previous arrow
next arrow
Slider

Musicalisches Opfer BWV 1079

Composer
Johann Sebastian Bach (1685-1750)
Organ
Pinchi (1996) op. 412
Venue
Chiesa Madonna del Rosario, Chivasso, Turin, Itally

About this album

In 1747 Johann Sebastian Bach went to Potsdam visiting his second son Carl Philipp Emanuel, who was at the court of Frederik the Great. In that occasion the elderly musician was welcomed with all the honors by the king of Prussia, great music lover, who asked him to improvise at the harpsichord a fugue for three voices on a deeply chromatic theme proposed by him. After happily completing this task, the king asked Bach to create a fugue for six voices on the same theme. The achievement however was too difficult to be improvised and for this reason Bach answered the king that he would send him a copy of this work after his return to Lipsia. From this memorable evening arose the Offerta Musicale, one of the huge masterpieces by the genius of Bach, a speculative work that continues nowadays to arouse regard and astonishment in the public. This piece is proposed by Elegia thanks to the Turin Baroque Orchestra soloists’ masterful reading, that already in 2017 has emerged with the splendid CD dedicated to the organ concerts by Vivaldi and that came up to the music of Bach with the same musicality and the same high interpretation.

Instruments
Nicola Brovelli: violoncello barocco, Maurizio Vella, Cremona 2016, modello Maggini
Francesca Odling: traversiere, Carlo Palanca, 1750ca. Copia di Martin Wenner 
Paola Nervi: violino barocco, Federico Lowemberger, Genova 2004. Copia di Maggini 
Svetlana Fomina: violino barocco, Johannes Fichtl, Mittenwald, 1767; viola barocca: anonimo del 18 sec. 
Gianluca Cagnani: organo Guido Pinchi op. 412, 1996; clavicembalo Bizzi, costruito secondo il modello italiano Giusti.

Additional info about this CD
Recorded in Madonna del Rosario (paris church), Chivasso, Torino Italy, in January 2018
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artists biography

Lieder Op. 74

Artists
Dominika Zamara, soprano
Franco Moro, pianoforte
Composer
Fryderyk Chopin (1810-1849)

About this album

Even if it seems incredible, inside the most famous composer’s production there are still treasures to discover. In the case of Fryderyk Chopin, among these unknown gems, stand out the seventeen Lieder op. 74, less considered by their author so that they were only published after his death. As we know, Chopin did not love to write for voice, but from these works extremely vivid images of the great Polish musician emerge: they recall the youth years, spent in Poland and the echo of his love for Konstancja Gladkowska with moments of sincerity that remind the best Schubert on many points of view. In this CD of intense beauty Dominika Zamara, Polish soprano with great talent, opens the Elegia catalogue and for the occasion she is accompanied by the piano player Franco Moro with refined taste. Beside the Lieder op. 74, the programme of this CD includes Jakież kwiaty, jakie wianki, a virtually unknown piece by Chopin, and two beautiful pages by Stanislaw Moniuszko and Ignacy Jan Paderewski, the first considered the father of the Polish national opera and the second a great piano talent, who for some time was the Poland Prime Minister. 

Additional info about this CD
Recorded in Pink Sound Studio, Padova Sound engineer and Digital Editing: Massimo Gabba
24 pages full colour booklet (It , En and Pl)
Musicology comment,
Artist biography

Concertos and triosonatas

Artisti
Accademia del Ricercare 
Lorenzo Cavasanti, recorder and flute 
Manuel Staropoli, recorder and flute 
Luisa Busca, recorder
Mattia Laurella, recorder and flute
Antonio Fantinuoli, cello 
Claudia Ferrero, harpsichord
Composer
Georg Philipp Telemann (1681-1767) 

About this album

Despite his endless discography, Georg Philipp Telemann is always able to pleasantly amaze with his huge production, most of which awaits to be discovered. Among the skills of the Magdeburg’s composer, stand out a natural talent for the tune and an amazing ability in expressing himself in all the important styles of his time, moving from Corelli’s musicality to the sublime refinement of the French eighteenth century, without neglecting the traditional polish and bohemian elements. This CD focuses on his chamber production for more flutes and transverse flutes, suggesting, next to three quite famous pieces from Tafelmusik and Der getreue Musik Meister, many unknown tracks, but not for this reason less fascinating. The main stage belongs to Introduzione per due flauti dolci e basso continuo, that in barely 13 minutes outlines with mastery five great ancient women, from Santippe to Clelia, closing with Dido. Accademia del Ricercare is the leading actor of this recording: it is an original ensemble, that with this beautiful CD makes its debut with Elegia Classic.


Additional info about this CD
Recorded in Chiesa di San Raffaele Arcangelo, San Raffaele Cimena (Italy), on 11st & 12nd March 2017
8 pages full colour booklet (Ita and Eng)
Accademia del Ricercare's biography
Musicology comment,

Organ Masterpieces

Composer
Richard Wagner (1813-1883)
Organ
Mascioni III/47 (2010)
Venue
Chiesa di San Giovanni Evangelista, Alessandria, Italy

About this album

Wagner’s works became rapidly famous and allowed the transcriptions for the most different instruments, among which we remember the ones for piano by Franz Liszt. Soon after his death, a young English organ player, known as Edwin Henry Lemare, became so passionate about Wagner, that he realized a series of organ transcriptions, considered as the most inspired of all time, both for the perfect performance of the difficult writing by the German composer and for the extraordinary sounding richness, able to rival with a great orchestra. This CD presents five transcriptions by Lemare, from the ouverture of Der fliegende Holländer to the pilgrims choir of Tannhäuser, thanks to Massimo Gabba’s performance at the keyboard of the great Mascioni organ of San Giovanni Evangelista (Alessandria), an instrument that has huge technical and expressive resources, perfect for this repertoire. The program is completed by other brilliant transcriptions by William Joseph Westbrook, Herbert Brewer and Théodore Dubois. A compelling vortex of organ emotions! 

Additional info about this CD
Recorded in Chiesa Parrocchiale San Giovanni Evangelista, Alessandria, on December, 2017.
Sound engineer and Digital Editing: Massimo Gabba
12 pages full colour booklet (Ita and Eng)
Musicology comment, rtist biography Full organ specs card included

Gli Organi Agati e Tronci

Composer
Autori toscani dal XVI al XIX Sec.
Organs
Organo Cosimo Ravani (1626),
Agati-Tronci (1890 ca.), Cutigliano (PT).
Organo Pietro Agati (1789), Bargi (BO).
Organo Onofrio Zeffirini (1555),
Antonio e Filippo Tronci (17869, Colle di Val d’Elsa (SI).
Organo Domenico Cacioli-Antonio e Filippo Tronci (1745), (PT).
Organo Giosuè Agati, 1820, Limite sull’Arno (FI).

About this album

Always committed to increase the value of the Italian historic organs, Elegia Classics outlines in this CD a fascinating cutaway of the Tuscan instruments with regard to four organs realized between the half of the XVIII century and the beginning of the XIX century by Agati and Tronci families, that are almost like dynasties. The wide programme is conceived to reach the highest improvement of the timbre and expressive characteristics of each instrument, with an exhaustive anthology of the Tuscan organ literature, that ranges over the sixteenth century authors such as Gioseffo Guami and Francesco Bianciardi to Giuseppe Gherardeschi, composer of whom Elegia has recently published the opera omnia, performed by Andrea Vannucchi. Among the most interesting authors, it is also important to remember Bernardo Pasquini and Domenico Puccini, grandfather of Giacomo. For this repertoire Andrea Vannucchi was the best, because he proposes a very appropriate performance, that also underlines four splendid organs.

Additional info about this CD
20 pages full colour booklet (Ita and Eng)

Musicology comment,

Artist biography

Full organ specs card included

Complete Organ symphonies vol.2

Composer
Padre Davide Da Bergamo (1791-1863
Organ
Fratelli Serassi op. 384 (1821)
Venue
Chiesa di Santa Maria Assunta, Caluso, Italy

About this album

After the great success gained by the first volume, Elegia publishes the second one of the complete collection of Padre Davide da Bergamo’s organ symphonies. He is one of the most emblematic composers of the first period of Risorgimento and his knowledge is still confined almost exclusively to the organ field. Since the first listening these pieces deserve a prominent place in the instrumental repertoire of the Italian nineteenth century, nowadays overshadowed by Bellini, Donizetti and Verdi’s melodramas. From these authors Padre Davide often took inspiration for his symphonies, in which it is possible to perceive an overwhelming atmosphere, that contributes to render the listening extremely pleasant. For this CD, that includes very rich works under the timbre profile as the brilliant Sinfonia con trombe e fagotti obbligati e risposte in Eco, Luca Scandali decided to use the great organ built by Fratelli Serassi in 1821 for Santa Maria Assunta in Caluso: this is a contemporary instrument of Padre Davide that adds authenticity to the performance. 

Additional info about this CD
Recorded in parish church of San Calocero and Sant’Andrea, in May 2017.
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included

L’Organo Jaquot della Cattedrale di Catania

Composers
Alexandre Guilmant (1837-1911)
Nicolas Couturier (1840-1911)
Vincenzo Bellini (1801-1835)
Filippo Capocci (1840-1911)
Marco Enrico Bossi (1861-1925)
Pietro Branchina (1876-1953)
Organ
Nicolas Jaquot (1877)
Venue
Cattedrale di Catania - Palermo, Italy

About this album

Elegia opens, with this amazing and beautiful CD, a new collection dedicated to the Italian organs, that will allow to discover some of the most interesting instruments of our country, thanks to a repertoire thought for emphasize its technique and expressive resources. For the first volume the choice was the huge Jaquot organ of Catania Cathedral, a massive instrument built in 1877 and restored in 2014. Diego Cannizzaro, organ player who performed Office Divin by Filippo Capocci and two volumes of the complete collection about Pietro Alessandro Yon, selected a fascinating anthology of French and Italian authors, combining Sonata op.56 n.3 by Alexandre Guilmant and two suites of the unknown Nicolas Couturier to a series of pages by Marco Enrico Bossi, king of the Italian organ between the end of the XIX and the beginning of the XX century, Capocci and Pietro Branchina, making homage to Vincenzo Bellini, immortal glory of Catania. A CD that will conquer both the passionate and the connoisseurs. 


Additional info about this CD
Recorded Catania’s Cathedral in December, 2015, Italy.
Sound engineer & Digital Editing: Giuseppe Faranda – Wave Studio,
Mastering: Centro Studi Auditorium Pacis, 
12 pages full colour booklet, 
Musicology comment,
Artist biography, 
Full organ specs card included

Complete organ music

Artist
Andrea Vannucchi, organ
Composer
Giuseppe Gherardeschi (1759 - 1815)
Organs
Giosuè Agati (1820) - Limite sull’Arno (Firenze), Italia Pietro Agati (1797) - Vignole di Quarrata (Pistoia), Italia Pietro Agati (1789) - Bargi, Camugnano (Bologna), Italia Organo Cesare Romani (1587), Pietro Agati (1776), Giosuè e Nicomede Agati (1824), Luigi e Cesare Tronci (1856) - Gavinana, San Marcello Pistoiese (Pistoia), Italia

About this album

During the XIX century the Italian organ repertoire assumed brilliant and very lively connotations that largely resumed the styles and melodies of melodrama, genre that in this period became the most characteristic element of the musical heritage of the nation. Today this style is known most of all thanks to Padre Davide da Bergamo’s works, but this route was walked also by other forgotten authors. Among them stands Giuseppe Gherardeschi, an author of Pistoia with great talent, of whom in this CD were played all the organ works in the beautiful interpretation of Andrea Vannucchi on four remarkable historic organs. As we can read on the cover notes signed by Umberto Pineschi: “gli offertori di Gherardeschi risentono dello stile dell’ouverture, le Elevazioni e le Benedizioni di quello della romanza, mentre nel Postcommunio riecheggia lo spirito civettuolo della cabaletta, sempre però con fantasia, equilibrio e, soprattutto, buon gusto”. A great discovery! 

Additional info about this CD
Recorded in Vignole di Quarrata on 9th September 2006, Gavinana on 23rd December 2006, Limite sull’Arno on 30th December 2006, Bargi on 18th July 2017, Italy | Sound engineer & Digital Editing: Paolo Fedi (tracks 1-16, 21-28), Daniele Boccaccio (tracks 17-20)
20 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included.

Spanish Organ Fantasy

Artist
Montserrat Torrent Serra
Composers
Antonio De Cabezon (1510-1566)
Juan De Cabezon (1515-1566) 
Hernando De Cabezon (1541-1602) 
Antonio Carreira (ca.1529/30-1587/97) 
Francisco Correa De Arauxo (1584-1654) 
Manuel Rodriguez Coelho (1555-1635)
Juan Batista Cabanilles (1644-1712)
Organ
Luigi Concone e Figli (1838)
Venue
Oratorio San Filippo Neri, Turin, Italy

About this album

When we talk about organ production, spontaneously we think of Bach’s Germany, Dupré, Vierne and Widor’s France and Frescobaldi’s Italy, not sure of Spain, that it is famous most of all in other genres. This CD contributes to enlight a series of composers that were wrongly forgot: among them shines Antonio de Cabezón, unknown author that stayed in Italy for some time and that instilled in his eclectic style some elements of the authors of the time. Cabezón’s family is also represented by some pieces by Juan and Hernando, this one son of Antonio, to whom is the credit of the persistence of many works of his father. The programme is not limited to Spain, but also offers some evocative pieces of Portuguese authors as Manuel Rodrigues Coelho and Antonio Carreira: it ends with the beautiful Xácara of the Catalan Juan Bautista Cabanilles. These works, with an unmistakable Iberian atmosphere, are performed with an incomparable technical and expressive mastery by Montserrat Torrent, one of the most important performer of this fascinating repertoire.

Additional info about this CD
Recorded in San Filippo Neri Oratorio, Turin in march, 2016. 
16 pages full colour booklet (Ita and Eng)
Musicology comment
Artist biography
Full organ specs card included

Pietro Alessandro Yon. Complete organ music vol. 4

Composer
Pietro Alessandro Yon (1866-1943)
Organ
Pacifico Inzoli (1898)
Venue
San Domenico Church, Palermo, Italy

About this album

The first three volumes of the complete collection for organ by Pietro Alessandro Yon have allowed to show the eclectic personality of the composer, suspended between sacred and profane. His music is full of the suggestions characterized by motherland’s melancholy and the precious miniatures of his new “home” in USA. This CD instead presents three works that allowed to appreciate Yon, putting it in relationship with the style of the main authors of his time and revealing surprising analogies with Marco Enrico Bossi, great organ musician who gets a huge success, beyond the Ocean, a generation before Yon. Performing those sonatas of extraordinary fascination and of challenging writing, Diego Cannizzaro has chosen the organ Pacifico Inzoli inside Chiesa di San Domenico in Palermo, an instrument built in 1898 that exalts at its maximum the brilliant sonorities of those works.

Additional info about this CD
12 pages full colour booklet (Ita and Eng)
Artist biography
Musicology comment,
Full organ specs card included

Preludes, Arias and Ballet music

Artist
Roberto Cognazzo, organ
Composer
Giuseppe Verdi (1813-1901)
Organ
Tiburzio Gorla (1856)
Venue
Chiesa di San Massimo vescovo, Coassolo Torinese, Turin, Italy

About this album

Verdi, from the organ of Roncole to the opera houses. Among the great Italian opera composers, actives between the first part of the nineteenth century and the first one of the twentieth, two had a serious relationship with organ: Verdi and Puccini. It’s worth pointing to differentiate the position, that Puccini played this instrument close to the gradual exhaustion of the striking coexistence between melodrama and liturgy, while Verdi, not only learnt to play on the small organ of Roncole, but he also had to deal with pipes and choirs since his debut at La Scala in 1839 with Oberto conte di San Bonifacio. This coexistence was natural for us at least three quarters of the nineteenth century. Even if we do not have direct documents, we can consider that Verdi played his own music and that of others (padre Davide da Bergamo lived near Busseto), built on theatrical scheme, a deep transcription repertoire in order to embellish sacred services with the latest opera newness. The popularity reached by Verdi with Nabucco made his scores (until Aida) inexhaustible sources for the organ players of the time. This CD is designed to suggest a “Verdi route” realized on three instruments of the time, very similar to those played by Verdi in Busseto and surroundings. The catalogue includes, distributed in the space of thirty years, titles and pieces not all famous, but all significants. Significant examples are the great Congiura of Ernani and the curious almost bandist Gran Marcia Trionfale of Giovanna d’Arco. To a more darker and pessimistic Verdi belongs instead the Prelude to Attila (soundtrack of the film Noi credevamo), while The Prelude and Aria of the less famous Masna­die­ri open to a plastic melodism that allows exploiting the typical registers of the English horn and of the human voice. The English horn, equivalent of baritone and tenor voices in organ, lights in any case the famous and touching Aria sung by Rodolfo in Luisa Miller, opera that closes the first period of the composer. The following pages belong to the international Verdi who wrote for Paris Opera and Saint Petersburg Imperial Theatre the great scores of / Vespri Siciliani and of La forza del destino, creating one of his most popular opera. Those are works written for great theatres, where the decorative part (choirs and ballets) has a huge relevance, addressed to satisfy the eye, not only the ear. In Vespri the choreographic action based on seasons alternating la­s­ts over thirty min­utes with waltz, mazurka, polka and gallop. Pleasant and fantastic are, closing to a complicated third act rich in coup de theatre, the Tarantella and the Rataplan (this last piece for choir without accompaniment I that introduce us, in the dramatic tale of La forza del destino, a peaceful digression. Different is the bizarre exotic atmosphere of the wild ballable introduced in the second act of Aida, as a diversion to the triumphal marches and the great musical pieces of the whole. (Roberto Cognazzo)

Additional info about this CD
Recorded in Chiesa Madonna del Rosario, Chivasso, Turin, Italy, on 22-23 February 2011; Chiesa di San Nicolao in Coassolo, Turin, on 16-17 April, 2013; Chiesa di San Massimo vescovo, Turin, on 24-25-26 February 2015.
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included

The Italian Baroque Trumpet - Concertos and Sonatas

Artists
Maurizio Fornero, organ
Daniele Greco D'Alceo, baroque trumpet
Composers
Giovanni Buonaventura Viviani (1638-1693)
Giuseppe Torelli (1658-1709)
Domenico Gabrielli (1651-1690)
Alessandro Scarlatti (1660-1725)
Pietro Baldassare (1683-1768)
Tomaso Albinoni (1671-1751)
Giuseppe Tartini (1692-1770)
Organ
attributable to
Francesco Maria e Giovanni Battista Concone (1752)
Venue
Chiesa parrocchiale di San Genesio Martire, Corio, Turin, Italy

About this album

The organ and the trumpet were for centuries an inseparable combination both in sacred and profane field, accompanying the joy of Easter or the coronation of kings. This CD traces an interesting cross-section of this repertoire, matching works conceived for these instruments and a series of brilliant transcriptions, written at first for orchestra, starting from the sonatas by Giovanni Buonaventura Viviani – the original and more ancient works for trumpet and organ – arriving to more known pages by Alessandro Scarlatti, Tomaso Albinoni and Giuseppe Tartini. This varied programme sees as protagonists Daniele Greco D’Alceo, part of the Orchestra Sinfonica Nazionale della RAI and brilliant soloist of baroque trumpet, and Maurizio Fornero, for the occasion at the keyboard of the eighteenth century organ by Francesco Maria and Giovanni Battista Concone of Corio Canavese. A CD with bright shades. 

Additional info about this CD
Recorded in Corio, Italia, nel 2017
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included.

Complete organ music vol. 3

Composer
Pietro Alessandro Yon (1886-1943)
Organ
Mascioni (1948) op. 632
Venue
Insigne Basilica Collegiata di San Gaudenzio, Novara, Italy

About this album

In the previous volume of this complete collection of Pietro Alessandro Yon’s organ music (Settimo Vittone, 1886 – Huntington, 1943) we have proposed a musical production purely dedicated to concert performances, made of virtuosic compositions rich in spectacular sound and technical effects. If the organ used in the other recording retraces the American organ aesthetic, the chosen instrument for this third volume is the historic Mascioni of 1948, placed in the Basilica of San Gaudenzio in Novara, with the typical Italian sounds. This is due to the characteristics of the repertoire here proposed, no longer strictly virtuosic, but with a major attention to the typical colors and sounds of the Italian instruments, built in the first half of the XX century. Here is therefore a medley of heterogeneous works that practically concern all the styles: Toccata, Suite, Divertimento, Nocturne, March, Pastorale, all written in Yon’s American period and published between 1912 and 1943. Toccata in Re maggiore is dedicated to Remigio Renzi, Yon’s teacher and professor at Accademia di Santa Cecilia in Rome, from whose Toccata in Mi maggiore he gets his own inspiration, retracing broadly the structure. A collection of descriptive pieces is 12 Divertimenti, almost a sort of symphonic poem in miniature, each of them with their own characteristics and so executable even separately. Toccatina and Rapsodia italiana are nowadays present in the concert programs, while the other pieces are, unfortunately, forgotten. Published in 1943 Advent, First Religious Suite for Organ is about Gregorian and Christmas themes. Already in France, between XIX and XX century, composers as Ch. M. Widor, Paul de Malingreau, Léonce de Saint-Martin have written religious symphonies for organ, based on specific ecclesiastical melodies. Yon uses the musical material in a very personal way, far from the French style very popular at the time. Canto Elegiaco and Sheperd’s March are two pieces published in 1937 and 1942. The first is a dramatic and introspective nocturne for organ, while the second is a joyful pastoral march on free themes. Dedicated to the beloved Mario and published in 1921, La Concertina is a very brief suite in three movements, in which the traditional organ pipe plays as a Wurlitzer, a kind of theatre and cinema organ, used in the days of silent cinema to reproduce the most varied sounds (train, wind, rainstorm) with the typical thrilled and shrilled sound. Christ Triumphant is at first a composition for Soli Coro ed Organo, here proposed in the organ transcription of the same Yon. Based on the Easter hymn Aurora Coelum Purpurat, it is a magnificent and solemn piece, in which the register Campane is used for the first time in this CD. 

Additional info about this CD
Recorded in Novara, Italia, nel 2017
12 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included

Concerti con organo obbligato

Artists
Turin Baroque Orchestra
Gianluca Cagnani, organo e direzione
Francesca Odling, traversiere  
Svetlana Fomina, violino 
Enrico Groppo, violino
Nicola Brovelli
violoncello 
Composer
Antonio Vivaldi (1678-1741)
Organ
Pinchi (1996) op. 412
Venue
Chiesa Evangelica Valdese, Torino, Italy

About this album

The rediscovery of the Pre-Romantic repertoire, occurred during the last decades, has brought back the Vivaldi’s production under the spotlight, but, despite this, much still remains to be discovered. One of the more unknown field is that of the concerts that see the organ free its role of basso continuo in order to take on an unpublished soloist garment for the time in front of a huge strings group. The programme of this CD presents six works characterized by the melodic vein of the Red Priest, in which the organ shows off both its virtuosic potential and its extended melodiousness. These works were presented in the reliable performance of Gianluca Cagnani, in the double garment of soloist and director of the Turin Baroque Orchestra. An unusual and beautiful Vivaldi.

Additional info about this CD
Recorded in Torino, Italia, nel 2017
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included

Complete Organ Symphonies vol.1

Composer
Padre Davide Da Bergamo (1791-1863)
Organ
Luigi Lingiardi (1860)
Venue
Chiesa di Santa Maria della Consolazione, Cocconato, Italy

About this album

Considered among the most emblematic composers of the Italian Risorgimento, a glory that shares with Giuseppe Verdi, Padre Davide da Bergamo, or Felice Moretti, is a very fascinating figure, that still awaits a full revaluation under the recording aspect. During his youth, the future Franciscan friar lived in a background filled with the belcanto style by Johann Simon Mayr, the same background of Gaetano Donizetti. This atmosphere can explain the brilliant and extroverted style that characterize most of huge production by Padre Davide, in which it is possible to recognize themes often rich in pathos, as those of the romantic works of the first half of the XIX century. The pieces presented in the first complete volume of his symphonies reveal an author with endless fantasy and able to take advantage of the technical and expressive resources of the great symphonic organs of the XIX century, as we can see in the superb performance by Luca Scandali, on the keyboard of the great organ Luigi Lingiardi (1860) in Cocconato.

Additional info about this CD
Recorded in Cocconato, Italy, 2016
16 pages full colour booklet (Ita and Eng)
Musicology comment,
Artist biography
Full organ specs card included

Complete organ music vol. 2

Composer
Pietro Alessandro Yon (1886-1943)
Organ
Fratelli Ruffatti (2007)
Venue
Chiesa del Santo Volto, Turin, Italy

About this album

Pietro Alessandro Yon (Settimo Vittone, 1886 – Huntington, 1943) belongs to that group of organ players that contributed to free this instrument from its own habit of liturgical tool, but also making it with full rights a concert instrument. This thanks to the possibilities that late ‘800 America offered (and offers nowadays) both in economical term, sizes and instrumental versatility. The American organ is a synthesis of the different European school, technologically advanced and most of all conceived to entertained. Exactly from the half of the XIX century spreads the American virtuosic school, most of all thanks to the popular and didactic activity of European organ players – Guilmant, Bonnet, Lemare, Middleschulte – that exported the “modern” language. Thanks to their large number of American students and to the organ players that, from the old world migrated in search of job and success, America became a center of attraction for the organ music lovers, most of all for the numerous transcriptions from the most famous symphonic and chamber pages. In this context emerges the figure of Yon, who, from his native Piedmont, passing through Rome, where he was the Vatican organ player, arrives in America to become the first organ player of St. Patrick Cathedral in New York. This organ is currently one of the biggest in the world and it already was one of the most important of the new world. The entire organ production by Yon is practically conceived for these huge electric traction instruments, rich in effects and colors and it is always turned to a virtuosity much more musical than technical: the pieces proposed in this CD link the American entertainment to the singing themes (often so popular).

Additional info about this CD
Booklet 16 pages full colour booklet (Ita and Eng)
Musicology comment 
Artist biography
Full organ specs card included

Complete organ music vol. 1

Composer
Pietro Alessandro Yon (1886-19439)
Organ
Tamburini (1948)
Venue
Cattedrale Santa Maria Assunta, Messina, Italy

About this album

Pietro Alessandro Yon born close to Turin in Settimo Vittone on August the 8th 1866. In spring 1907 he moved to United States where he soon become one of the most famous organists; in 1920 he contributed with Courboin and whit the well known director Leopold Stokowski to a memorable concert on Philadelphia’s pipe-organ, presenting his ‘Gregorian Concert’ for organ and orchestra. Yon gained American citizenship in 1921 and in 1926 he become organ assistant by St. Patrick Cathedral in New York and in 1928 he got nominated responsible for the music. In United States Yon found very different aesthetic inputs and more importantly pipe-organs that he could have just dreamed about in Europe. Therefore he managed to successfully adapt his skills as player and composer to the magniloquent and spectacular American taste. For this reason Yon is considered one of the most influential “American” composers of the 20th century along with Barber, Parker and Sowerby. The Gregorian Concert is one of his masterpieces. Conceived for organ and orchestra was later on published for organ solo and organ with piano. Was firstly released in 1920 from J. Fisher & Brothers in New York. During his stay in United States, Yon got in contact with the copious Sicilian community of New York and for them he composed pieces like: Il Natale in Sicilia (Christmas in Sicily) and Cornamusa Siciliana. These two compositions transfigure Sicilian musical forms in a modern key. Compositions like Gesù Bambino and Marche Pastorale also recall themes from Sicilian tradition, even if in a less-explicit way. Lastly the American Rhapsody is the homage to the land that housed Yon and made his fortune.

Additional info about this CD 
16 pages full colour booklet (Ita and Eng) 
Musicology comment, 
Artist biography 
Full organ specs card included

Italian Instrument Style -Transcription for violin and organ

Artists
Lina Uinskyte, violin
Marco Ruggeri, organ
Composers
Antonio Veretti (1900-1978)
Amilcare Ponchielli (1834-1886)
Antonio Bazzini (1818-1897)
Nino Rota (1911-1979)
Mario Pilati (1903-1938)
Organ
Pietro Bernasconi (1892)
Venue
Chiesa della Confraternita di San Bernardino, Vercelli, Italy

About this album

Among the most active Italian music player of the nineteenth century with no doubt it is to remember Antonio Veretti (Verona, 1900 / Roma, 1978). Graduated in composition in Bologna at only 21 years old, student of Mattioli and Alfano, he began a brilliant career as a teacher that brought him to the direction of the conservatories of Pesaro, Cagliari and Firenze. The background of Bologna takes him in touch with Riccardo Bacchelli and the “Ronda” literary movement: on a Bacchelli’s work he writes his first composition Il medico volante (1923-24). Then he moved to Milano and after that to Roma. His huge production inserts himself in the footsteps of Pizzetti and Casella, but it has many evolutions until the twelve-tone music of the 50’s. He is the author of many instrumental music works, such as symphonies, concerts and chamber music. Duo strumentale (1955), originally written for violin and piano, has a neoclassical, elegant and brilliant language in which the bound with the past is clear in the striking homage to Corelli ( 2nd part) and in the adoption of proper forms of the traditional instrumental music (Rondò of the 3rd part). Famous for his activity as an opera composer, Amilcare Ponchielli (Pader­no Ponchielli, 1834 – Milano, 1886) was actually very prolific also in instrumental music and in particular the band one. Capriccio per oboe e pianoforte was composed for a friend and a colleague like Cesare Confalonieri, student of oboe at the conservatory of Milano, when Ponchielli studied composition, then became teacher of oboe at the same institute. The autograph (at Archivio Ricordi), an handwritten copy (at Museo Civico di Cremona) and the Ricordi posthumous edition of this work of 1889 are kept safe. In the manuscript the reported title is Gran Capriccio, in confirmation of the wide proportions and most of all of the formal well-constructed structure, with a range of characters, thematic revivals and the brilliant theme with final variations. The passionate and virtuoso writing of the oboe makes acceptable and convincing also the violin. Extraordinary person, among the Italian opera composers, was that of Antonio Bazzini (Brescia, 1818 – Milano, 1897). Violin player of European fame, he studied composition in Leipzig from 1843 to 1848 in the circle of Schumann and Mendelssohn. The same Schumann praised his merits of violin player in 1843: «As a performer, Bazzini surely belongs to the larger of the present. I don’t know anyone good as him at technique, at grace and at fullness of sound, and most of all at pureness and equality. Besides he prevails the others especially in freshness, youth and in severity» (from Neue Zeitschrift fur Musik). With the author at the piano, he had instead the privilege of playing Concerto per violino by Mendelssohn in a private performance. Strong of those experiences, his return in his homeland was the occasion to spread the interest for instrumental music in opposition to the triumphal opera. On the contrary someone saw him as the anti-Verdi, promoter of new ideas and repertoires. He wrote chamber music and for orchestra with particular attention to the violin. For those merits he was charged of teaching composition at the conservatory of Milano in 1873, institute of which he was director from 1882. Concerto militare, name given to Concerto per violino e orchestra n. 5, dates back to 1863 and it was dedicated to the King Vittorio Emanuele II. The brilliant violin writing links itself with the strength of the instrumental part, that it is not only a simple accompaniment, but it is an integral part of the instrumental set. The military character of the two extreme movements contrasts with Preghiera centrale with an intense, melodic and nostalgic character. Nino Rota (Milano, 1911 – Roma, 1979) has lived during the twentieth century, but for many reasons he is bounded to the previous one. Enfant prodige, he graduated in composition with Casella at just 19 years old, after debuting as a composer at just 11 years old with the oratory L’infanzia di San Giovanni Battista (1922), while in 1926 he wrote Il Principe Porcaro, a work for children by an Andersen’s fairy tale. But Rota is famous most of all for his numerous soundtracks, some of which awarded with international prizes. He worked also as an author of chamber music, for orchestra, for sacred and theatre music. Improvviso per violino e pianoforte here performed is a composition based on the main theme of the soundtrack D’amanti senza amore (1947). The programme finishes with Preludio, Aria e Tarantella by Mario Pilati (Napoli, 1903 – 1938), student of Antonio Savasta at the conservatory of Napoli. Composer of precocious talent, he won many awards in prestigious competitions and also professorships at various conservatories in Italy. First in Cagliari, from 1930 in the same Napoli. In the meantime, on the advice of Ildebrando Pizzetti, he moved to Milano, where he worked for Casa Ricordi in many ways. Although his short life, his production is huge, most of all for chamber music. He wrote also Concerto per orchestra, Suite per pianoforte e orchestra and an unfinished opera, Piedigrotta. Pilati stylistically was influ­en­ced by Pizzetti, but he reveals since the beginning a strong personality and an elegant talent. During the last years of his young life he was interested in popular themes of Napoli, of which Preludio, Aria and Tarantella are an adult and effective example: the quotes flow and contribute to the general unity of the work. The opening theme of Preludio, for example, returns at the end of Tarantella, brilliantly introduced by the vivid proceeding of the dance. Always in Preludio appears the O sole mio theme, at the piano, expertly hidden by the violin scales and by the harmony colours. The organ transcription of pieces first conceived for violin and orchestra or piano comes from the aim of underline the orchestral features of the organ. In particular we played a great Italian instrument of the late nineteenth century, built by Pietro Bernasconi in 1892 for the church of San Bernardino in Vercelli. This organ is in between the nineteenth century tradition of the “orchestra” organ and the next “symphonic” developments of the twentieth century organ: it has expressive sounds, impetuous reeds and ripieno. The performance at the organ of the piano and orchestra parts has necessarily entailed some adaptations. However the brief section of the organ keyboards compared to the piano is partly rewarded by the huge keyboard basses that gives a real whole depth like an orchestra. The expressive sweetness of the work, the flutes and reeds cantabile, the power of basses and bombards, the power of ripieno, all this united to the three sounding levels at the same time (two pedal keyboards and one keyboard), have made possible a challenging job of organ adaptation of the orchestra part. Marco Ruggeri

J.S. Bach. Transcriptions for saxophone and organ

Artists
Pietro Tagliaferri, sassofono soprano
Stefano Pellini, organo
Composer
Johann Sebastian Bach (1685-1750) 
Organ
Dell’Orto & Lanzini (2007)
Venue
Chiesa Parrocchiale di Santa Maria Assunta,
Vigliano Biellese, Italy

About this album

Since the 19th century Bach’s music has been source for endless interpretations, transcriptions and adaptations: Bach’s perfect proportions and counterpoints have been played trough years on all kinds of instruments. The project “Riverberi” is giving his particular contribution on this compact disc, exploring Bach’s repertoire from an unusual point of view: the sax soprano (an instrument that Bach couldn’t know because invented later on) . If it’s true that Bach’s scores had been transcribed countless times is also true that within these scores we count a lot of transcriptions made by Bach himself. In particular he loved Vivaldi so much that he transcribed for keyboards his concerts in order to make this hugely popular music playable by a single performer. In the opener on this CD, the F major concert BWV 978, the orchestral part is given to the organ while the sax reproduces the former violin solo parts. In the choral prelude “Wachet auf, ruft uns die Stimme” BWV 645 the choral part is played in the organ trumpet register while the saxophone embellish with the utterly beautiful melody that symbolise brides’ walk waiting for their husbands according to St Mathew’s gospel. A signifying anthology about Goldberg’s variations BWV 988 allows the players to shed a light on melodies otherwise hidden in the original scores. Also the aria for contralto with oboe “Qui Sedes” offers a contrast between the two instruments: besides opening and closing the performance the oboe/sax plays with the contralto/solo register of the organ creating interesting textures. No other ways of composing value the contrast between voices as the Bach’s widely used form “trio”. On top of that the key of the first trio sonata is E major flat, which in Vigliano’s pipe-organ Lanzini-Dall’Orto assumes a peculiar character, sometime harsh, sometime shiny. In the bright opening sax and organ exchange themes and melodies, the following movement is a dialog between reed instruments, the sax on one side and the organ Dulzian register from the other. Lastly the two instruments seem to chase each others creating a nice circular effect. The simple descending melody that opens the ‘Largo ma non tanto’ concert BWV 1043 is here played from the organ, suddenly echoed by the sax/first violin in a such refined rhyme that can be easily mentioned as on of the finest pages from Bach’s production. In the aria for soprano “Mein Glaübiges Herze” the playful theme played by the saxophone is counterpointed from two bass lines, in particular from the opposing melody performed by the violoncello piccolo (organ reed); in the unusually long final coda the oboe line is assigned to the sax and one more voice is added to the already rich polyphony: here the dialogue became admirable producing a really intriguing and effective outcome. The Symphonic Inventions are well known pages also because compulsory steps on the educational path of each keyboard player. Listen back to B minor Symphony n.7 BWV 793 on this instrumental arrangement value the movement of single voices, assigned to three different sources of sounds (first keyboard organ pipes in a higher and central position, the saxophone in a central position, and the body of the second keyboard , the Rückpositiv, placed in a lower position, closer to the listener). If the toccata and fugue in D minor highlights the shiny and full sound of Vigliano Biellese’s pipe-organ. The famous Choral form Cantata BWV 147 offers again Riverberi’s signature sound with a persistent movement of triplets. The record closes with the delicate and lyrical “Liebster Jesu, wir sind hier” were the human invocation to god (beloved Jesus we are here) finds place in the round sound of saxophone, with precious embellishments from the organ Cornetto register.

Belle Epoque à Turin. Organ pieces from 1884 Exibition

Artist
Roberto Cognazzo, organ
Composers
Alfredo Catalani (1854-1893) 
Franco Faccio (1840-1891)
Charles Gounod (1818-1893) 
Romualdo Marenco (1841-1907)
Jules Massenet (1842-1912) 
Giacomo Meyerbeer (1791-1864) 
Camille Saint-Saëns (1835-1921) 
Richard Wagner (1813-1883)
Giuseppe Verdi (1813-1901)
Organ
Carlo Vegezzi Bossi (1858-1927)
Venue
Chiesa di San Massimo Vescovo, Torino, Italy

About this album

Within the universal exhibition held in Turin in 1884 music didn't play a secondary role. The exhibition had a dedicated space where the best pianos and pipe-organs crafters were hosting spectacular music performances. In that occasion the golden medal for organs crafter was appointed to Carlo Vegezzi-Bossi ( 1858-1927) who featured a magnificent instrument highlighting the melodramatic type with hints of French taste. After the exhibition the organ was moved to San Massimo church in Turin, which at the time didn't own one yet. The instrument was fully restored in 2014 from Brondino-Vegezzi Bossi's firm and with this CD inaugurates its second life. The musical content consists in his entirety by transcription elaborated by pipe-organ master Roberto Cognazzo and recalls what it used to be heard during the 1884 musical season. The results vary from brushing paradox (Gounod, Marenco, Saint-Saens) to triumphalism (Meyerbeer, Wagner) to a genuinely crepuscular taste (Massenet, Catalani). Lastly, a hidden gem almost forgotten during the centuries, the moving Ofelia's funeral march from Shakespeare's Hamlet, this was the second and last composition by Faccio.

German Romantic Composers. Organ pieces

Artist
Marco Limone, organo
Composers
Felix Mendelsshon-Bartoldy (1809-1847)
Johannes Brahms (1833-1897)
Robert Schuman (1810-1856),
Joseph Gabriel Rheinberger (1839-1901) 
Sigfrid Karg-Elert (1877-1903)
Max Reger (1873-1916)
Organ
Carlo Vegezzi Bossi (1914)
Venue
Basilica del Corpus Domini, Turin, Italy

Information Album

This CD opens with Mendelessohn's (1809-1847) prelude and fuga in C minor Op. 37. The severity in the fuga reveals the solid counterpoints skills owned who managed to bring back to apogee J.S. Bach's music. This is forerun by emphasised violins hints within the moving prelude. The fervent farewell to J. Brahms's (1833-1897) life and music is here portrayed from well-known 'preludio al corale' 'Herzlich tut mich verlangen' N.10, from choral preludes 122, written in the very last years of Hamburg composer's life. Shuman's “Symphony Sketches” (1810-1856) draw inspiration from the “piano with foot pedals” instrument used to practice by pipeorgans players at thath time. The pleasant results of these preconditions descend clearly from piano frameworks, which find complete fulfilment in the "king of musical instruments", great variety of tones and textures. Liechtenstein born Josef Gabriel Rheinberger (1839-1901) was a highly prolific composer. Nowadays he is remembered mostly for his remarkable pipe-organ works and in particular for his twenty “Sonate”. From the 11th sonata is drawn the mellow Cantilène, sweet melody entrusted to oboe tones. Sigfrid Karg-Elert (1877-1933) was active both as performer and teacher and he developed a well pronounced impressionist musical style. His appellative “pipe-organ Debussy” hail from his music seductive shades and courageous modulations. The powerful and triumphal march “Nun danket alle Gott” op. 65 is one of his most famous and well achieved compositions. The conclusion of this collection, consecrated to German Romanticism, couldn't miss to homage the great Max Reger (1873-1916) here represented from the sinuous and stunning Melodia op.59 N. 11 and from the powerful Improvisation from Sonata opera 60 in D minor.

The best organ works

Artists
Giovanna Franzoni, organ
Elena Gentiletti Drago, organ
Composers
Giovanni Morandi (1777-1856)
Organs
G. Callido (1776); G. Callido (1784)
N. Morettini (1898)
Venues
Chiesa di San Lorenzo Martire,
Cerasa, San Costanzo (PU)
Chiesa di Sant’Agostino (PU)
Chiesa di San Michele Arcangelo, Rosora, (AN)

About this album

Giovanni Morandi è forse il compositore italiano per organo più significativo nel periodo tra Frescobaldi e Marco Enrico Bossi. L’immagine tramandata di lui è quella di un musicista influenzato dall’opera: ciò è vero solo in parte, e del resto nell’Ottocento qualunque musica strumentale risentiva degli influssi dell’opera. Partendo da questa visione ormai superata si è dato avvio ad un progetto che ha visto associati ricerca musicologica e performance, che ha riscoperto i lavori giovanili e quelli meno noti e più originali della maturità in modo da offrire un’immagine più ricca e veritiera di questo compositore. I collegamenti con la musica operistica del tempo sono evidenti, come si era accennato, ma rischiano di diventare un topos che impedisce una conoscenza più approfondita del suo catalogo. All’opera rimandano citazioni vere e proprie, una sorta di omaggio realizzato attraverso motivi cui viene poi dato sviluppo autonomo: nella Pastorale a quattro mani si noterà come il tema d’apertura richiami il Quintetto dal primo atto della Semiramide di Rossini. Numerosi pezzi riprendono lo schema costruttivo della Sinfonia rossiniana: si aprono con una introduzione lenta (caratterizzata da incisi contrastanti dall’effetto teatrale) alla quale succede una sezione veloce.

Page 2 of 3

This website uses cookies. By browsing the website, you consent to the use of cookies.