"He
was the most gifted of a group of performer-composers who transformed
European keyboard genres from simple pieces based on vocal models
to idiomatic virtuoso works during the second half of the 16th
century, also a prolific composer of madrigals, masses and motets
in the mature Venetial style". This is how Rebecca Edwards
describes Claudio Merulo in the article about the composer in
New Grove. This gives an accurate reflection of Merulo's importance
in music history.
Claudio
Merulo was born in Correggio and it is assumed he received his
main training as a musician in Venice from Adrian Willaert or
Gioseffo Zarlino. In 1556 he was appointed organist at the cathedral
in Brescia, and in 1557 replaced Girolamo Parabosco at the San
Marco basilica in Venice. For the next 27 years he played a
key role in Venetian musical life, both as organist and as composer
of music in all genres. He was a much sought-after composer
of music for private and official celebrations. He was also
active in the field of music publishing and the construction
and development of musical instruments. He had a wide circle
of pupils from Italy and abroad. His teaching was described
by his pupil Girolamo Diruta in his book 'Il transilvano' of
1593, one of the most important publications of the time.
In
1584 he moved to Parma, where he acted as musician at the court
of the Farneses, and also in Parma Cathedral. In 1591 he was
appointed organist at the Madonna della Steccata, which position
he held until his death. In Parma he lived as a wealthy man,
and when he died he was honoured with many tributes: he was
called the greatest keyboard player of his time.
On
this set the three most important genres of keyboard music of
the 16th century are represented: the toccata, the canzona and
the ricercar. The main feature of the toccata is its improvisatory
character; originally it was used in vocal music as an intonation
for the singers. Under Andrea Gabrieli the toccata had developed
its virtuosic character, and Merulo expanded the genre by adding
imitative passages. Here the Roman composer Girolamo Frescobaldi
(1583-1643) followed in his footsteps, and through his German
pupil Johann Jakob Froberger Merulo's toccata style influenced
the North-German school and its 'stylus phantasticus'.
The
canzona also underwent a development. As the term indicates
it was originally an instrumental arrangement of a vocal piece.
Merulo developed the genre by adding virtuosic ornaments and
runs, as a result of which the form became more and more independent
of its vocal models.
The
ricercar is the most contrapuntal of the three. It has a vocal
model as well: the motet (whereas the canzona was based on secular
pieces), and here again Merulo elaborates the form by increasing
its virtuosity.
This
first volume of the complete recording of Claudio Merulo's organ
music is an exemplar of careful research. Everything has been
done to make the performance of this music as historically correct
as possible. The organ by Colombi used here is, according to
the booklet, "the last surviving instrument from the Venetian
school of organ building during the Renaissance and thus an
instrument that corresponds to the musical taste and aesthetics
in Venice during Merulo's time." It is tuned in meantone
temperament (1/4 comma). The registration of the toccatas and
canzonas is based on a historical source, a registration chart
dated 1558 and ascribed to Colombi, which is preserved in the
parish archives of Valvasone. For the ricercari Stefano Molardi
turned to the second edition (1609) of Diruta's 'Il Transilvano'.
The choice of tempi is inspired by both historical and stylistic
considerations, for example the character of the tone. And even
the order in which the pieces are played is well-thought through:
"It was our intent to present as diverse a palette of timbres
and tone colors as possible, which is why we oriented ourselves
on the old transposition practice of having the pieces follow
each other at the intervals of fourths and fifths. Thus, for
example, the first CD has the sequence of keys D, D, G, G, C,
G, etc."
This
wouldn't mean anything if the actual performance wasn't up to
the highest standard. But fortunately it most certainly is.
Claudio Merulo's organ music is given the best possible interpretation,
and the character of every single piece is done justice. The
great variety, the sheer brilliance and the expressive character
of Merulo's organ music is convincingly communicated. One of
the many attractions of this recording is the gorgeous sound
of the organ. It can sound brilliant and robust, but also intimate
and sensitive. If one listens to an organ like this there is
a good chance of becoming addicted to its timbre and its breathing
tone production.
In
short, this is a wonderful production in every respect: music,
instrument and interpreter. Recording technique and presentation
are of the same high standard. A must for lovers of organ music
or of Italian music around 1600.
Johan van Veen