Name: Transcriptions for Strings & Organ of the Historical 20th Century
Price: 16.25 USD
Availability: BackOrder

Transcriptions for Strings & Organ of the Historical 20th Century

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Fine romantic playing, and an antidote to baroque authenticity — Choir & Organ, May 2015, 5 out of 5 stars

Release Date: 2nd Feb 2015
Catalogue No: TC900004
Label: Tactus
Length: 57 minutes

Usually despatched in 3 - 4 working days

Respighi: Ciaccona for Violin & Continuo in G Minor, P. 87 (After T.A. Vitali)

Work length12:34

$3.00

$3.85

Abigeila Voshtina, Fabio Merlini
I Solisti Laudensi

Excerpt, Corelli: Concerto grosso Op. 6 No. 8 in G minor 'fatto per la notte di Natale'

Work length4:35

$1.00

$1.30

Abigeila Voshtina, Fabio Merlini

VI. Pastorale (Arr. for Violin & Organ)

Track length4:35

$1.00

$1.30

Tebaldini: Fugue in G Minor (Attrib. Frescobaldi)

Work length4:26

$1.00

$1.30

Fabio Merlini
I Solisti Laudensi

Excerpt, Vivaldi: Concerto, Op. 3 No. 11 'Con due Violini e Violoncello obligato', RV 565

Work length2:49

$1.00

$1.30

Abigeila Voshtina, Fabio Merlini

III. Largo (Arr. for Violin & Organ)

Track length2:49

$1.00

$1.30

Locatelli: Sinfonia funebre in F Minor

Work length14:14

$5.00

$6.50

Fabio Merlini
I Solisti Laudensi

I. Lamento. Largo (Arr. for Chamber Orchestra)

Track length1:19

$1.00

$1.30

II. Alla breve ma moderato (Arr. for Chamber Orchestra)

Track length2:18

$1.00

$1.30

III. Grave (Arr. for Chamber Orchestra)

Track length1:58

$1.00

$1.30

IV. Non presto (Arr. for Chamber Orchestra)

Track length3:52

$1.00

$1.30

V. La consolazione. Andante (Arr. for Chamber Orchestra)

Track length4:47

$1.00

$1.30

Vivaldi: Violin Sonata in C Minor, RV 5

Work length4:33

$1.00

$1.30

Abigeila Voshtina, Fabio Merlini

III. Largo (Arr. for Violin & Organ)

Track length4:33

$1.00

$1.30

Albinoni: Adagio in G Minor (Arr. for Organ & String Orchestra)

Work length9:29

$2.00

$2.60

Fabio Merlini
I Solisti Laudensi

Botti, C: Elegia for Violin & Organ

Work length4:50

$1.00

$1.30

Abigeila Voshtina, Fabio Merlini

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We study the ancient masters, not because they are ancient, but because they are new: this was written at the end of the nineteenth century by Luigi Torchi, one of the fathers of Italian musicology. The manly voice of Giovanni Pierluigi da Palestrina, the supremely divine Claudio Monteverdi and, above all, the sublime Girolamo Frescobaldi inspired the “musical Renaissance” that exalted the Italian genius and its fruitful artistic nature, not without a tinge of nationalism. Among the many musicians who engaged in the rediscovery and divulgation of the masters of the past, the most notable were the organist Marco Enrico Bossi, the violinist Mario Corti, the pianists Felice Boghen and Mario Vitali, and the composer Ottorino Respighi. From the ancient masters, Italians drew inspiration also for experimenting with new musical languages imbued with a neoclassical taste, following Giuseppe Verdi’s memorable words: return to the old and you will be progressing. While from the point of view of performance it was quite unusual for musicians to feel the need to use period instruments, and the application of an adequate performance practice was more or less disregarded, we must acknowledge that the musical texts were read and revived in a far from fruitless manner. The addition of dynamic nuances and agogic directions, the determination of fingering in order to obtain a definite phrasing, and the integration of notes and orchestration, all helped to achieve a re-creation of the ancient scores, metamorphosing them and opening up surprising vistas. From their original terseness, the ancient scores emerged in an expanded state, thanks also to the power of the modern violin, the sumptuous sonorousness of the piano, the new resources of the reformed organ, and the inexhaustible variety of sounds of the modern symphonic orchestra. In short, what some people now unfairly regard as arbitrary was actually the outcome of one of the duties of musicians that had been established since ancient times and led them to act on the scores with a freedom that verged on creativeness, integrating the composers’ thought with new timbric angles, and even adding further elements through forays into the fanciful area of improvisation.

Reviews

May 2015

Fine romantic playing, and an antidote to baroque authenticity

Transcriptions for Strings & Organ of the Historical 20th Century

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