Organ Sonatas

GALUPPI ORGAN SONATAS

LUCA SCANDALI Sonata in C R.A. 1.1.08 Sonata in C R.A. 1.1.14 1. I. Allegro 3’47 20. (Allegro) 3’17 2. II. Andantino 5’04 3. III. Presto 3’53 Sonata in C R.A. 1.11.18 21. Andantino 4’53 Sonata in C R.A. 1.1.16 4. Allegro pieno 2’13 Sonata in A minor R.A. 1.15.02 Sonata in C R.A. 1.1.28 22. Allegro 4’01 5. (Minuetto) 1’05 Sonata in A minor R.A. 1.15.03 Sonata in G R.A. 1.11.03 23. (Siciliana) 3’22 6. I. Larghetto (with original varied reprises) 7’10 Sonata in D R.A. 1.3.15 7. II. Andante 4’57 24. Allegro assai 2’49 Sonata in G R.A. 1.11.28 25. Sonata in D R.A. 1.3.17 3’42 8. I. (Andante) 4’08 9. II. (Allegro) 2’27 Sonata in D R.A. 1.03.07 10. III. (Andante) 3’50 26. I. Largo 1’36 27. II. Allegro 5’56 Sonata in G minor R.A. 1.12.05 28. III. Allegro 3’52 11. (Andante) 5’20 Sonata in G minor R.A. 1.12.01 Sonata in D minor 29. I. Largo, Allegro 5’44 12. I. Allegro 2’26 30. II. Andante 4’22 13. II. Largo 3’43 14. III. Allegro e spiritoso 2’41 Sonata in B flat R.A. 1.16.07 31. (Allegro) 3’59 Sonata in D minor R.A. 1.4.03 15. I. Andantino 5’54 Sonata in G R.A. 1.11.33 16. II. Presto 3’44 32. (Andante) 6’28

Sonata in B flat R.A. 1.16.10 Sonata in G R.A. 1.11.11 17. Allegro 2’15 33. Allegro 4’27

Sonata in B flat R.A. 1.16.06 Sonata in C minor 18. I. Andante 6’31 34. I. Adagio 2’34 19. II. (Allegro) 3’56 35. II. Allegro 3’19

Luca Scandali organ Tracks 1-19: Gaetano Callido, 1804, Op.408, Collegiate church of San Bartolomeo Apostolo, Morrovalle (Macerata, Italy)

Tracks 20-35: Gaetano Callido, 1792, Collegiate church of San Paolo, Civitanova Marche (Macerata, Italy). Restored by Michel Formentelli, Camerino (Macerata, Italy) – St. Uze (France), 2011 Baldassare Galuppi 2006. The happy outcome is that Torrefranca’s initial 51 sonatas have grown into the Known as “il Buranello” (the nickname derives 175 identified by Rossi, a remarkable increase that is also due to the fact that while from the Venetian island of Burano, where he there were only two printed editions in the 18th century, there are myriad manuscript was born in 1706; he died in Venice in 1785), copies of Galuppi’s sonatas kept in different collections throughout European and Baldassarre Galuppi enjoyed widespread fame even the Americas, some of which have only recently come to light. As Francesco during his own lifetime. He was an extremely Caffi said back in 1854, “Galuppi’s music is to be found wherever there are cultivated prolific composer, writing around one hundred people”: a declaration born out by the fact that the original scores of the composer’s operas, both comic and dramatic, a great deal sonatas are to be found in 59 different libraries! of instrumental music that included dozens of Such geographical extension can partly be explained by the fact that Galuppi harpsichord sonatas, and a rich series of sacred travelled widely in Italy and elsewhere in Europe, though he effectively resided for motets and oratorios. Much of this production most of his life in Venice. He was in London in the years 1741-43, and St Petersburg was published, spreading his reputation between 1765 and 1768, where he held the position of court chapel master and throughout Europe in a manner experienced by composer of Italian opera. few of his contemporaries. To date there are 106 Particularly significant among his earlier travels was the period he spent as a young extant printed editions of his works, divided into man in Florence, where he was appointed harpsichordist at the Teatro della Pergola 69 anthologies and 37 monographic volumes, from 1726 to 1728. Despite the fact that he was only twenty, he had already made Drawing of Baldassare Galuppi by G. Bernasconi most of them published in London (70 editions), a name for himself as a keyboard player. This skill was something he continued to and then Paris (17), and in many European cities, exercise for the rest of his life, also as a church organist. Indeed, in 1722 a certain especially during the decade 1760-70. “Baldissera de Buran” was taken on by the church of S. Maria Formosa in Venice Operas such as L’arcadia in Brenta (1749), Il mondo della luna (1750) and above with “universal satisfaction”, and it more than likely that this was Galuppi at the all Il filosofo di campagna (1754), all of them on librettos by Carlo Goldoni, are age of sixteen, already an expert organist. Once again Caffi lends weight to the well known and regularly performed. However, there is still much to be discovered, hypothesis, albeit without mentioning the event directly, when he declares that “very and not only in the operatic repertoire, but also in the vast collection of instrumental early on he was engaged playing the organs in the churches”. and sacred works. This rediscovery dates back to the early 20th century with the Galuppi’s engagements as a church musician – chapel master or organist – first efforts at bringing to light Galuppi’s keyboard sonatas, thanks to the studies by continued over a space of more than 60 years, from the 1722 appointment at S. Fausto Torrefranca (1909), who produced an initial catalogue of the sonatas. This Maria Formosa mentioned above through to that of chorus master at the Mendicanti list was progressively enriched over the following decades, on the basis of research (1740-51), deputy chapel master, then chapel master at S. Marco (1748-1785), and carried out by Charles van den Borren (1923), Felix Raabe (1929), Hedda Illy (1969), lastly chorus master at the Incurabili (1762-76). Moreover, Charles Burney, who met David Pullmann (1972), and the more recent catalogue compiled by Franco Rossi in Galuppi in Venice in 1770, added two other assignments, reporting that he received “a hundred sequins a year as domestic organist to the family of Gritti, and is organist In 1784 the German poet and writer Christian Schubart (1739-1791) made an of another church, of which I have forgot the name”. interesting appraisal of Galuppi. Schubart was also an exponent of the gallant style, Over and above the general fact that harpsichord compositions were usually well albeit in the German version of Sturm und Drang, which was more intense and pre- suited to the organ, the continuity of Galuppi’s engagements as organist certainly romantic than its essentially cheerful Italian equivalent. In his essay Ideen zu einer suggests that his sonatas were also conceived to be played on this latter instrument. Aesthetik der Tonkunst (Ideas for the Aesthetics of Art – published posthumously So although the wording “cembalo” (harpsichord) is more frequent, in reality until in 1806), Schubart recognized in Galuppi’s work “a consummate simplicity and the early years of the 1800s this term was used to indicate a keyboard instrument in pleasantness of melody, rich in invention, natural – unaffected – modulation, and general, including the organ and the increasingly popular fortepiano as well as the magnificent harmonic sense”. harpsichord. During the years 1770-1780 it was increasingly common for printed The purported simplicity of Galuppi’s way of composing is actually only a surface editions of keyboard scores to declare in the heading that they were for harpsichord effect, due to the clearly vocal approach to writing music that tend to avoid rigid and fortepiano, and sometimes also organ: this was not simply a commercial purpose, solutions and instead encourage performance that is closer to rhetorical statement. but also a reflection of current practice. As we have already pointed out, Galuppi’s sonatas met with widespread acclaim, An overview of Galuppi’s many works for the keyboard reveals that the definition which accounts for the fact that manuscripts of his music are still found in numerous “sonata” is used for considerably differing formal structures. These range from far-flung libraries. By contrast, there were only two printed editions, both of them the short sonatas in one movement to compositions of increasing complexity in 2, published by Walsh in London, which was then the most important centre for the 3 or even 4 movements. In their turn, the individual movements embrace various publication of European instrumental music. The first collection, indicated as Op.1, types, ranging from those lacking in subdivisions to others in the bipartite form: the came out in 1756, followed three years later by Op.2; and both contained 6 sonatas. first part ends with a modulation to the dominant, while the second starts from the Outstanding among the manuscript works is the collection of 6 sonatas composed in dominant and goes back to the tonic. Moreover, there are also sonatas that consist 1781, which Galuppi himself entitled Passatempo al cembalo (Harpsichord Pastimes). of three parts, with two analogous outer sections and a contrasting central one that Now kept in the library of the Conservatory in Genoa, these works probably differs in character, tempo and themes. correspond to the collection that Galuppi presented as a gift to Paul Petrovich, son The overall style belongs to what is usually referred to as the Italian “gallant of Catherine the Great, who visited Galuppi with his wife in January 1782 and style”, based on the juxtaposition of melody and accompaniment, but without the succeeded his mother as Tzar of Russia in 1796. formulaic use of conventional solutions such as the basso albertino or predictable © Marco Ruggeri and somewhat clichéd lyricism. For all that he moved within established genres and Translation: Kate Singleton institutions, Galuppi always managed to be original, brilliant and never repetitive. His compositions were full of interesting musical ideas that he handled with creativity, faithful to what he considered to be the style of “good music”, which, as Burney related, should be “charming, clear and well modulated. L’attività artistica di Baldassarre Galuppi detto “il Buranello” (nato a Burano, nel pur risiedendo e lavorando prevalentemente a Venezia durante il corso della sua vita, 1706, e morto a Venezia nel 1785) godette di ampia fama soprattutto ai suoi tempi. tuttavia ebbe modo di compiere numerosi viaggi in Italia e in Europa, in particolare Fu autore molto prolifico, avendo scritto circa 100 opere, tra buffe e serie, molta quelli a Londra negli anni 1741-43 e a San Pietroburgo, ove si stabilì per tre anni, dal musica strumentale (fra cui svariate decine di sonate per cembalo) e una ricca serie di 1765 al 1768, come maestro della cappella di corte e compositore dell’opera italiana. titoli sacri, mottetti, oratori. Tale produzione, ampiamente riconosciuta dall’editoria Tra i viaggi precedenti è da menzionare quello a Firenze, in giovane età, nel 1726- musicale del suo tempo, gli garantì una notorietà europea pari a pochi altri autori 28, in quanto scritturato come cembalista presso il Teatro della Pergola. Ventenne, a lui contemporanei. Basti citare che attualmente si contano 106 edizioni a stampa, già era affermato come esecutore alla tastiera, una competenza che eserciterà per ripartite in 69 antologie e ben 37 volumi monografici, uscite in gran parte a Londra tutta la vita, anche in qualità di organista di chiesa. Addirittura nel 1722 è citato un (70 edizioni), poi a Parigi (17) e in molte città europee, soprattutto nel decennio tal «Baldissera de Buran» – assunto a Venezia nella chiesa di S. Maria Formosa con 1760-70. «soddisfazione universale» – che con ogni probabilità è da identificarsi nel sedicenne Opere come L’arcadia in Brenta (1749), Il mondo della luna (1750) e soprattutto Galuppi, già esperto nella pratica organistica. In proposito, è ancora il Caffi che, pur Il filosofo di campagna (1754), tutte su testi di Carlo Goldoni, sono oggi note ed senza citare direttamente questa notizia, tuttavia afferma che «assai per tempo erasi eseguite; tuttavia molto resta ancora da scoprire ed eseguire non solo nel campo egli dato al sonar degli organi nelle chiese». operistico, ma anche nello sterminato repertorio strumentale e sacro. Nell’ambito di Gli incarichi di musicista da chiesa – maestro di cappella o organista – ricorrono tale riscoperta, il cammino di conoscenza della produzione di sonate per strumento dunque in Galuppi per oltre 60 anni, dal citato impiego a S. Maria Formosa nel 1722, a tastiera incomincia addirittura all’inizio del XX secolo, grazie agli studi di Fausto fino alle assunzioni come maestro del coro ai Mendicanti (1740-51), vicemaestro Torrefranca (1909). Con lui prese forma, seppur in versione ancora limitata, il e poi maestro di cappella in S. Marco (1748-1785) e infine maestro di coro agli catalogo delle sonate, un elenco che verrà progressivamente ampliato nei decenni Incurabili (1762-76). A questi il Burney, che incontrò Galuppi a Venezia nel 1770, successivi per merito delle ricerche compiute da Charles van den Borren (1923), Felix aggiunge altre due mansioni, indicando che «riceve 100 zecchini all’anno come Raabe (1929), Hedda Illy (1969), David Pullmann (1972) sino al recente catalogo di organista privato della famiglia Gritti ed è organista anche in un’altra chiesa di cui ho Franco Rossi (2006), sicchè dalle 51 sonate inizialmente individuate da Torrefranca dimenticato il nome». si è giunti alle 175 al momento definite da Rossi. Tale considerevole incremento viene Tale continua pratica organistica può essere considerata un motivo in più (oltre anche dal fatto che a fronte di sole due edizioni a stampa settecentesche, per il resto alla chiara intercambiabilità della scrittura) per rendere assolutamente plausibile le sonate di Galuppi sono conservate in una miriade di manoscritti sparsi in tutta l’esecuzione delle sonate galuppiane non solo al cembalo, ma anche all’organo. Se Europa e persino nelle Americhe, la cui scoperta è spesso storia recente. Come ebbe l’indicazione prevalente è appunto quella del “cembalo”, in realtà fino ai primi anni già a dire Francesco Caffi nel 1854, «musica di Galuppi v’ha dappertutto ove son dell’Ottocento con tale appellativo si intendeva lo strumento a tastiera in senso popoli colti»: considerazione quanto mai veritiera dal momento che il catalogo di generico, significando cioè sia il clavicembalo in senso stretto, ma anche l’organo Rossi assegna le sonate galuppiane ad un elenco di ben 59 biblioteche! e il “cembalo a martelletti” o fortepiano, sempre più in auge. Non sono rari i Questa notevole diffusione può anche essere motivata con la ragione che Galuppi, casi di edizioni a stampa di musica per tastiera negli anni 1770-80 in cui vengono esplicitamente indicati come destinatari insieme il cembalo e il fortepiano, e talvolta Le sonate di Galuppi, come già osservato, godettero di una vasta diffusione, anche l’organo, e non solo per garantire la massima fruibilità commerciale, ma perché testimoniata dalle numerose biblioteche che ancor oggi ne conservano i manoscritti. corrispondente ad una prassi reale. Per contro solo due furono le edizioni a stampa, entrambe pubblicate a Londra, città Osservando complessivamente l’ampia produzione tastieristica di Galuppi, si nota leader nell’editoria musicale strumentale europea. La prima raccolta, indicata come come la definizione di “sonata” si riferisca ad un impianto formale molto variabile: si Op.1, venne edita nel 1756, mentre l’Op.2 tre anni più tardi; entrambe contengono va dalle sonate brevi in un solo tempo a composizioni via via più articolate, in 2, 3 e 6 sonate ciascuna e furono edite da Walsh. Tra la produzione manoscritta va anche 4 movimenti. A loro volta, i singoli tempi presentano varie tipologie, da quelli ricordata una singolare raccolta, intitolata da Galuppi stesso Passatempo al cembalo, privi di suddivisioni a quelli bipartiti con sosta interna alla dominante, ritornello e un’antologia di 6 sonate risalente al 1781 attualmente conservata presso la biblioteca sezione successiva di ritorno alla tonica; infine, quelli impostati in tre parti, con le del Conservatorio di Genova e forse da identificarsi con le sonate che Galuppi donò a due estreme analoghe tra loro mentre la sezione centrale ad esse si contrappone per Paolo Petrowic – figlio della zarina Caterina e poi lui stesso zar dal 1796 – in visita al carattere, tempo e temi. compositore con la moglie nel gennaio 1782. Lo stile rientra in quello che abitualmente viene definito come “stile galante” © Marco Ruggeri all’italiana, basato sulla contrapposizione tra melodia e accompagnamento, ma senza l’uso meccanico di formule tipo basso albertino o una cantabilità stereotipata e prevedibile: Galuppi, pur muovendosi in tale ambito generale, è tuttavia sempre originale, mai ripetitivo, brillante, interessante nelle idee musicali e nel loro trattamento, insomma fedele a quello che lui stesso – nella citata testimonianza del Burney – considerava lo stile della «buona musica», fatta cioè di «vaghezza, chiarezza e buona modulazione». Interessante il giudizio che di Galuppi dà nel 1784 il compositore tedesco, nonché scrittore e poeta, Christian Schubart (1739-1791), anch’egli esponente di spicco dello stile galante, pur nella versione alla tedesca dello Sturm und Drang, più intenso e preromantico rispetto alla solarità italiana. Nel suo trattato Ideen zu einer Aesthetik der Tonkust (Idee per un’estetica dell’arte, pubblicato postumo nel 1806) egli riconosce in Galuppi «una somma semplicità e amabilità di canto, ricca invenzione, naturale – non artefatta – modulazione, e magnifico senso armonico». La semplicità della scrittura è solo apparente perché, in realtà, legata ad una conduzione chiaramente vocale che libera questa musica da qualsiasi rigidismo, lasciando spazio ad una esecuzione molto vicina alla declamazione retorica. ORGAN SPECIFICATIONS Collegiate church of San Bartolomeo Apostolo, Morrovalle (Macerata, Italy) Collegiate church of San Paolo, Civitanova Marche (Macerata, Italy) Organ built by Gaetano Callido (1727 – 1813) in 1804, Op.408 Built by Gaetano Callido in 1792 Restored by Michel Formentelli, Camerino (Macerata, Italy) – St. Uze (France), 2011 Restored by Michel Formentelli, Camerino (Macerata, Italy) – St. Uze (France), 2011

Manual compass C – d’’’, short bass octave (47 notes). Pedal compass C – a (18 notes), Manual compass C – d’’’, short bass octave (47 keys). Pedal compass C – a, short bass short bass octave, coupled to the keyboard (the last pedal serves to action the Tamburo). octave, coupled to the keyboard (the last pedal serves to action the Tamburo). Division Division bass / treble between c sharp’ – d’ (Bassi / Soprani). Unequal tuning. between c sharp’ – d’ (Bassi / Soprani). Unequal tuning.

Specification: Specification: Principale Bassi (Bass, 8’) Voce Umana (Treble, 8’) Principale Bassi (Bass, 8’) Voce Umana (Treble, 8’) Principale Soprani (Treble, 8’) Flauto in VIII Bassi (Bass, 4’) Principale Soprani (Treble, 8’) Flauto in VIII Bassi (Bass, 4’) Ottava Flauto in VIII Soprani (Treble, 4’) Ottava Flauto in VIII Soprani (Treble, 4’) Quinta Decima Flauto in XII (2 2/3’) Quinta Decima Flauto in XII (2 2/3’) Decima Nona Cornetta (Treble, 1 3/5’) Decima Nona Cornetta (Treble, 1 3/5’) Vigesima Seconda Tromboncini Bassi (Bass, 8’) Vigesima Seconda Violetta Bassi (Bass, 4’) Vigesima Sesta Tromboncini Soprani (Treble, 8’) Vigesima Sesta Violetta Soprani (Treble, 4’) Vigesima Nona Tromboni (Pedal, 8’) Vigesima Nona Tromboncini Bassi (Bass, 8’) Trigesima Terza (C – f) Trigesima Terza (C – f) Tromboncini Soprani (Treble, 8’) Trigesima Sesta (C – c) Trigesima Sesta (C – c) Tromboni (Pedal, 8’) Contrabassi (Pedal, 16’) Contrabassi (Pedal, 16’) Ottava di Contrabassi (Pedal, 8’) Ottava di Contrabassi (Pedal, 8’) Luca Scandali was born in Ancona (Italy) in 1965. He received a first-class diploma in Organ and Composition for Organ studying under Patrizia Tarducci and a first- class diploma in Harpsichord at the “G. Rossini” Conservatory in Pesaro, where he subsequently obtained a diploma in Composition under Mauro Ferrante. He then continued his organ studies under Ton Koopman, Andrea Marcon, Luigi Ferdinando Tagliavini and Liuwe Tamminga. He also devotes time to research into the problems pertaining to the performance of Renaissance, Baroque and Romantic music, through the study of treatises and original instruments. He won the first edition of the scholarship “F. Barocci” (Ancona, Italy) for young organists in 1986. In 1992 he won the third prize at the First International Organ Competition “Città di Milano” (Italy), in 1994 he won the fourth prize at the Eleventh International Organ Competition in Bruges (Belgium). In 1998 he won the first prize at the Twelfth International Organ Competition “Paul Hofhaimer” in Innsbruck (Austria), an honour awarded only four times over the 40-year history of the prize. He has been invited to give master classes and courses (Corsi di Musica Antica a Magnano, University of Padua, Hochschule für Musik, Johannes Gutenberg- Universität, Mainz, Germany, Fontys Conservatorium, Tilburg, Holland, Accademia Mexicana de Música Antigua para Órgano, Mexico) and he has performed in important concert seasons and festivals in Italy and abroad (Austria, Belgium, Czech Republic, Slovak Republic, Denmark, France, Germany, Holland, Japan, Mexico, Montenegro, Norway, Poland, Portugal, Serbia, Spain, Switzerland, Ukraine), both as soloist and in various chamber ensemble and orchestras (L’Arte dell’Arco – Padua, Cappella della Pietà dè Turchini – Naples, Orchestre National du Capitole de Toulouse, Venice Baroque Orchestra – Venice). He currently holds the teaching posts of Organ and Composition for Organ at the Conservatory “F. Morlacchi” of Perugia. For Il Levante Libreria Editrice (Tastata collection) he published the Canzoni de intavolatura d’organo fatte alla francese (1599) by Vincenzo Pellegrini (c.1562–1630). He has recorded more than 25 CDs for Symphonia, La Bottega Discantica, Tactus, ORF Edition – Alte Musik, Dynamic, Arion – Pierre Verany, Motette, Deutsche Grammophon (with Venice Baroque Orchestra), CPO, Elegia Records, Antichi organi del canavese, Brilliant Classics; excellent reviews on: Amadeus (5 stars), American Record Guide, CD Classics, Classic Voice (4 stars), Concerto, Diapason (5 Diapason), Early Music Review, Fono Forum (4 stars), Goldberg (4 stars), La Tribune de l’Orgue, Le Monde de la Musique, Musica (Eccezionale), Organ, Organist’s Review, Scherzo, The American Organist.

Recording: Tracks 1-19: 18-19 November 2015, Collegiate church of San Bartolomeo Apostolo, Morrovalle (Macerata, Italy); Tracks 20-35: 14-15 December 2015, Collegiate church of San Paolo, Civitanova Marche (Macerata, Italy) Sound engineer, editing and mastering: Luigi Faggi Grigioni Musical supervision: Luigi Faggi Grigioni Organ photo on cover: Geatano Callido organ at the Collegiate church of San Paolo Organ photo in the booklet: Geatano Callido organ at the San Bartolomeo Apostolo Portrait of Baldassare Galuppi by G. Bernasconi p & © 2016 Brilliant Classics