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Girolamo Frescobaldi (1583-1643) was the organist at St. Peter's in Rome for a good part of his life. His music is important for historical reasons but, more than that, it has a special quality of gentle gravity beneath the lively rhythms and sudden shifts of harmony. The greater part of Frescobaldi's output was written for keyboard instruments - unusually for the time - and Roberto Loreggian has already established himself as the leading current exponent of this music by recording a complete set of the published works for Brilliant Classics. A decade on from the release of this much praised, definitive edition, Loreggian has returned to Frescobaldi and gathered up many much less well-known pieces to be found in manuscript collections across Europe. In some cases these are alternative or earlier versions of published works. One hallmark of the Frescobaldi style is it's restlessness, or appetite for change which speaks to our age even more than his own. Even within the established form of a given genre such as a toccata, Frescobaldi bends and stretches the rhetoric, leaps forward in harmony and holds back the phrase with a sophistication worthy of ancient rhetoricians such as Cicero. It follows naturally that these pieces were created in a method of continual transformation. While following the course of his compositional style invites the listener on a journey of more than academic interest, the appeal of this set resides no less in the sheer fertility of invention on offer.
Girolamo Frescobaldi (1583-1643) was the organist at St. Peter's in Rome for a good part of his life. His music is important for historical reasons but, more than that, it has a special quality of gentle gravity beneath the lively rhythms and sudden shifts of harmony. The greater part of Frescobaldi's output was written for keyboard instruments - unusually for the time - and Roberto Loreggian has already established himself as the leading current exponent of this music by recording a complete set of the published works for Brilliant Classics. A decade on from the release of this much praised, definitive edition, Loreggian has returned to Frescobaldi and gathered up many much less well-known pieces to be found in manuscript collections across Europe. In some cases these are alternative or earlier versions of published works. One hallmark of the Frescobaldi style is it's restlessness, or appetite for change which speaks to our age even more than his own. Even within the established form of a given genre such as a toccata, Frescobaldi bends and stretches the rhetoric, leaps forward in harmony and holds back the phrase with a sophistication worthy of ancient rhetoricians such as Cicero. It follows naturally that these pieces were created in a method of continual transformation. While following the course of his compositional style invites the listener on a journey of more than academic interest, the appeal of this set resides no less in the sheer fertility of invention on offer.
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Girolamo Frescobaldi (1583-1643) was the organist at St. Peter's in Rome for a good part of his life. His music is important for historical reasons but, more than that, it has a special quality of gentle gravity beneath the lively rhythms and sudden shifts of harmony. The greater part of Frescobaldi's output was written for keyboard instruments - unusually for the time - and Roberto Loreggian has already established himself as the leading current exponent of this music by recording a complete set of the published works for Brilliant Classics. A decade on from the release of this much praised, definitive edition, Loreggian has returned to Frescobaldi and gathered up many much less well-known pieces to be found in manuscript collections across Europe. In some cases these are alternative or earlier versions of published works. One hallmark of the Frescobaldi style is it's restlessness, or appetite for change which speaks to our age even more than his own. Even within the established form of a given genre such as a toccata, Frescobaldi bends and stretches the rhetoric, leaps forward in harmony and holds back the phrase with a sophistication worthy of ancient rhetoricians such as Cicero. It follows naturally that these pieces were created in a method of continual transformation. While following the course of his compositional style invites the listener on a journey of more than academic interest, the appeal of this set resides no less in the sheer fertility of invention on offer.
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