GIROLAMO FRESCOBALDI Toccatas & Partitas
GCD 921514. 2 CDs
Fabio Bonizzoni, harpsichord & organ
Total playing time 78:15 + 78:12 Recorded in Royaumont (harpsichord) and Mantua (organ) in March and May 2012 Engineered by Alban Moraud Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet texts: Fabio Bonizzoni, Giorgio CarliEnglish – Français – Deutsch
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GIROLAMO FRESCOBALDI (1583-1643)
First Book Toccate e partite d’intavolatura di cimbalo, libro primo (Rome, 1615/1616/1637)
harpsichord 01 Toccata prima 02 Toccata seconda 03 Toccata terza 04 Toccata quarta 05 Toccata quinta 06 Toccata sesta 07 Partite sopra la Monica (1615) 08 Partite sopra la Romanesca (1616) 09 Partite sopra Ruggiero (1616) 10 Toccata settima 11 Toccata ottava 12 Toccata nona 13 Toccata decima 14 Aria detta Balletto [Second Book]
Second Book Il secondo libro di toccate, canzone, versi d’hinni, Magnificat, gagliarde, correnti et altre partite d’intavolatura di cimbalo et organo (Rome, 1627/1637)
harpsichord 01 Toccata prima 02 Toccata seconda 03 Toccata settima 04 Toccata nona 05 Toccata decima 06 Toccata undecima
organ 07 Toccata terza (per l’organo da sonarsi alla levatione) 08 Toccata quarta (per l’organo da sonarsi alla levatione) 09 Toccata quinta (sopra i pedali per l’organo, e senza) 10 Toccata sesta (per l’organo sopra i pedali, e senza) 11 Toccata ottava (di durezze, e ligature) 12 Canzona quinta 13 Toccata undecima [First Book]
harpsichord 14 Canzona prima 15 Canzona terza 16 Aria detta la Frescobalda 17 Ancidetemi pur
About this CD
For as much as Fabio Bonizzoni is drawn to the splendours of Baroque music for voices and orchestra – as demonstrated through his award-winning recordings with La Risonanza – his keyboard-playing instincts are constantly urging him to tackle masterpieces of the keyboard repertory. Most recently having applied his musical insight and virtuosity to Bach’s Die Kunst der Fuge, Bonizzoni now pits himself against another, albeit earlier, Baroque master in Girolamo Frescobaldi.
Frequently-cited as being as important for keyboard music as Monteverdi was for vocal and dramatic fare, the genius of the Ferrara-born Frescobaldi was amply recognized when working in Rome and Florence – periods when he published (and revised) the two books of toccatas (but including canzonas and partitas or variations sets) recorded by Bonizzoni here. Frescobaldi’s toccatas allow for – and draw from Bonizzoni – great interpretative flexibility, calling for rhythmic freedom, not to say drama and emotion. Indeed, Bonizzoni, clearly mindful of the new demands of the seconda prattica in Frescobaldi’s time, likens the toccatas to being madrigals without words: poetry lies at the heart of his performances.
This new recording from Glossa has Bonizzoni playing on a splendid modern copy of an Italian Baroque harpsichord and on the idiosyncratic organ of the Basilica of Santa Barbara in Mantua. Along the way, Bonizzoni has puzzled out – and describes in the booklet – how best to draw out the sound appropriate for Frescobaldi’s music from this mysterious instrument.