Fantasia e Fuga in Fa minore
1) Fantasia - 6'57"
2) Fuga - 9'18
Preludio e Fuga in Do minore
3) Preludio - 4'09"
4) Fuga - 8'44"
Sonata in Mi
5) Mosso non troppo - Con moto - 13'23"
6) Andante sostenuto - 8'39"
7) Fuga - 10'15"
"Fantasia" (Demo .mp3 - 30 sec. - 580 Kb)
Cappella Sistina Editions
CD CMPS010 -
price 18.00 Euro
The Fantasia and Fuga in Fa minore opens in "Bach-style": a repeated tonic pedal and the progressive succession of melodic patterns in upward and downward movement, a technique followed by later composers (Mozart, Mendelssohn, Franck, Messiaen). But like his predecessors, Bartolucci does not stop at this dejii vu but goes on to put in his own personality, as he gradually explicits his work, culminating in the long Fugue (174 measures "Andante sostenuto" in 4/4) in which the composer uses chromatisms without weakening in any way his "modal" system.
In the Preludio e Fuga in Do minore the style is melodically more linear. The opening of the Prelude ("Andante sostenuto") presents the short six-note theme which, were they in the subject of a fugue, would have been quite tonal. The answer however gives the impression of a major character in its ascending first part but this is nothing more than a transitional passage to the subdominant. The theme of the Fugue, also very linear, follows the baroque form. As the composition develops Bartolucci passes from the binary division of the crotchet to triplets and later to semiquavers, continuously increasing thereby the tension right up to the concluding "Sostenuto" leading to the pedal on the dominant which resolves on a restful C major chord.
The Sonata in Mi has three movements in the style of Mendelssohn but instead of the final Allegro or Rondo Bartolucci concludes with a Baroque fugue and between the second and third movement we find a short recapitulation of the first movement in "Mosso non troppo". Nevertheless, as in all Bartolucci's works, the formal element is not the main quality of his artistic worthiness.
(Borgo S. Lorenzo, Firenze 1917)
Director of the Cappella Musicale Pontificia Sistina and member of the Academy of Santa Cecilia, is undoubtedly one of the main personalities in the musical world today both as a composer and as a director.
Considered to be the most authoritative interpreter of Palestrina, he has toured several countries with the Choir of the Sistine Chapel (France, Germany, United States, Japan, etc.) as also with the Choir of the Academy of Santa Cecilia (great success had the tournee in the ex Soviet Union). He has also directed the principal Italian orchestras in Rome, Venice, Trieste, Palermo, etc.
His work as composer is very intensive. So far the "Ediz. Cappella Sistina" has published more than 34 volumes which include 7 volumes of Motets, 2 of Madrigals, Laudi, sacred music, works for the organ and cembalo, Masses for choir and organ or choir and orchestra, a Miserere, a Concerto for piano and orchestra, a Symphony, a Trio, a Sonata for violin and piano, Variations for violin solo, and a whole series of Oratorios for soloists, choir and orchestra, namely, La Nativita, Baptisma, La Tempesta sul Lago, La Passione, Ascensione, Gloriosi Principes.
8 Masses for 4, 5 and 6 voices choir
Baptisma - Missa Jubilaei - Haec Dies
La Polifonia della Scuola Romana
La Polifonia della Scuola Romana - Second Edition
La Tempesta sul lago
La tempesta sul lago
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