Giovanni Gabrieli (1554-1612)
Toccata primi toni, C D10
Intonazione del ottavo tono, C 246
Ricercar ottavo tono, C 215
Canzon francese, C 232
Intonazione del terzo e quarto toni, C 242
Fantaisie quarti toni, C 227
Toccata, C D11
Ricercar, C 223
Canzon III, C 188
Canzon, C 213
Toccata, C 237
Canzon, C 234
Intonazione del secondo tono, C 241
Ricercar, C 221
Canzon I "La Spiritata", C 186
Intonazione del quinto tono, C 243
Ricercar, C 222
Toccata, C D12
Intonazione del primo tono, C 240
Ricercar, C 217
Intonazione del duodecimo tono, C 250
Canzon IV, C 189
Intonazione del nono tono, C 247
Ricercar, C 218
Toccata, C 238
Canzon II, C 187
Intonazione del sesto tono C 244
Fantaisie sexti toni, C S3
Toccata del secondo tono, C 236
Fuga, C 228
Intonazione del undecimo tono, C 249
Canzon, C 230
Intonazione del decimo tono, C 248
Ricercar decimo tono, C 216
Canzon, C 235
Toccata primi toni, C 239
Fuga noni toni, C S5
Fantaisie in modo di Cnazon francese, C 194
Toccata, C D16
Canzon, C 218
Intonazione del settimo tono, C 245
Ricercar septimi et octavi toni, C S4
Toccata quinti toni, C S2
Fuga, C 229
Ricercar, C 219
Toccata, C D13
Ricercar primi toni, C 251
Canzon, C 233
Ricercar, C 220
Ricercar, C 225
Toccata, C D15
Jubilate Deo omnis terra, C 16
Catate Domino, C 6
O Doctor optime, C 139
O sacrum convivium, C S16
Angelicos cives, C S15
Congratuamini mihi, C 54
Sacta et Immaculata Virginitas, C 55
Labra amorose e care, C 90
Exaudi Domine justitia meam, C 7
Domine Deus meus, C 127
Alleluja, quando jam emersit, C C1
Ego dixi:Domine miserere mei, C 2
Exultavit cor meum, C 53

Roberto Loreggian, orgue (Orgue Duomo di Valvasone, Italie), clavecin

La célébrité dont a joui, de son vivant déjà, Giovanni Gabrieli dans toute l’Europe, doit peu à ses oeuvres pour clavier, mais presque tout à la somptuosité de ses compositions vocales conçues notamment en fonction des formidables ressources acoustiques de la basilique San Marco. Pourtant, marchant dans les traces de son oncle Andrea, il contribua à émanciper la musique instrumentale. Sa musique pour orgue et clavecin illustre les principaux genres prévalant à l’époque, mais ce sont les ricercari, les canzoni et les toccatas - lesquels entretiennent d’ailleurs des relations de proximité - qui témoignent le mieux de l’inventivité et de la richesse de l’oeuvre. Celle-ci repose sur un matériau thématique souvent simple et sans prétention, des structures solides - constituant dans les canzoni par exemple des épisodes bien séparés - qu’une sorte de glose interne faite d’imitations, de reprises, d’accélérations du rythme, d’accentuations, de diminutions vient ingénieusement varier. Le 3e cd est consacré à des transcriptions de motets vocaux de Gabrieli, faites par un compositeur inconnu. Le travail de R. Loreggian (qui a aussi réalisé une remarquable intégrale de l’oeuvre de l’oncle) force l’admiration par un souci constant d’authenticité et de vérité musicologiques. Interprétation habitée, équilibrée, animée, d’une belle venue, pleine d’une énergie entraînante, en particulier au clavecin. (Bertrand Abraham)

Having received his first exposure to music through his uncle Andrea Gabrieli, Giovanni Gabrieli grew up in the creative atmosphere of Venice’s San Maurizio district and within the walls of St Mark’s Basilica, where he would become organist in January 1585. In the years in which Giovanni was active, the churches of Venice bore witness to the emancipation of instrumental music from vocal music. At St Mark’s, music for the organ appeared alongside liturgical choral music, independent from the latter and comprising motets and instrumental pieces. Indeed, in Gabrieli’s Venice a distinction was being made between virtuoso organ soloists and choral accompanists. His works for keyboard, whilst relatively scarce in his catalogue, embrace all of the main genres in fashion between the late 16th and early 18th centuries. This recording presents the entire body of work, and was put together predominantly on the basis of the manuscripts held by the Foà and Giordano collections in Turin. Following the removal of numerous works and the discovery of new manuscripts, the recent Charteris (C.) catalogue comprises four toccate, 16 ricercari and six canzoni da sonar. These are joined by the 11 Intonationi d’organo designed originally as introductions to vocal works or other instrumental compositions. Performing these works is noted musician Roberto Loreggian, who released the 6-CD set of the Complete Keyboard Music of Giovanni Gabrieli’s uncle, Andrea, on Brilliant Classics in 2015 to great critical acclaim (BC94432). He has collaborated on several other recordings for Brilliant Classics including the C.P.E. Bach Edition (BC94960) alongside Federico Guglielmo, praised by Gramophone for its ‘fine style and spirit’, and the Frescobaldi Complete Edition (BC94111), which earned him the 2009 ‘National Classical Music Track Award’. To faithfully recreate the early-17th-century sounds Gabrieli himself would have heard, Roberto Loreggian returns to the historic 1532 Vincenzo Colombi organ at the Valvasone cathedral in northeast Italy, the same instrument he used for his Andrea Gabrieli set and the only 16th-century Venetian organ still in existence. The harpsichord on the recording also dates from the 17th century.