First we should pinpoint exactly what a 'toccata' is. The
word means 'touch piece' and its earliest mention dates from the first part
of the sixteenth century. Composers still use the word although it was J.S.
Bach who employed it most famously. A toccata is generally fast-moving,
light and often virtuoso. It can be imitative - indeed Merulo adopts that
technique. It is normally fantasia-like in form and exploits the entire
instrument. The tempo is often
rubato but certainly changes
often.
One of the most prolific composers of toccatas was Claudio Merulo who is
often remembered in music text books as the most significant predecessor at
St. Mark's Venice, of the Gabrielis and therefore of Monteverdi. In his
life-time he was much admired and sought after. On leaving Venice in 1586 we
find him working for the Duke of Parma and at the city's Duomo.
These three well-filled CDs contain the entire, currently known, Toccatas
by Merulo. There are the nine from the Libro primo engraved in Rome in 1598
and found on CD 1. The ten toccatas from the Libro secondo, also published
in Rome but in 1604, take up all of disc two and some of disc three. Finally
there are seven Toccatas from a manuscript found in the Biblioteca Nazionale
in Turin. These are slightly different in style, having a fuller chordal
writing enlivened by embellishments.
The two printed books, according to the fascinating booklet notes by
Francesco Tasini himself, can be regarded as one. "The Toccatas are arranged
according to the order of the ecclesiastical tuoni" or modes. "Each tuoni
has two Toccatas assigned to it" with just a couple of exceptions. The
technicalities of the modal background are further discussed but that need
not concern us here.
Later Tasini adds, in a slightly curious translation, "the composer has
carried out his ornamentation action starting from a basic framework that
hinged essentially on counterpoint and imitation". What this means is that
whilst one hand sustains a chord, - a harmony - the other will invent around
it what the Italians call 'passaggiato' -ornamented passing notes. These
will be exchanged between the hands. He continues: "The two books of
Toccatas reveal their derivation from the finest chamber music and their
kinship with the 'secluded, secret precious music' of court
settings." For me, the music is ostensibly solemn - listen to the
beautifully haunting Toccata 6 on CD 1. It is related to the psalm chants
and is meant to be heard in the context of the liturgy. One can imagine the
priests moving in the sacred space, processing, secretly saying words of
consecration or elevating the host or music to be heard even before the
service. Dependent on the mode it can be serious and grave as with CD 3
track 4, the Toccata seconda or bright as with CD 1 track 3.
Two organs are used. The first disc was recorded on the Organ "in cornu
Evangeli" made by Baldassarre Malamini in 1596. It's still is in
regular use in the church of San Petronio in Bologna. The other two discs
were recorded on what seems to me to be a more versatile instrument in
Mantova - the ducal chapel of the Gonzagas in Mantua - at the church of
Saint Barbara. This dates from 1565 and was designed by Graziadio
Antegnati.
The two specifications are given in the booklet. The Bologna organ
includes three stops marked as 'Vigesima', seconda, sesta and manona. The
Mantua instrument has a 16 foot Fiffano as well as two flute stops, one
being 8 foot and the other 2 and 2/3rds.
Each Toccata is given a different set of stops, so on CD 1 the Toccata
quinta is played on the Ottava, the Quintadecima and the Vigesimaseconda as
well as the four foot flute stop. This adds to the variety - needful because
the music moves along at the same pace and in a very similar style
throughout. Amongst the most arresting of the Toccatas is the Quarto -
'di Ms. Caludio per l'organo' to give it its full title - on CD 3.
Tasini describes it as sumptuous, exuberant and extremely extensive in
ornamentation.
Francesco Tasini's achievement in recording well over three hours of this
music is not to be underestimated. Although not always virtuoso, these
pieces are challenging, not only from the point of view of articulation and
colour, but also for the concentration required to get through lengthy
passages and phrases that seem to arrive at a cadence only to move on
quickly to the next long-held chord. The recordings are consistent in
balance and tone quality. There are none of the extraneous noises that can
sometimes haunt organ recordings.
Even so, this is specialist repertoire more suitable for the library and
for reference than for any sort of regular listening. It would be unwise to
listen to too many in one sitting. From musico-historical standpoint it's
worth a student taking the language and development of Merulo's Toccatas on
board. For anyone with an interest in early organ music these discs are
worth exploring.
A more extensive essay on Merulo's Toccatas is available on
www.tactus.it/testi
Gary Higginson
CD 1 Toccata D'Intavolatura D'organo - Book
1 (1598)
Toccata 1 [6.50]
Toccata 2 [10.14]
Toccata 3 [7.25]
Toccata 4 [6.16]
Toccata 5 [6.00]
Toccata 6 [7.33]
Toccata 7 [8.46]
Toccata 8 [9.11]
Toccata 9 [8.26]
CD 2 Toccata D'Intavolature D'Organo - Book
2 (1604)
Toccata 1 [7.59]
Toccata 2 [10.31]
Toccata 3 [7.44]
Toccata 4 [9.28]
Toccata 5 [8.52]
Toccata 6 [9.18]
Toccata 7 [10.29]
Toccata 8 [10.00]
CD 3
1. Toccata Nona [10.07]
2. Toccata Decima [11.34]
Toccatas from the Fondo Giordano MS Turin
3. Toccata Prima [8.46]
4. Toccata Seconda [7.21]
5. Toccata 3a [4.41]
6. Toccata Quarta [8.58]
7. Toccata Quinta [6.06]
8. Toccata Sesta [2.59]
9. Toccata Settima [8.09]
