Luogo e data di registrazione		Villa Beatrice d'Este, Baone, Padova (Italia) - 25/28 febbraio 2007 Chiesa di San Bernardino, Verona (Italia) - 24 novembre 2007
	Registrazione: live / studio		studio
	Sound Engineers		Matteo Costa, Gabriele Robotti
	Prima Edizione CD		BRILLIANT CLASSICS - 93766 - (2 CD's - durata 65' 24" & 67' 40") - (p) 2008 - DDD
	Cover		The Procession of the Three Kings - Benozzo Gozzoli
	Note		With the patronage of PROVINCIA DI PADOVA.

 

Having previously published works conceived primarily for keyboard, in the late 1620s Frescobaldi turned his attention to other mediums. In 1627 he published a collection of motets for one to four voices and, in 1628, a set of canzonas in one, two, three and four parts to be played on ‘all sorts of instruments’. Canzonas and motets have much in common: both are based on traditional imitative procedures and, while the canzonas have no texts, it is not difficult to imagine many of their lines with words. The instrumental canzona francese grew out of the French vocal chanson and was popular throughout the sixteenth century. Originally an arrangement of a vocal piece, it gradually developed an independent existence while retaining the same general structure: a succession of sections, each constructed with imitative writing, followed each other directly or were joined by short linking passages. Many used an opening motive in dactylic rhythm (long-short-short) which became a characteristic of the genre; this was often, but by no means always, used by Frescobaldi. Canzonas could be for keyboard or for instrumental ensemble. By the early seventeenth century the new style of solo and duet writing over a basso continuo was introduced into canzona writing. Aspects of virtuoso writing also began to appear, especially in solo canzonas, just as in motets and madrigals at that time. Frescobaldi had published earlier keyboard canzonas and, indeed, used one of these from 1615 as the basis for one of his 1628 pieces: Canzona XXXVI (CD4, track 11), played here on organ and viola de gamba. Among other innovations adopted for the first time here by Frescobaldi are tempo indications (adagio and allegro) and words to indicate dynamics (piano and forte). The latter are used to mark echoes – a common device here: adagio indicates the slowing up leading to a cadence, or a pivotal link passage which lingers before returning to the original tempo with the allegro marking. The 1628 Canzonas appeared almost simultaneously in two formats, both published in Rome: as a set of separate part-books by Frescobaldi himself and in score format by his pupil Bartolomeo Grassi. The latter omitted one item, Canzona II-bis (CD4, 20), and substituted another, Canzona XXXVII (CD4, 1), while also adding three extra works (making forty in all); the score format also made the repertory available to keyboard players. Frescobaldi revised some of them for a republication in 1634 but it is Grassi’s versions that are the basis of this recording. Grassi also added titles to the canzonas: these refer to friends and acquaintances in his native Lucca and have nothing to do with Frescobaldi, as far as is known. Both Frescobaldi and Grassi arranged the canzonas in ascending order of voices; this grouping has not been followed here, in order to maximise variety and contrast across both CDs 3 and 4. Frescobaldi gave very few specific instrumental designations, preferring to use the generic terms canto (a high instrument) and basso (a low instrument). The final three canzonas – XXXV (CD3, 13), XXXVI (CD4, 11) and XXXVII (CD4, 1) – are labelled canto, alto, tenor, basso using the standard vocal designations of the time. These represent the older style of variation canzona where each section uses a variant of a common theme and all four parts are equal. Canzona XXXVII, which opens CD4, is a classic example. Other canzonas use a similar technique, though not necessarily as rigorously. Three of the canzonas a canto solo are labelled by Frescobaldi ‘violin or cornett’ and Canzona III (CD3, 8) is specifically labelled for violin, as played on this recording; its affective writing suits that instrument, as does that of Canzona IV (CD4, 4) with its highly-expressive falling fourths. The brightness of Canzonas II (CD3, 4) and II-bis (CD4, 20), on the other hand, fits best with the cornett while the slightly dreamy nature of Canzona I (CD4, 15) is well conveyed here by the traverse flute. An innovation in this collection was the inclusion of canzonas for one and two bassi, played here on a variety of bass instruments. In these the basso continuo part is not independent but doubles the soloist or plays a simplified version of its part, while the keyboard player provides the harmony throughout and searches out opportunities for imitation when the bass instrument is resting. Frescobaldi writes highly demanding music which must have been very welcome to the virtuoso bass players of his day. The four solo canzonas are given here to instruments appropriate to their character: the rhapsodical virtuosity of Canzona V (CD4, 6) works well on the viola da gamba while the brashness of Canzona VI (CD3, 17) comes across better on the dulzian (early bassoon); the quirkiness of Canzona VII (CD4, 13) fits the violoncello whereas the reflective confidence of Canzona VIII (CD3, 6) suits the violotto (large viol). The four canzonas for two basses also tend to be based on a single line, divided between the two instruments and doubled by basso continuo. This is very clear in Canzona XVII (CD4, 8) which uses two viola da gambas, whereas Canzona XV (CD3, 15) contrasts dulzian and violoncello. The other two contrast harpsichord and organ on the two solo lines while using a single bowed instrument on the continuo. The canzonas for two canti provide some of the most up-to-date music here, using antiphonal dialogue, echoes and virtuoso figurations. Canzona IX (CD4, 2) played by two cornetts and Canzona XIII (CD3, 2) by two violins are Monteverdi-like in their use of parallel thirds and echoes. The more reflective Canzona X (CD3, 10) has a delighful introductory prelude, while Canzona XI (CD3, 19) has some very effective adagio writing, played here on two violins. Contrast of register is exploited effectively in the six canzonas for canto and basso; these are quieter and more reflective, on the whole, providing some of the most restful music in the collection. There is lots of antiphonal dialogue, with Canzona XXII (CD3, 18) showing some very effective contrary motion between the parts. The three canzonas for two canti and basso exploit the extra possibilities with striking chordal openings and some of the most imaginative adagio sections in the collection. Canzona XXVII (CD3, 9), in particular, has a strongly Venetian sonority, with lots of antiphonal writing in which the treble instruments chase each other effectively. Canzona XXIX (CD4, 3) shows how this particular instrumental combination was to develop into the trio sonata. Those for two bassi and one canto tend to be dominated by the treble instrument – though this can still be inspired, as in the jaunty triple-time section of Canzona XXIV (CD3, 3) or the catchy final section of Canzona XXVI (CD4, 12), both played here on flute. The canzonas for two high and two low voices show Frescobaldi at his most inventive. Canzona XXXII (CD3, 1), chosen to open this recording, is a classic Monteverdian call to attention while Canzona XXXI (CD3, 7) has more of the atmosphere of Giovanni Gabrieli’s polychoral music. Canzona XXX (CD4, 19) has the most poignant of all adagio sections exploiting suspensions and chromatic writing in the manner of the composer’s elevation toccatas. Canzona XXXIII (CD4, 7) is a classic variation canzona using the signature dactylic opening. The three extra pieces added at the end of Grassi’s score show a different side of Frescobaldi. All are prescribed for the spinettina, a small harpsichord or spinet, perhaps tuned an octave higher. Two of these are labelled ‘Toccata’ rather than Canzona. The first, for violin and spinettina (CD4, 16) starts with an extended toccata-like prelude for the violin, followed by one for harpsichord, before breaking into a twovoice canzona in which the violin is answered by the two hands of the harpsichord. It is very modern in style, pointing forward to the stylus fantasticus of the late seventeenth century. The short second toccata (CD4, 17) is rightly so-called and is played here on the lute, with pedal notes on the ’cello, while the third piece (CD4, 22) is a short canzona for the two keyboard hands, the lower one here doubled on the violotto. The canzona was a very flexible genre, useful in both sacred and secular contexts. In his later organ masses Frescobaldi included canzonas to be played after the Epistle and at the end of Mass. They could also be played at meals or other social events, both indoors or out. Their sectional structure meant that they could be easily shortened or extended, depending on the circumstances. Frescobaldi published many throughout his life and must have improvised them constantly. Those in the 1628 collection show his wonderful inventiveness and profligacy with musical ideas which never outstay their welcome but are constantly replaced with new ones or with modifications of the originals. They are forged from the simplest of musical materials – a repeated interval, a fraction of a scale, a rhythmic pattern – but each is individually crafted and ear-catching. The genre is inherently non-demonstrative and must have been used as background music much of the time, but Frescobaldi never flags in imagination and the sheer range and variety of his invention is breath-taking, underscored in these performances by a great diversity of instrumentation. © Noel O’Regan, 2008