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. Treviso has a long tradition of organ building: its territory preserves many organs by famous Venetian organ builders such as Pietro Nacchini (1694-1769) and Gaetano Callido (1727-1813) and other local organ builders as well, among others Giovan Battista De Lorenzi (1806-1883) from Vicenza, the Bazzani family from Venice and the Malvestio family from Padua. 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. The registrations which I have used come directly from Nacchini’s and Callido’s hands, who left detailed registration instructions for some of their new organs: Zaostrog [today in Croatia] (Nacchini, 1738), Muzzana del Turgnano (Nacchini, 1750), Candide (Callido, 1797-9) and St. Moisé Church in Venice (Callido, 1801). I have also followed the handwritten recommendations of other organ builders, including Valvasone (Colombi, 1532) and Bastia (Serassi, 1883) together with Giambattista Castelli’s Norme generali sul modo di trattare l’organo moderno (1862) and Marco Enrico Bossi and Giovanni Tebaldini’s Metodo teorico pratico per organo (1894).
The area around modern Treviso was already inhabited during the Stone Age. Successively, it became an important centre for the Ancient Veneti and for the Celts, before becoming Tarvisium in Roman times. The many ancient buildings and intricate streets of the historic centre bear witness to Treviso’s notable prosperity in the medieval period, when the town was the capital of its territory – the Marca Trevigiana – with its artists and cultural life. The Republic of Venice ruled over Treviso from 1388 for around four centuries.
Monday, September 12, 2022
San Nicolò Church, Treviso
Gaetano Callido organ (Venice, 1778)
My Treviso project started at San Nicolò Church, the largest church building in town. Built in gothic style as a Dominican abbey in 1231, this church houses a gigantic fresco of St. Christopher – patron saint of travellers and boatmen, 25 meter tall, painted in 1410 by the local artist Antonio of Treviso (15th century) – and other interesting and detailed gothic frescoes by Tommaso of Modena (1316-1379) together with 16th and 17th century paintings from the Venetian school. The church also houses the largest Venetian organ in Treviso, built in 1778 by the famous Venetian organ builder Gaetano Callido. The old organ built in 1403 by the German-born organ builder Nicolò d’Alemagna was in need of restoration, and it was repaired first in 1423 by the Dominican friar Nicolò da Forlì, in September 1543 by Alessandro Trasuntino and Venereo da Legge from Venice, and again – unsuccessfully – in 1569 by Paolo de Monte. A year later, the Florentine Dominican friar Ambrogio Siri rebuilt two stops: XIX and XXVI. A new organ was built in 1594 by Vincenzo Colonna from Venice, which also restored the new organ in 1608. The instrument was already in need of repair and work was carried out by the Venetian organ builder Francesco Sandrioli in 1611, 1613 and 1619. It was repaired again in 1664 by Antonio and Pietro Barcotto from Padua, in 1694 by Lorenzo Testa from Rome, in 1697 by Vittorio Zanoni from Venice, in 1709 by Filippo Martinotti from Vicenza and again by the Amigazzi family from Verona in 1749. The organ was replaced in 1778 by the present day Callido organ opus 135. The unequal temperament allows the performance of many compositions from the 16th and 17th centuries.
Organ disposition:
1st Manual (Positive) [C-d3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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)
2nd Manual (Great) [FF-d3 with short octave]: Principale 8 (actually 12-foot, b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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 2nd Man]: Contrabassi+Ottava di Contrabassi+Duodecima di Contrabassi (16+8+5 1/3), Tromboni 8
Manual coupler, Tiratutti (2nd Manual), Terza Mano (2nd Manual)
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
Tuesday, September 13, 2022 and Thursday, September 15, 2022
Santa Croce Church, Treviso
Pietro Nacchini organ (Venice, 1750)
The oldest organ in Treviso is the 1750 Pietro Nacchini organ opus 159 at Santa Croce Church. The organ builder, born in Croatia with the name Peter Nakic, signed this instrument right above the keyboard: PETRUS NACHINI FECIT. ANNO MDCCL. OPUS CLIX. This church is now deconsecrated and is used by the bank Fondazione Cassamarca for conferences and concerts. The church is part of the so-called Latin Quarter, which houses the town’s universities. 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.
Organ disposition:
Manual [C-c3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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, Tamburo (drum effect)
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
Three short sonatas by an anonymous Venetian composer from the second half of the 18th century opens the program. The first is an Allegro played on the Flauto in XII solo – Flauto solo: Sonata a duetto (Zaostrog, 1738) and Flauto Spiritoso (St. Moisé, Venice, 1801); the second is a fugato 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 bass imitating the bassoon. This last registration is typical of the Venetian area: Nacchini prescribes this very combination to play Sonata di fagotto-style sonatas – Sonata di fagotto: Principali, Tromboncini B. e Voce umana (Muzzara del Turgnano, 1750), and Callido indicated it as well as Simile con Fagotto: Principale B. e S., Voce umana e Tromboncini B. (Candide, 1797-9). Interesting to note is that the Nacchini organs in Muzzara (opus 158) and in Treviso (opus 159) 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, had an intense career as an opera composer, but he also was a gifted organist who served for many years as chapel master at St. Mark’s Basilica. Among his works, he 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 – Principal e Flautto; Principal, Ottava e Flautto (Zaostrog, 1738).
The noble Benedetto Marcello, member of a rich Venetian family, is remembered today as a composer, but he also had a career as lawyer and magistrate. Like Galuppi, Marcello also composed several keyboard sonatas, but just few of them are specifically written for the organ. This sonata comes from a manuscript of 18th century sonatas from northern Italy known as the Poffa manuscript, dated 1743 and preserved at the Library of the Royal Conservatoire of Bruxelles. Also the registration for this 3/8 presto is directly taken from Nacchini’s own suggestions – Sonata Presta: Principali, Ottava, XV, Flauto e Cornetta (Muzzara del Turgnano, 1750).
The last piece is a march composed by Benedetto Legati, an 18th century composer active in the Venetian area: 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 – Sonata a modo d’orchestra: Tutti li registri (Zaostrog, 1738); Marchia alla millitar: Tutti li registri eccettuato nessuno (Muzzara del Turgnano, 1750). In this way, Nacchini includes the use of Voce umana in the full organ. The pedal 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)
Just around the corner from the central Piazza dei Signori and its beautiful Torre Civica – called Campanon by the locals – the 15th century church of San Gregorio preserves the oldest Callido organ in Treviso. This town had once at least eleven organs built by Callido; six of them are lost today (Cathedral, 1769; Santa Maria Maggiore Church, 1775; San Teonisto Church, 1781; San Tommaso Church, 1789; Santa Margherita Church, 1792; Santo Stefano Church, 1793). The Callido organ at San Gregorio Church was built in 1769 as opus 52, and it was originally placed at San Lorenzo Church – destroyed during the early 20th century – and then moved to its present location. It has a single keyboard and is much smaller than the monumental Callido organ at San Nicolò Church 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
Organ disposition:
Manual [C-d3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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, Tamburo
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 or Northern Italy (18th century) – 2 Sonate
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 considered as one of the most important composers of the 18th century Venetian tradition and is remembered today for his keyboard sonatas, often containing several movements: the charming cantabile movement in C major (following Valerj) is played with Principale and Flauto in VIII as suggested by Callido – Cantabile: Principale bassi e soprani, Contrabassi, Flauto 8a bassi e soprani (St. Moisé, Venice, 1801).
Two short 18th century anonymous sonatas – certainly from northern Italy, perhaps from Venice – 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 from the Poffa manuscript, is played on the ripieno – Ripieno Semplice: Principale S., Principale B., Ottava, XV, XIX, XXII, XXVI, XXIX, Contrabassi (Muzzara del Turgnano, 1750).
Thursday, September 15, 2022
Santa Maria Maddalena Church, Treviso
Beniamino Zanin (Camino al Tagliamento, Udine, 1888, with older material)
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.
Organ disposition:
1st Manual (Great) [C-g3]: Principale 8, Ottava 4, Duodecima 2 2/3, Decimaquinta 2, Decimanona 1 1/3, Vigesimaseconda 1, XXVI-XXIX, Bordone 8, Flauto 4, Viola 4, Flauto in XII, Cornetta (1 3/5, s), Tromba 8
2nd Manual (Swell enclosed) [C-g3]: Principale 8, Ottava 4, Decimaquinta 2, 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]
The repertoire I decided to practise and record on this two-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 as a Ripieno misto (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 – Traversiè: Flauto in VIII B. e S., Violetta B. e S. (Candide, 1797-9) – and Viola 4 alone, with an 8-foot pedal bass when required. Some echo effects are also made with Flauto 4 alone – Flauto dolce: Flauto in VIII B. e S. (Candide, 1797-9). 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)
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.
Organ disposition:
Manual [C-f3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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 first piece 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. This registration is inspired by the instructions written by Ferdinando II Serassi (1855-1894) for the large organ built in 1883 in Bastia, Corse Island: Principale Bassi, Flauto Traversiere, Flagioletto. 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 St. Mark’s Basilica preserves a 1766 Callido among its four organs – as well as two 18th century Neapolitan positive 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)
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 – a lovely church built in 1641 and decorated with an impressive ceiling painting of the Last Judgement by Giovanni de Min (1787-1860) – preserves an organ built in 1845 by Giovan Battista de Lorenzi. He was a very innovative organ builder from Vicenza who mixed characteristics from the Venetian tradition (voicing of the Ripieno and the flutes, measures, structure) with the Lombard tradition (brilliant concert stops), obtaining a very successful combination. De Lorenzi also 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.
Organ disposition:
Manual [C-g3 with short octave]: Principale 8 (b/s), Ottava 4, Decimaquinta 2, Decimanona 1 1/3, Vigesimaseconda 1, 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
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 19th century 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) as described by 19th century organists and organ builders, 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)
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 two-manual organ orginally built in 1911 by the Lombard organ builder Giovanni Tamburini (1857-1942) and enlarged in 2014 by Francesco Zanin (*1956). It is quite a large organ, placed in a gallery on the right side of the main altar. It has many foundation stops and reeds.
Organ disposition:
1st 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
2nd 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 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. He is considered one of the most important Italian organists of the early 20th century, active as a teacher and concert organist. 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 Giovanni 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)
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 located at Santa Lucia Church, a small church built in 1389 on the place where the old prison chapel once stood. The organ was built in 1860 by Antonio Petillo: it has a single keyboard, no pedals, and a very smooth sound.
Organ disposition:
Manual [C-c3 with short octave]: Principale 8, Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, Nasardo (2 2/3, s)
No pedal.
Repertoire:
Anonymous composer from Naples (18th century) - Pastorale
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. We can also hear the Nasardo, the most popular flute in the Neapolitan tradition.
Wednesday, September 21, 2022
Treviso Cathedral (Crypt)
Anonymous (Naples, 18th century)
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, the oldest and most suggestive part of the cathedral.
Organ disposition:
Manual [C-c3 with short octave]: Principale 8, Ottava 4, Quintadecima 2, Decimanona 1 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
I recorded here three pieces by the 17th century Neapolitan composer Giovanni Salvatore, which I really admire for his musical inventiveness: 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 (18th century) – 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 in C major); 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.
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. This church was provided an organ already in the late 15th century, built by Nicola di Ser Andrea from Verona. Unfortunately, it was not possible to visit this church during my project because of major renovation works in the room where the organ is placed. 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:
1-Tenori, Ottava, XV, XIX, XXII, XXVI, XXIX
2-Tenori, Ottava, XV, XXII, XXVI, XXIX
3-Tenori, Ottava, XV, XXII, XXIX
4-Tenori, XXII, XXVI, XXIX
5-Tenori, XXII, XXIX
6-Tenori, XXIX, Flauto
7-Tenori, XXIX
8-Tenori, Flauto
9-Tenori, Ottava
10-Ottava, XXIX, Flauto (to be played an octave lower)
11-Ottava, Flauto (to be played an octave lower)
12-Tenori, Ottava, XXVI
13-Tenori (alone)
14-Flauto con il fiffaro
I have used these combinations to record 16 anonymous organ verses published in Venice in 1598:
-Primo del Primo Tono [1: Tenori, Ottava, XV, XIX, XXII, XXVI, XXIX]
-Secondo del Primo Tono [2: Tenori, Ottava, XV, XXII, XXVI, XXIX]
-Primo del Secondo Tono [12: Tenori, Ottava, XXVI]
-Secondo del Secondo Tono [7: Tenori, XXIX]
-Primo del Terzo Tono [3: Tenori, Ottava, XV, XXII, XXIX]
-Secondo del Terzo Tono [8: Tenori, Flauto]
-Primo del Quarto Tono [13: Tenori]
-Secondo del Quarto Tono [14: Flauto, fiffaro]
-Primo del Quinto Tono [12: Tenori, Ottava, XXVI]
-Secondo del Quinto Tono [4: Tenori, XXII, XXVI, XXIX]
-Primo del Sesto Tono [5: Tenori, XXII, XXIX]
-Secondo del Sesto Tono [10: Ottava, Flauto, XXIX (played an octave lower)]
-Primo del Settimo Tono [11: Ottava, Flauto (played an octave lower)]
-Secondo del Settimo Tono [9: Tenori, Ottava]
-Primo dell'Ottavo Tono [6: Tenori, XXIX, Flauto]
-Secondo dell'Ottavo Tono [1: Tenori, Ottava, XV, XIX, XXII, XXVI, XXIX]
Francesco Zanin accurately introduced the organ at Valvasone as he completely restored it in 1999 and described the fiffaro not as a further stop – sometimes Fiffaro is another name for the iconic ondulating stop Voce umana – but simply as a tremulant in the main wind channel, as it can be heard in the 2nd verse of Quarto Tono. 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 in an impressive setting! The sound is just beautiful, both solemn and extremely gentle. It was very moving to think about how many other people have listened to this sound through the centuries.
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 town has one of world’s oldest universities – founded in 1222 – and a very rich history, with a lot of beautiful churches and palaces. Visiting the cathedral, I am reminded of 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 Santa Giustina Basilica in Prato della Valle square – both once equipped with 18th century Venetian organs – is almost a must, along with 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)
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 for this church their opus 650, a two-manual instrument, not among the largest to leave their workshop in Bergamo, in the typical 19th century Lombard tradition, with a lot of stops that were quite uncommon for Veneto. The breaking point between bass and treble is between b/c1 and the Melodium consists of a small enclosed division placed behind the organist directly into the gallery as a chair organ. The instrument was restored by Giorgio Carli from Pescantina, Verona, in 1987 and by Francesco Zanin from Codroipo, Udine, in more recent years.
Organ disposition:
1st 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)
2nd Manual (Great) [C-a3]: Principale 16 (b/s), Principale 8 (b/s), Ottava 4 (b/s), Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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, Combination pedals
Repertoire:
Anonymous composer from Venice (18th century) – Sonata [Allegro in D major]
Padre Davide da Bergamo (Zanica, Bergamo, 1791 - Piacenza, 1863) - Elevazione
The first piece is an Allegro composed by an anonymous Venetian composer from the 18th century. It requires a ripieno combination throughout with some short episodes with corni: this time I did not use the Principale and Voce Umana as indicated by Nacchini and Callido, but a new stop from Lombardy, invented to closely imitate the horn sound, Corni da caccia, 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 overture, with an introduction consisting of a Corno inglese singing a recitativo melody broken off by big repeated chords, followed by a cantabile with the enchanting Flauto reale accompanied by the lovely 4-foot Viola on the Melodium. A chromatic a solo passage brings us into the last section, a dramatic allegro with strappati chords and chromatisms with the quick alternation of soli (reeds) and tutti (ripieno and reeds), with the loud sonorities of the Lombard reeds, much more powerful than the Venetian tromboncini. The registrations used are suggested by Giambattista Castelli (manager and agent for the Serassi organ building company between 1846 and 1870) in his treatise Norme generali sul modo di trattare l’organo moderno (1862) and by Ferdinando II Serassi (Bastia, 1883). 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)
Time to leave the 19th century Lombard organ building tradition and go back to the 18th century Venetian tradition and play another Callido organ. Today we visited the Neoclassical church of Sant’Ambrogio in Fiera in Treviso and its Callido organ built in 1779 as his opus 147.
Organ disposition:
Manual [C-c3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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, Tamburo
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]
The program for this church 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 – Oboe e fagotto: Principale B. e S. e Tromboncini B. e S. (St. Moisé, Venice, 1801) – the second is a solemn march in D major where both the drum and corni effects can be heard – Ripieno ad uso di Marcia: Principale B. e S., Contrabassi, Tiratutti, Tromboncini B. e S., Flauto in XII, Cornetta, Tromboni [not present in this organ], Tamburo battuto a tempo (St. Moisé, Venice, 1801) – 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 another 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 together with a generous use of the drum effect. Many thanks to the organist of the church, Michele Pozzobon, for his help in planning the visit to this lovely historic instrument.
Wednesday, September 28, 2022
San Vito Church, Treviso
Domenico Malvestio (Padua, 1903, with older material by Callido)
Today we visited San Vito Church, very close to Piazza dei Signori in the heart of Treviso. This little church, founded in the 9th century, is among the oldest churches of Treviso, and it is directly connected to Santa Lucia Church which we have already visited. San Vito church was enlarged in the 16th century and it is a bit larger than Santa Lucia. The organ at San Vito was originally built by Callido in the 18th century, but was reformed in 1903 by Domenico Malvestio organ building company from Padua. It has a single keyboard with pedals and a lovely smooth romantic sound.
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 n.1
Luigi Bottazzo - Offertorio Op.315 n.3
Luigi Bottazzo - Adorazione Op.315 n.10
To show the colours of the organ at San Vito Church I decided to record three small pieces by the blind organist Luigi Bottazzo, a composer from Padua active in the early 20th century. As registration advice, I have followed the indications prescribed by Bossi and Tebaldini in their Metodo teorico pratico per Organo (1894) combined with my own musical taste. The opening piece is a short chorale where the Ripieno is alternated to Principale 8 and Ottava 4. The second piece, Offertorio, shows the smooth combination of Viola 8 and Flauto 4, with the addition of Principale 8 and Ottava 4 for the forte and the soft Viola 8 alone for the piano passages, as suggested for the Sei Piccoli Preludi (Bossi/Tebaldini, page 94-99). The last piece, Adorazione, presents the charming combination of Viola and Voce Celeste.
Wednesday, September 28, 2022
Treviso Cathedral
Kuhn & Hradetzky (Männedorf [Switzerland], 2000)
A few hours later, we visited the cathedral, dedicated to St. Peter the Apostle and placed at the other end of Piazza dei Signori in Calmaggiore, the main pedestrian street in Treviso. An organ was in use at Treviso Cathedral at least since 1364, when the organ builder Lorenzo was asked to tune the organ. The organ builder and priest Orfeo was organist here between 1400 and 1407. A Dominican friar, Nicolò d’Alemagna – possibly the same who built the organ at San Nicolò Church in 1402? – was organist at the cathedral between 1422 and 1425, and he rebuilt the organ in 1436. Another organ builder of German origin, Antonio Dilmani, built a new organ for the cathedral in 1481-3 and restored it in 1493, to which Francesco dall’Organo restored the tremulants in 1553. The organ was restored first in 1527 by Battista from Brescia, then in 1530-1 by the Venetian organ builder Marco Tinto, in 1543 by Alessandro Trasuntino and Venereo da Legge from Venice, in 1550 by Giacomo Vicentino and Marco from Venice, in 1555 by Bernardino Vicentino from Venice, in 1580 by the Flemish organ builder Lodovico Arnoldo and again in 1589 by Leandro from Venice. A reparation was carried out in the early 17th century by Paolo Antegnati from Brescia. The Beni family from Verona restored the organ in 1667 and 1705. Some years later, the Amigazzi family from Verona restored the same instrument in 1723, 1737 and again in 1757. A new 12-foot organ with a single keyboard was built in 1773 by Gaetano Callido as his opus 87. This instrument was enlarged 1876 by the Locatelli family from Bergamo, who added a second manual and numerous concert stops according to the 19th century taste. A new large three-manual organ was built in 1915 by Giovanni Tamburini from Crema and was later sold to Trebaseleghe Parish Church – where it is still in use today – to give space to a larger instrument. Today’s impressive organ, built for the occasion of the Holy Year 2000 by Kuhn & Hradetzky, is placed on the floor of the left side nave. The instrument is huge, an authentic cathedral organ, with three manuals, powerful sonorities and a Swell with loud French-inspired reeds. The space inside the cathedral is impressive, and the acoustics are generous and reverberating. The original church was founded in the 6th century in place of an ancient Roman temple. The present cathedral was rebuilt in 1768 in Neoclassical style, and the large interior, covered by domes, was designed by the local architect Giordano Riccati (1709-1790). The cathedral preserves notable works of art by local painters and other artists from the Venetian area including a wonderful Annunciation (ca.1520) by Titian (ca.1490-1576).
Organ disposition:
1st 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
2nd 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
3rd 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
The program recorded here included two pieces composed by 20th century organists from the Veneto region. The elegant meditation Pulchra sicut luna – which means “Beautiful as the Moon” – composed by another blind organist, Giandomenico Faccin, is in a style quite close to the impressionistic tonal language of Louis 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 was published in 1929 in the album I Maestri dell’Organo edited by Edizioni Carrara: 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 the renowned organist 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 and it was also published in the album I Maestri dell’Organo from 1929. The continuous oscillation between crescendo and diminuendo leads to an etheral coda with Voix humaine and tremulant.
Friday, September 30, 2022
Sant'Andrea in Riva Church, Treviso
Anonymous (Venice, 18th century)
For our last day of studies in Treviso we visited Sant’Andrea in Riva Church, called in Riva – by the river – because of its proximity to the river Sile. This lovely church was designed by the architect Giordano Riccati around 1780. The organ housed in this church was built by an anonymous 18th century Venetian organ builder, possibly Gaetano Callido or Francesco Dacci, another apprentice of Nacchini. What is certain is that the Treviso-born composer Niccolò Moretti was organist in this church.
Organ disposition:
Manual [C-c3 with short octave]: Principale 8 (b/s), Ottava 4, Quintadecima 2, Decimanona 1 1/3, Vigesimaseconda 1, 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
I recorded here two pieces, a short sonata with Voce umana by an anonymous 18th century Venetian composer – only using Principale and Voce Umana as a Sonata per l’Elevazione (Zaostrog, 1738; Candide, 1797-9; St. Moisé, Venice, 1801), and the fifth sonata opus 1 by Gaetano Valerj, who clearly indicated the stops to be used, Principale and Flauto in XII. This very combination is also indicated both by Nacchini and Callido for a Sonata Allegra (Zaostrog, 1738) or a Sonata Spiritosa (Muzzara del Turgnano, 1750; Candide, 1797-9; St. Moisé, Venice, 1801).
-Amedeo Aroma, Giuliano Simionato, Pastorali per organo di autori classici trevigiani. Ateneo di Treviso, 2000.
-Sandro Carnelos, Giuliano Simionato, I Fontebasso. Armelin, 2003.
-Il nuovo organo della Cattedrale di Treviso. La Vita del Popolo, 2000.
-Italia. Arte, Natura, Cultura. Mondadori, 2005.
-Renato Lunelli, Studi e documenti di storia organaria veneta. Olschki, 1973.
-Maurizio Machella, Musiche per gli Organi della Serenissima. Vol.2. Armelin, 2019.
-Corrado Moretti, L'Organo Italiano. Eco, 1997.
-Giuseppe Radole, Le registrazioni organistiche nelle culture europee. Pizzicato, 2001.
-Giuseppe Radole, Manuale di letteratura organistica dal Trecento al Duemila. Pizzicato, 2005.
-Restauro dell'organo di G.Callido e di tre tele del Settecento. Chiesa Parrocchiale di Sant'Ambrogio di Fiera, Treviso, 1986.
-Domenico Severin, La Registrazione Organistica in Italia, Francia, Germania, Inghilterra e Spagna dal XVI al XX secolo. Armelin, 2000.
-Franco Vivian, Treviso Città gioiosa. De Bastiani, 2005.
