Suite alla maniera antica
Suite alla maniera antica
1) Preludio - 6'44"
2) Corrente - 3'03"
3) Sarabanda I & II - 6'38"
4) Bourrée - 4'29"
5) Musette - 5'33"
6) Gavotta - 3'02"
7) Giga - 4'36"
4 Preludi e Fughe
8) Preludio in Re magg. - 5'02"
9) Fuga a 4 voci - 6'30"
10) Preludio in Do min. - 2'30"
11) Fuga a 3 voci - 3'47"
12) Preludio in La min. - 2'00"
13) Fuga a 2 voci - 3'12"
14) Preludio in Do magg. - 7'08"
15) Fuga a 5 voci - 8'19"
Live recording - Sala del Pontificio Istituto di Musica Sacra - Rome - 05/071994
"Suite alla maniera antica - Corrente" (Demo .mp3 - 30 sec. - 260 Kb)
Cappella Sistina Edition
CD CMPS003 -
price 18.00 Euro
Suite alla maniera antica - Preludi e Fughe
"...the Suite that opens the CD, specifically "alla maniera antica", contains many clear Bartoluccian characteristics. For example, in measure 69 of the Prelude, after a long episodical preparation based on the head of the subject, enters a phrase of prominence creating a completely new relationship that builds die entire central part of the Prelude.
Here we are as far away from Bach as the earth is from the moon. Similar analogies can be continually found: as in the reprise in contrary motion in die Corrente; or in the third and fourth measures of the Sarabanda (a wonderful page!); in the harmonic sequence of the Bourree, or the development of die Musetta, in the rhythmic design of the Gavotta. The Giga a Canone triplo diat closes the Suite, seals die Baroque symbology of die entire composition.
Also the four beautiful "Preludes and Fugues" (in D major, C minor, A minor and C major) operate in diis atmosphere. They follow, in a certain way, die 'clou' of this CD that is remarkable, also, for its perfect production.
The first Prelude opens solemnly and seriously with a series of forceful chords and it unwinds in an ample and severe construction widi episodes of a lovely singing quality in contrast to the opening.
The Fugue "a 4" presents a linear theme that, with its countersubject, generates and provokes episodes of developing interest, in contrast to the rhythms flowing togedier in the great concluding discourse.
The second Prelude proposes a theme that is more intimate and intense. It creates just the right climate for the Fugue "a 3" with a subject of melancholic expressiveness much like an interior meditation.
The third Prelude "vivace e vario" is a canon at the octave with rich rhythmic and harmonic situations preparing for the two voice fugue that resembles a "perpetuum mobile".
The fourth Prelude is the most complex. More than a prelude, it is really a Toccata, wide-ranging and articulated, a vast composition in which serious moments alternate with almost improvisational parts and with others still of contrapuntal implications. All together, diey tend toward a crescendo of sonorous force. The Fugue "a 5" moves in die same way: a solemn beginning with a moderate bell-like theme and precedes supported by a linear countersubject that thickens along the way. The rhythm pursues with the use of figurations by diminution. The grand Fugue "a 5" concludes as did the Prelude, in a forceful crescendo..."
(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.
(Novi Ligure, 1938)
obtained his diplomas in Piano, Organ and Composition in the Conservatory "N.Paganini" in Genoa. He is professor for organ at the Conservatory in Milan and the Pontifical Institute of Sacred Music in Rome. He is continuously being called to give post-graduate courses in Italy and abroad and to take part as jury member of many international organ competitions. He is titular organist of the Minor Roman Basilica dedicated to the Assumption of our Lady in Gallarate. He is also member of various Academies and Organ Associations and, quite known for his specific competence, is often called to project and test new organs and to restore artistic and historic instruments. He has made various recordings for radio, television and cinema, and has already several CDs to his credit.
8 Masses for 4, 5 and 6 voices choir
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La Polifonia della Scuola Romana - Second Edition
La Tempesta sul lago
La tempesta sul lago
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