|ANDREA GABRIELI:||Cantate Domino A 5, from Terzo libro dei ricercari (1596); Ricercar arioso, from Canzoni et ricercari ariosi (1605); Toccata del nono tono, from Intonationi d'organo (1593); Fantasia allegra del duodecimo tono, from Terzo libro dei ricercari (1596); Canzon francese detta petit jacquet, from Canzoni alla francese (1605)|
|CLAUDIO MERULO:||Toccata settima, from Toccate d'intavolatura d'organo (1597); Ricercar del quarto tono, from Ricercari d'intavolatura d'organo (1507); Canzon À 4, dita "La benvenuta", from Canzoni d'intavolatura d'organo, libro primo (1592)|
|GIOVANNI GABRIELI:||Toccata del secondo tono C. 236 (1593); Canzon A 4 C. 231; Ricercare del decimo tono C. 216, from Ricercari (1595); Jubilate Deo A 8 C. 16, from Sacrae Symphoniae (1597)|
|Thanks to:||Parrocchia di San Salvador|
Andrea Gabrieli / Claudio Merulo / Giovanni Gabrieli
The programme aims to offer an overview of the language and forms of Italian keyboard literature between the Renaissance and the early seventeenth century, highlighting the manifold links and interrelations between the different composers, especially in Venice.
The definition of a truly Venetian style was the contribution of Andrea Gabrieli (1533-1585), the fruit of his own particular reworking and synthesis of everything he inherited from earlier generations of composers. His oeuvre for keyboard is considerable, and includes toccatas, intonazioni, ricercars, French canzonas and various intabulations, all published posthumously and edited by his nephew Giovanni (1557-1612).
Gabrieli’s musical career is closely linked to that of Claudio Merulo (1533-1604), particularly in the context of the latter’s time in Venice, as principal organist of the Basilica di San Marco and one of the most renowned virtuosi of his time. Merulo’s oeuvre, in fact, stands out for its extremely refined and virtuoso style of writing.