interested in early keyboard music should miss this disc.