A Historically Informed Performance Project in Treviso, Italy

Thanks to the Pro Fide et Christianismo Scholarship for Church Musicians which I was awarded in 2021, I have had the possibility to further my organ studies in my home country Italy. Because of the pandemic, I was able to carry out this project first in September 2022. I lived in Treviso for one month to deepen my knowledge of Venetian organ repertoire between the 16th and 20th centuries. But why Treviso? This beautiful town close to Venice is the Italian member of ECHO, European Cities of Historical Organs, because of its extremely rich organ panorama. I have completed a 40-hour long course on Treviso's most important organs under the directions of maestro Giovanni Feltrin, a Treviso-born organist with a long experience as organ teacher and cathedral organist in his hometown. A special visit to the 1532 Colombi organ at Valvasone and a concert at the 1750 Nacchini organ at Santa Croce Church in Treviso have enriched the experience, together with day trips to Venice and Padua. With its rich treasure of organs of different styles and characters (not only of the Venetian tradition but also from other Italian traditions), Treviso is the perfect place to study the organ according to historically informed performance and perform the repertoire as close as possible to the composers' indications, following strictly the registration advices by the composers and the organ builders. Click on the links to listen to the recordings (more than two hours!) and see the videos on YouTube.

Monday, September 12, 2022
San Nicolò Church, Treviso
Gaetano Callido organ (Venice, 1778)

Organ disposition:
1 Manual (Positive) [C-d3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona, Vigesimaseconda, Viola 4 (b), Voce umana 8 (s), Flauto in VIII 4 (b/s), Flauto in XII, Cornetta (1 3/5, s), Tromboncini 8 (b/s) 
2 Manual (Great) [FF-d3 with short octave]: Principale 8 (actually 12, b/s), Ottava 4, Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Trigesimaterza, Trigesimasesta, Voce umana 8 (s), Flauto in VIII 4 (b/s), Flauto in XII, Cornetta (1 3/5, s), Tromboncini 8 (b/s), Violoncello 8 (b/s)
Pedal [C-b (real C-B) with short octave, pull-down to 2 Man]: Contrabassi+Ottava di Contrabassi+Duodecima di Contrabassi (16+8+5 1/3), Tromboni 8
Manual coupler, Tiratutti, Terza Mano

Repertoire:
Andrea Antico (Montona [today in Croatia], ca.1470/80 – Rome, ca.1540) – Chi non crede
Andrea Gabrieli (Venice, 1533-1585) – Ricercare del V tono
Andrea Gabrieli – Canzon ariosa
Giovanni Gabrieli (Venice, 1557-1612) – Fantasia sul IV tono
Giovanni Battista Tagliasassi (Treviso, 18th century) – Sonata a due tastadure
Niccolò Moretti (Breda di Piave, Treviso, 1764 – Treviso, 1821) – Marcia

My Treviso project started at San Nicolò Church, the largest church building in town. Built in gothic style as a Dominican abbey in 1221, this church houses the largest Venetian organ in Treviso, built in 1778 by the famous Venetian organ builder Gaetano Callido. The unequal temperament allows the performance of many compositions from the 16th and 17th centuries. The first piece I have recorded at San Nicolò is a frottola by Andrea Antico, played with a combination of 4-foot flute and Violoncello, a typical Venetian reed with short wooden resonators, giving a sound very close to a 16th century regale. Three pieces by the Gabrieli family follows: Ricercare del V tono (played on a ripieno up to the XXVI) and Canzon ariosa (played by alternating the two manuals to simulate the polychoral effects at San Marco Basilica, including the “battle” effect with the repeated chords in the last section), both compositions by Andrea Gabrieli, together with a meditative Fantasia sul IV tono by Giovanni Gabrieli, played on the Principale alone. Giovanni Battista Tagliasassi was a Treviso-born composer of the 18th century who has left us only with a few organ compositions. His charming Sonata a due tastadure – for two keyboards – is perfect for the organ at San Nicolò: the forte is played on the Great (Principale and Violoncello) and the piano is played an octave lower on the Positive (Ottava and Viola 4 bass). The last piece recorded at San Nicolò is a solemn march composed by another Treviso-born composer, Niccolò Moretti. This composition is framed in the early 19th century Italian style, where the influence of opera is clear. The registrations which I have used come directly from Callido’s hands, who left detailed registration instructions for some of his new organs, such as the organs at Feltre (1797), Candide (1797-9) and San Moisé Church in Venice (1801). All the stops required by Callido are also present at San Nicolò: the forte is given by the Tiratutti (the complete ripieno) together with Flauto in XII, Flauto in VIII, Cornetta and Tromboncini; the piano is obtained by pulling in the Tiratutti, leaving the other stops for the trombette effect. Some sections of this march are indicated with Corni: this means that the organist should play that passage with Principale and Voce umana (in this case on the Positive), to simulate the orchestral horns as used in the Venetian tradition. Pedal can be added on the final cadenzas with the forte and a tremolo with the 3rd and 5th finger of the left hand can be used as a “drum” effect on the very last chord to add more drama to the piece. The generous acoustics of the building will do the rest!

Tuesday, September 13, 2022 and Thursday, September 15, 2022
Santa Croce Church, Treviso
Pietro Nacchini organ (Venice, 1750)

Organ disposition:
Manual [C-c3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Voce umana 8 (s), Flauto in XII, Cornetta (1 3/5, s), Tromboncini 8 (b/s)
Pedal [C-a with short octave, pull-down]: Contrabassi 16
Tiratutti

Repertoire:
Anonymous composer from Venice (18th century) – 3 Sonate
Baldassare Galuppi (Burano, Venice, 1706 – Venice, 1785) – Sonata [Andantino in d minor]
Baldassare Galuppi – Sonata [Allegro in C major]
Benedetto Marcello (Venice, 1686-1739) – Sonata
Benedetto Legati (Venice? 18th century) – Marcia

The oldest organ in Treviso is the 1750 Pietro Nacchini organ at Santa Croce Church. The organ builder signed this instrument right above the keyboard. This church is now used by the bank Fondazione Cassamarca for conferences and concerts. Nacchini is considered the father of the 18th century Venetian organ building school, and for this reason I have recorded on this exquisite instrument a selection of 18th century Venetian music. Three short sonatas by an anonymous Venetian composer open the program. The first is an Allegro played on the Flauto in XII solo; the second is a Moderato in d minor played with Principale and Ottava; the third is a very effective short piece titled Andante col Basso de’ Tromboncini, where Principale and Voce umana on the right hand is accompanied by the Tromboncini bassi imitating the bassoon. This last registration is typical of the Venetian area: Nacchini prescribes this very combination to play Sonata di fagotto-style sonatas among his registration instructions for the organ he built at Muzzara del Turgnano (1750). Interesting to note is that the Nacchini organs in Muzzara and in Treviso were built by Nacchini during the same year and have the same stop list. Baldassare Galuppi, known as the Buranello because of his birth on the island of Burano in the Venice Lagoon, composed many keyboard sonatas: the two proposed in the program are of contrasting character, the first one is an Andantino in d minor played with the Principale alone, followed by an Allegro in C major, played with Principale, Ottava and Flauto XII, according to Nacchini’s indications for playing a Sonata Allegra (Zaostrog, 1738). I pulled in the Ottava for the refrain of the first part of this Allegro, to give the listener more options as Nacchini indicates more than one possible registration for a Sonata Allegra. Benedetto Marcello also composed several keyboard sonatas, but just few of them are specifically written for the organ. Also the registration for this 3/8 presto is directly taken from Nacchini’s own suggestions (Zaostrog, 1738), where he prescribes the use of Principale, Ottava, XV, Flauto XII and Cornetta for these kinds of quick sonatas. The last piece is a march composed by Benedetto Legati: the different sound levels are given by adding and removing the Tiratutti to a combination of Principale, Flauto in XII, Cornetta and Tromboncini, as prescribed by Nacchini when playing marches. The drum effect is present here and there to give a more proper martial character.

Wednesday, September 14, 2022
San Gregorio Church, Treviso
Gaetano Callido organ (Venice, 1769)

Organ disposition:
Manual [C-d3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Voce umana 8 (s), Flauto in VIII 4 (b/s), Flauto in XII, Cornetta (1 3/5, s), Tromboncini 8 (b/s)
Pedal [C-a with short octave, pull-down]: Contrabassi 8
Tiratutti

Repertoire:
Gaetano Valerj (Padua, 1760-1822) – Sonata X Op.1
Giovanni Battista Pescetti (Venice, ca.1704-1766) – Sonata [Adagio in C major]
Anonymous composer from Venice (18th century) – 2 Sonate

Just around the corner from the central Piazza dei Signori, San Gregorio Church preserves the oldest Callido organ in Treviso. Built in 1769, it has a single keyboard and is much smaller than the monumental Callido organ at San Nicolò we visited for two days ago; however, the sound quality of this small Callido is exceptional and it is a pleasure to play such a lovely instrument. Gaetano Valerj, cathedral organist in Padua, composed numerous organ sonatas in stile galante. The first piece that I recorded here is the tenth sonata opus 1 and, as for all the other sonatas, the composer indicates the organ registration at the beginning, in this case Principale and Voce umana. Feltrin pointed out the closeness of this page to an opera aria, where it is possible to imagine a soprano singing a smooth and legato melody gently  and simply accompanied by the orchestral strings. Giovanni Battista Pescetti is remembered today for his keyboard sonatas, often containing several movements: the charming slow movement in C major (following Valerj) is played with Principale and Flauto in VIII. Two short 18th century anonymous Venetian sonatas conclude today’s program: the first one, played with a dazzling combination of Flauto in VIII and XXIX, gives the impression of small chimes: the second one, a longer concerto-style movement in C major, is played on the ripieno.

Thursday, September 15, 2022
Santa Maria Maddalena Church, Treviso
Beniamino Zanin (Camino al Tagliamento, Udine, 1888, with older material)

Organ disposition:
1 Manual (Great) [C-g3]: Principale 8, Ottava 4, Duodecima 2 2/3, Decimaquinta 2, Decimanona, Vigesimaseconda, XXVI-XXIX, Bordone 8, Flauto 4, Viola 4, Flauto in XII, Cornetta (1 3/5, s), Tromba 8 
2 Manual (Swell enclosed) [C-g3]: Principale 8, Ottava 4, Decimaquinta, XIX-XXII, Voce umana 8 (s), Flauto 4, Viola 4, Oboe 8
Pedal [C-f1]: Contrabasso 16, Ottava di Contrabasso 8, Quinta di Contrabasso 5 1/3
I-P, II-P, II-I, Tremolo, Ripieno GO (in/out), Ripieno Esp (in/out)

Repertoire:
Giovanni Battista Tomadini (Udine, 1738-1799) – Sonata [I. Allegro; II. Larghetto; III. Allegro]

Today we visited a late 19th century organ which is built in a very Classical style, still very close to the ideals of the 18th century Venetian school. The organ at Santa Maria Maddalena Church was built in 1888 by Beniamino Zanin, the founder of the Zanin organ building company which is still in business today. Zanin was not originally from the Veneto region, he was born in the neighboring Friuli-Venezia Giulia region. When the Republic of Venice was at its height of power it included many nearby areas, including Friuli-Venezia Giulia and the Dalmatian coast (today a part of Croatia), where today it is possible to find numerous Venetian organs. The repertoire I decided to practise and record on this 2-manual organ is a sonata in three movements by the late 18th century Friuli-born composer Giovanni Battista Tomadini. He was chapel master and cathedral organist in Udine, where he regularly played the beautiful 1758 Nacchini organ which is still in use today. The writing of this sonata clearly indicates the use of two manuals, as the Nacchini organ he played had two. The first movement is an Allegro: the forte on the Great manual (Principale, Ottava, XII, XV, XIX, XXII, Flauto in XII, Cornetta, sometimes without XIX, XXII and Cornetta to give more space to lighter writing) is in dialogue with the piano on the Positive (Principale, Ottava, Viola 4), with the pedal activated in block (16, 8 and 5 1/3 according to the Venetian tradition) and coupled to the Positive to add some more balance. The second movement is a lovely Adagietto, played throughout an octave lower on the Positive with an alternation of Flauto 4 and Viola 4 together and Viola 4 alone, with an 8-foot pedal bass when required. Some echo effects are also made with Flauto 4 alone. The last movement is a brilliant Allegro with a registration quite similar to the one used for the first movement, with Principale, Ottava, XII, XV, XIX, XXII, XXVI-XXIX, Flauto in XII and Cornetta on the Great and Principale, Ottava, XV, XIX-XXII and Viola 4 on the Positive, with full pedal coupled to the positive.

Friday, September 16, 2022
San Trovaso Church, San Trovaso, Treviso
Giacomo Bazzani and Sons (Venice, 1843)

Organ disposition:
Manual [C-f3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Voce umana 8 (s), Flauto in VIII 4 (b/s), Flutta reale 8 (s), Ottavino (2, s), Violetta (4, b), Tromboncini 8 (b/s)
Pedal [C-a with short octave, pull-down]: Contrabbassi 16, Rinforzi 8
Tiratutti, Tamburo, Terza mano

Repertoire:
Andrea Luchesi (Motta di Livenza, Treviso, 1741 – Bonn [Germany], 1801) – Pastorale
Gaetano Valerj (Padua, 1760-1822) – Sonata III [15 Unpublished Sonatas]

The small village of San Trovaso, just five minutes away from Treviso Central Station, has two parish churches, a new one and an smaller older one. The old parish church preserves a precious 19th century organ built by Giacomo Bazzani and Sons in 1843. Bazzani took over the Callido workshop and continued to build organs in the classical Venetian tradition in the beginning of the 19th century. He updated the structure of his organs by adding some ”modern” stops, coming from the Lombard tradition, which was the leading organ building school in that period. The first I will record here is a Pastorale in two movements composed by the Treviso-born 18th century composer Andrea Luchesi, who became an important musician at the Court of Bonn in Germany and was among the first music teachers of the young Beethoven. This piece opens with a calm movement in 6/8 where I alternate the Flauto 4 alone with the Tromboncini alone, followed by a quick movement in 2/4 where we can hear the alternation of forte (Principale, Ottava, XV, XIX, XXII, Flauto in VIII soprani and Viola 4 bassi) and piano (Principale, Flauto in VIII soprani and Viola 4 bassi). The second piece I recorded is a sonata by Gaetano Valerj, where I have used the ”non-Venetian” stops present in this organ, Flutta reale 8 (a large 8-foot flute) together with Ottavino 2 for the melody, accompanied by Principale 8 bassi, Viola 4 bassi and Contrabbassi 16 and 8 in the pedal. Bazzani shows a close connection with the Venetian tradition but is also open to modernity and the new music taste.

Saturday, September 17 and Sunday, September 18, 2022
Trip to Venice

The first weekend after this very intense first week of studies in Treviso, I went to Venice to explore some of the churches and the most important instruments in this extraordinary town. Venice is full of historical Venetian organs, there are many Nacchini, Callido, Bazzani, Zanin and works by other less known local organ builders as well. The famous San Marco Basilica preserves a 1766 Callido among its four organs. Sadly, none of the organs built in Venice during the 16th century are preserved today, but a copy of a Venetian Renaissance instrument was built in 2010 by the German organ builder Jürgen Ahrend for the church of San Salvador. This instrument is inspired by the famous 1532 Vincenzo Colombi organ in Valvasone.

Monday, September 19, 2022
Sant’Elena Church, Monigo, Treviso
Giovan Battista De Lorenzi (Vicenza, 1845)

Organ disposition:
Manual [C-g3 with short octave]: Principale 8 (b/s), Ottava 4, Decimaquinta, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Fagotto (8, b), Tromba dolce (8, s), Corno inglese (16, s), Fluta reale (8, s), Violoncello (b), Flauto traversiere, Flauto in VIII (4, b/s), Flauto in XII (s), Flagioletto (2, s), Voce umana (8, s)
Pedal [C-a with short octave, pull-down]: Contrabassi e ottave (16+8), Cimbas (reed, 10), Cimbas (5)
Tiratutti, Timballone, Terza mano, Banda turca

Repertoire:
Luigi Fontebasso (Treviso, 1822-1872) – Fantasia
Carlo Fontebasso (Treviso, 1849-1911) – Marcia

Continuing our study of 19th century music which we began in San Trovaso old church on Friday, we visit today another 19th century organ just outside of Treviso town centre. Sant’Elena Church in Monigo preserves an organ built in 1845 by Giovan Battista de Lorenzi. He was a very innovative organ builder from Vicenza who invented a double-touch action which allowed the organist to play two ranks of pipes instead of just one in a sforzato effect called organo fonocromico. The organ in Monigo is not equipped with this special action, it has a single keyboard divided in basses and trebles with pedals, and it has a lot of accessories which can be effectively used in the 19th century opera-inspired repertoire. Because of these loud accessories, I have recorded two pieces by the Fontebasso family from Treviso – a family with many organists. Luigi and Carlo’s music is highly influenced by the melodramma and this is clearly audible in their compositions, where I have used orchestral colours (Corno Inglese, Fagotto, Flauto traversiere) where the melody is often accompanied with a 4-foot stop played as written (but sounding at an octave lower) together with some boisterous accessories such as timpani and banda turca. This was probably the most fun repertoire to play!

Tuesday, September 20, 2022
Sant’Agnese Church, Treviso
Giovanni Tamburini (Crema, Cremona, 1911) / Francesco Zanin (Camino al Tagliamento, Udine, 2014)

Organ disposition:
1 Manual (Great) [C-a3]: Principale 8, Principale II 8, Ottava 4, Duodecima 2 2/3, Decimaquinta 2, Ripieno IV, Voce umana 8, Flauto 4, Fagotto 16, Tromba 8 
2 Manual (Swell enclosed) [C-a3]: Principale 8, Ottava 4, Bordone 8, Flauto 4, Nazardo 2 2/3, Ottava 2, Cornetta 1 3/5, Quinta 1 1/3, Piccolo 1, Voce Celeste 8, Clarino 16, Oboe 8, Tremolo
Pedal [C-f1]: Contrabasso 16, Basso 8, Cello 8, Flautone 4, Trombone 16, Trombone 8
I-P, II-P, II-I, Crescendo pedal, Sequencer

Repertoire:
Oreste Ravanello (Venice, 1871 – Padua, 1938) – Allegro giusto [Sonata in d minor]

The warm colours of the romantic organ will be the main theme for today’s visit at Sant’Agnese Church where we will play a delightful 2-manual organ orginally built in 1911 by the Lombard organ builder Giovanni Tamburini and enlarged in 2014 by Francesco Zanin. It is quite a large organ with many foundation stops and reeds. The piece which I have recorded here is the first movement from Oreste Ravanello’s Sonata in d minor. Ravanello was born in Venice and worked as an organist at Sant’Antonio Basilica in Padua. This first movement is very dramatic, with many contrasting sections and numerous crescendo and diminuendo, reaching the climax with big chords and finally a resolution in D major. It was very interesting and useful to compare the (only available) printed edition of this sonata to a copy owned by Feltrin of the manuscript preserved at Sant'Antonio Basilica music archive in Padua. The printed edition of the first movement showed a rhythmic error that we have corrected thanks to the comparison with the original manuscript.

Wednesday, September 21, 2022
Santa Lucia Church, Treviso
Antonio Petillo (Naples, 1860)

Organ disposition:
Manual [C-c3 with short octave]: Principale 8, Ottava 4, Quintadecima 2, Decimanona 1 /3, Vigesimaseconda 1, Nasardo (2 2/3, s)
No pedal.

Repertoire:
Anonymous composer from Naples (18th century) - Pastorale

As I wrote in the beginning, Treviso has an incredible panorama of different organs, not only from the Venetian area but also coming from other regions of Italy. Today we visited two small organs, both built in sunny Naples and moved to Treviso in recent years. The first is a 1860 Antonio Petillo placed at Santa Lucia Church. It has a single keyboard, no pedals, and a very smooth sound. I recorded here a Neapolitan pastorale where the melody of a traditional Italian Christmas song – Quanno nascette Ninno also known as Tu scendi dalle stelle – suddenly appears in the central part of the composition.

Wednesday, September 21, 2022
Treviso Cathedral (Crypt)
Anonymous (Naples, 18th century)

Organ disposition:
Manual [C-c3 with short octave]: Principale 8, Ottava 4, Quintadecima 2, Decimanona 1 /3, Vigesimaseconda 1, Flauto in XII (2 2/3, s), Voce umana (8, s)
No pedal. Tirapieno.

Repertoire:
Giovanni Salvatore (Castelvenere, Benevento, 1611 – Naples, 1688) – Toccata [in a minor]
Giovanni Salvatore – Durezze, et Ligature
Giovanni Salvatore – Capriccio del primo tono

The other organ visited today is an 18th century anonymous positive organ also built in Naples and preserved at the Cathedral. The instrument is not in perfect condition and its sound is not particularly powerful at the moment, but it still works very well in the acoustic environment of the crypt. I recorded here three pieces by the 17th century Neapolitan composer Giovanni Salvatore: a short Toccata (Principale, Ottava, XV), the expressive Durezze e Ligature (Principale alone) and the virtuosic Capriccio del primo tono (Principale alone, then first with Ottava and at the end also with XV).

Thursday, September 22, 2022
Organ Recital at Santa Croce Church, Treviso, 17.00
In partnership with Fondazione Cassamarca

Andrea Antico (ca.1470-1540) – Frena o donna i tuoi bei lumi
Andrea Gabrieli (1533-1585) – Ricercare del Quinto Tuono; Canzon ariosa
Giovanni Gabrieli (1557-1612) – Fantasia del Quarto Tono
Benedetto Legati (1700-talet) – Marcia
Benedetto Marcello (1686-1739) – Sonata per Organo
Anonymous composer from Venice (18th century) – Sonata (Allegro in C major)
Baldassare Galuppi (1706-1785) – Sonata (Allegro i C-dur); Sonata (Andantino in d minor)
Andrea Luchesi (1741-1801) – Sonata (Allegro in d minor)
Gaetano Valerj (1760-1822) – Sonata V Op.1; Sonata X Op.1
Niccolò Moretti (1765-1821) – Allegro risoluto
Encore: Anonymous composer from Venice (18th century) – Sonata col basso dei Tromboncini

It was my pleasure to accept the proposal to give an organ recital at the beautiful Nacchini organ at Santa Croce Church and introduce my Treviso project to the audience. I played a selection from the repertoire studied during the project and maestro Feltrin introduced the pieces which I was going to play. Thank you to Fondazione Cassamarca for allowing me to practise and record music in this fantastic venue.

With maestro Giovanni Feltrin after my concert at Santa Croce Church, Treviso

Friday, September 23, 2022
Trip to Spilimbergo and Valvasone

Treviso originally had several 16th century organs but none of them survive today. A very well-made copy of a 16th century Venetian organ was built in 1998 by Francesco Zanin for the Museum of Santa Caterina in Treviso. Unfortunately, it was not possible to visit this organ during my project because of major renovation works in the museum. For this reason, maestro Feltrin came with the idea of visiting some 16th century Venetian organs in the Friuli-Venezia Giulia region: Spilimbergo and Valvasone. Whereas the monumental organ at Spilimbergo is a reconstruction from 1981 by Francesco Zanin into an original organ case built in 1551 by the Venetian organ builder Bernardo Vicentino, the organ at Valvasone is mostly original and it is the only 16th century Venetian organ which survives today.

Valvasone Cathedral
Vincenzo Colombi (Venice, 1532-3)

Organ disposition:
Manual [FF-f3 without FF# and GG#]: Tenori 12 [=Principale], Ottava, Quinta Decima, Decima Nona, Vigesima seconda, Vigesima sesta, Vigesima nona, Flauto in XV
Pedal [FF-d, pull-down pedal]
Fiffaro [=Tremulant]

Repertoire:
Anonymous composer from Venice (1598) – 16 Verses

The organ in Valvasone was built in 1532-3 by Vincenzo Colombi – sometimes Colombo, an organ builder originally from Casale Monferrato in Piedmont but mostly active in the Republic of Venice. Colombi wrote some organ registration indications for this organ around 1558 which is considered to be the very first document of this kind in Italy. He reports 14 different combinations to play the organ, which I have used to record 16 anonymous organ verses published in Venice in 1598. The registrations for each verse is reported in the description of the corresponding YouTube video. Zanin accurately described the organ at Valvasone as he completely restored it in 1999 and described the fiffaro not as a further stop – as a Voce umana – but simply as a tremulant in the main wind channel, as it can be heard in the 8th verse. Playing the Valvasone organ with repertoire of its time using the registration indications left for this organ by its builder was a fantastic experience, a real historically informed performance treat! 

Very interesting also to visit a small 4-foot positive organ from the 17th century at San Pietro and Paolo Church, just around the corner from the main parish church. Many thanks to our guides, organ builder Francesco Zanin and the organist at Spilimbergo, Lorenzo Marzona, for their excellent hospitality and expertise.

Saturday, September 24 and Sunday, September 25, 2022
Trip to Padua

During the second weekend of the project I had time to visit the town of Padua. This university town has a very old and rich history and a lot of beautiful churches and palaces. Visiting the cathedral, the thought goes to Gaetano Valerj, who worked here as the cathedral organist: he used to play two large organs built by Callido, but these instruments have not survived today. A visit to Sant’Antonio Basilica and Prato della Valle is almost a must, as is a visit to Armelin Musica, a renowned shop extremely well-stocked with sheet music for the organ. A great occasion to stock-up some new music!

Monday, September 26, 2022
Sant’Agostino Church, Treviso
Serassi brothers (Bergamo, 1858)

Organ disposition:
1 Manual (Melodium enlosed) [C-a3]: Ottava 4 (b), Viola 4 (b), Voce flebile (8, s), Flauto in VIII 4 (s), Violetta (8, s), Violoncello 8 (s) 
2 Manual (Great) [C-a3]: Principale 16 (b/s), Principale 8 (b/s), Ottava 4 (b/s), Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Trigesimaterza e sesta, Corni da caccia (16, s), Fagotto (8, b), Trombe (8, s), Violoncello (4, b), Corno inglese (16, s), Viola (4, b), Flauto reale (8, s), Ottavino (2, s), Voce umana 8 (s), Clarinetto (16, s, combined stop)
Pedal [C-eb, pull-down to 2 Man]: Contrabassi con Ottave (16+8), Tromboni 8
Manual coupler, Tiratutti, Terza Mano, Lombarda free-combination

Repertoire:
Anonymous composer from Venice (18th century) – Sonata [Allegro in D major]
Padre Davide da Bergamo (Zanica, Bergamo, 1791 - Piacenza, 1863) - Elevazione

The last project week started with a visit to one of the most beautiful organs in town, the Serassi organ at Sant’Agostino Church. This church was officiated by the Somasco religious order which has its roots in Lombardy and, for this reason, the commission to build a new organ in 1858 was given to the most famous Lombard organ building company of that period. The Serassi brothers completed a 2-manual instrument in the typical 19th century Lombard tradition, with a lot of stops that were quite uncommon for Veneto. I recorded here two pieces, one from the Venetian school and another from the Lombard school. The first piece is an allegro composed by an anonymous Venetian composer from the late 18th century. It requires a ripieno combination throughout with some short episodes with corni: this time I did not used the Principale and Voce Umana as in the Venetian tradition but a new stop from Lombardy, invented to closely imitate the horn sound, Corni da caccia soprani, here played an octave above as this stop is a 16-foot treble large flute. The second piece is one of the most famous pages of the 19th century Italian repertoire, padre Davide da Bergamo’s Elevazione in d minor. This piece has the structure of an opera ouverture, with an introduction consisting of a Corno inglese singing a recitativo melody broken off by big repeated chords, followed by a cantabile with the Flutta soprani accompanied by the 4-foot Viola on the positive. A chromatic a solo passage brings us into the last section, a dramatic allegro with strappati chords and chromatisms with the loud sonorities of the Lombard reeds, much more powerful than the Venetian tromboncini. As we said when talking about the Bazzani organ at San Trovaso, at the beginning of the 19th century the Venetian school lost ground to the Lombard school, which offered larger and much more sonorous organs than Nacchini’s or Callido’s, and more suitable for playing the latest opera arias or sinfonias.

Tuesday, September 27, 2022
Sant'Ambrogio in Fiera Church, Treviso
Gaetano Callido (Venice, 1779)

Organ disposition:
Manual [C-c3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Trigesimaterza, Trigesimasesta, Voce umana 8 (s), Flauto in VIII, Flauto in XII, Cornetta (1 3/5, s), Tromboncini 8 (b/s), Violoncello 8 (b/s)
Pedal [C-g with short octave, pull-down]: Contrabassi 16
Tiratutti

Repertoire:
Andrea Luchesi (Motta di Livenza, Treviso, 1741 - Bonn [Germany], 1801) - Sonata
Gaetano Valerj (Padua, 1760-1822) – Sonata III Op.1
Gaetano Valerj - Sonata IV (15 Unpublished Sonatas)
Gaetano Valerj - Sonata VII (15 Unpublished Sonatas)
Nicolò Moretti (Breda di Piave, Treviso, 1764 - Treviso, 1821) - Sonata ad uso orchestra [Allegro risoluto]

Time to go back to the 18th century Venetian tradition and play another Callido organ. Today we visited Sant’Ambrogio in Fiera Church in Treviso and its Callido organ built in 1779. The program for this organ starts with a martial Sonata by Andrea Luchesi followed by three sonatas by Gaetano Valerj, the first is a gracious rondò for Principale with Tromboncini, the second is a solemn march and the third is a soft adagio where the piano is played on the 4-foot flute an octave lower and the forte by adding the Principale and playing at the real octave. The last piece in the program is a march, Sonata ad uso orchestra, by the Treviso-born composer Niccolò Moretti, where the full organ is heard almost from the first to the last bar.

Wednesday, September 28, 2022
San Vito Church, Treviso
Domenico Malvestio (Padua, 1903, with older material)

Organ disposition:
Manual [C-g3]: Principale 8, Viola 8, Voce celeste 8, Ottava 4, Flauto 4, Decimaquinta 2, Ripieno II, Tromba 8
Pedal [C-d1]: Bordone 16, Violoncello 8
I-P, Forte, Ripieno

Repertoire:
Luigi Bottazzo (Piazzola sul Brenta, Padua, 1845 - Padua, 1924) - Preludio-Corale Op.315
Luigi Bottazzo - Offertorio Op.315
Luigi Bottazzo - Adorazione Op.315

To show the colours of the organ at San Vito Church in the heart of Treviso I decided to record three small pieces by the blind organist Luigi Bottazzo, a composer from Padua active in the early 20th century. The organ at San Vito was originally built by Callido but was reformed in 1903 by Domenico Malvestio from Padua. It has a single keyboard with pedals and a lovely smooth sound.

Wednesday, September 28, 2022
Treviso Cathedral
Kuhn & Hradetzky (Männedorf [Switzerland], 2000)

Organ disposition:
1 Manual (Great) [C-a3]: Principale di legno 16, Principale 8, Flauto maggiore 8, Corno di camoscio 8, Ottava 4, Flauto 4, Duodecima 2 2/3, Superottava 2, Ripieno grave IV, Ripieno acuto III, Cornetto V, Tromba 16, Tromba 8 
2 Manual (Positive enclosed) [C-a3]: Principale 8, Bordone 8, Salicionale 8, Ottava 4, Flauto 4, Flauto in quinta 2 2/3, Principalino 2, Terza 1 3/5, Quinta flautata 1 1/3, Piccolo 1, Ripieno IV, Cromorno 8, Tremolante
3 Manual (Swell enclosed) [C-a3]: Quintaton 16, Flauto armonico 8, Cor de nuit 8, Viola da gamba 8, Voce celeste 8, Principale 4, Flauto traverso 4, Cornettino d'eco II, Flautino 2, Pieno III-IV, Fagotto 16, Tromba armonica 8, Oboe 8, Voix Humaine 8, Clarone 4, Tremolante
Pedal [C-f1]: Subbasso 32, Contra-principale 16, Subbasso 16, Basso d'eco 16, Basso 8, Bordone 8, Violoncello 8, Flauto 4, Bombarda 16, Tromba 8, Clarone 4
I-P, II-P, III-P, II-I, III-I, III-II, III-I 16, III-P 4, Crescendo pedal, Sequencer

Repertoire:
Giandomenico Faccin (Montebelluna, Treviso, 1892-1977) - Pulchra sicut luna
Goffredo Giarda (Venice, 1886-1973) - Canto serafico Op.70

Few hours later, we visited the cathedral and its impressive organ, built for the occasion of the Holy Year 2000 by Kuhn & Hradetzky. The instrument is huge, an authentic cathedral organ, with three manuals and powerful sonorities. The program recorded here included two pieces composed by 20th century organists from the Veneto region. The elegant meditation Pulchra sicut luna – Beautiful as the Moon – composed by another blind organist, Giandomenico Faccin, is in a style close to Vierne. We have compared the modern printed edition to a manuscript copy owned by Feltrin: the manuscript does not have the subtitle Pulchra sicut luna and it is in A flat key while the printed edition is in G major. It is possible that the editor asked the composer to transpose the piece to make it easier to play. Thanks to the comparison with the manuscript we have corrected some small errors, accentuations and dynamic marks. The second piece is an impressionistic concert piece, Canto Serafico – Seraphic Song – by Goffredo Giarda, organ teacher at the conservatoire in his hometown Venice. This piece appears to have been one of his favourites as he used to play it often in concert. The continuous oscillation between crescendo and diminuendo leads to an etheral coda with Voix humaine.

Friday, September 30, 2022
Sant'Andrea in Riva Church, Treviso
Anonymous (Venice, 18th century)

Organ disposition:
Manual [C-c3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima, Decimanona, Vigesimaseconda, Vigesimasesta, Vigesimanona, Voce umana 8 (s), Flauto in VIII 4, Flauto in XII, Cornetta (1 3/5, s)
Pedal [C-a with short octave, pull-down]: Contrabassi 16
Tiratutti, Tamburo

Repertoire:
Anonymous composer from Venice (18th century) – Andante per la Voce Umana
Gaetano Valerj (Padua, 1760-1822) – Sonata V Op.1

For our last day of studies in Treviso we visited Sant’Andrea in Riva Church. The organ housed in this church was built by an anonymous 18th century Venetian organ builder, possibly Callido or Dacci. What is certain is that the Treviso-born composer Niccolò Moretti was organist in this church. I recorded here two pieces, a short sonata with Voce umana by an anonymous 18th century Venetian composer and the fifth sonata opus 1 by Gaetano Valerj, who clearly indicated the stops to be used, Principale and Flauto in XII.

It was an incredible experience to live in Treviso for a month and explore the rich organ panorama of the town. Treviso is a beautiful town, an authentic gem, the town who gave tiramisù to the world. I would like to thank once again all the people who have taken part in this project, the Swedish foundation Pro Fide et Christianismo, the parish priests and organists in Treviso for their kind cooperation and, and above all, my dear colleague maestro Giovanni Feltrin, who with his expertise has been a great help during all the practical arrangements for this fantastic project, which I will keep among my most precious musical memories.