The Monteverdi Organ
£9.45
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Label: Brilliant Classics
Cat No: 96347
Format: CD
Number of Discs: 1
Release Date: 23rd July 2021
Contents
Works
Capriccio sopra la Bassa FiamengaFiori musicali
Toccata IX (1615)
Toccata cromaticha per l'elevazione
Toccata IX
Toccata I
Canzone
Capriccio
Selva morale e spirituale
Artists
Krijn Koetsveld (organ)Ensemble Le Nuove Musiche
Conductor
Krijn KoetsveldWorks
Capriccio sopra la Bassa FiamengaFiori musicali
Toccata IX (1615)
Toccata cromaticha per l'elevazione
Toccata IX
Toccata I
Canzone
Capriccio
Selva morale e spirituale
Artists
Krijn Koetsveld (organ)Ensemble Le Nuove Musiche
Conductor
Krijn KoetsveldAbout
It was during Le Nuove Musiche’s great undertaking to record the complete cycle of Monteverdi’s Books of Madrigals that director Krijn Koetsveld began to feel the need for an organ capable of recreating the sound typical of that era. He explored possibilities for realising such a project, and gradually the idea to reconstruct an organ befitting the Italian musical practice from around 1600 took shape. He approached the Muziekinstrumenten Fonds, and they embraced the idea, consulted organist Netherlands’ Nationaal Pieter van Dijk and awarded the organ building contract to Klop Orgelbouwers.
No original organs from Monteverdi’s time have survived, and very few illustrations exist. But it was possible to reconstruct his beloved organo di legno (wood organ) on the basis of contemporary accounts, which describe, in addition to the open, wooden pipes, hand-operated bellows, creating a much lower wind pressure than that of modern organs. From Monteverdi’s instructions in the organo di legno part of his Vespers, such instruments are also known to have had several stops.
This recording places this wonderful, new organ centre-stage, as a solo instrument in works by Frescobaldi, Froberger and Merula, but also as a continuo instrument in both sacred and secular vocal works selected from Monteverdi’s collection Selva morale e spirituale of 1641. In the latter, accompanimental role, one can hear first-hand why the suave sound of its wooden pipes was so prized for its ability to blend with the human voice, as was the nuanced wind supply hand-pumped by organ blowers on this recording, as it would have been in Monteverdi’s day.
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