Bernardo Storace (?1620-?1664)
Capriccio sopra il Passo e Mezzo
Passo e Mezzo
Altro passo e mezzo
Romanesca
Aria sopra La Spagnoletta
Monica
Capriccio sopra Ruggiero
Partite sopra il cinque Passi
Follia
Follia
Passagagli sopra A la mi re
Passagagli sopra C sol fa ut per b
Passagagli sopra D sol re per
Passagagli Fe fa ut per b
Ciaccona
Balletto
Ballo della Battaglia
Corrente en sol
Corrente en mi
Toccata e Canzon en sol
Toccata e Canzon en mi
Ricercar
Ricercar di ligature
Pastorale

Enrico Viccardi, orgue, clavecin, épinette

De Bernardo Storace (?1620-?1664), on ne sait que fort peu de choses, sinon qu’il était vice-maître de chapelle du sénat de Messine (Sicile) quand il publia, en 1664, un recueil de 23 compositions pour clavecin et orgue. Enrico Viccardi, à qui l’on doit le présent enregistrement, affirme que Storace, "bien plus qu’un simple pont entre Frescobladi et Pasquini est réellement l’un des grands auteurs européens de la musique baroque pour le clavier". Barton Hudson, spécialiste de Storace, écrit, quant à lui, que ses Toccate sont moins "passionnées" que celles de ses contemporains napolitains ou romains car elles restent confinées dans les mêmes moules harmoniques (tonique/dominante), mais que ses ricercari sont plus intéressants. Qu’en est-il de l’interprétation que nous offre Enrico Viccardi sur quatre instruments anciens ou copies d’anciens (clavecin, épinettes, orgues) ? Celui-ci se laisse aller à un jeu expressif bienvenu dans les fort belles passacailles en La mineur et Ut mineur (plages 10 et 11 du CD 1) et dans une moindre mesure celle en Ré majeur (plage 1 du CD 2) et, par contre, les pièces de danses (Passo e mezzo, Romanesca, Balletto, Corrente) manquent singulièrement de rythme, notamment dans les mesures ternaires où le lever du troisième temps est quasi lié au premier temps suivant. Et de toute façon, l’interminable Pastorale (12’ !), quelle qu’en soit la manière de jouer, n’a vraiment pas grand intérêt. Mais ne serait-ce que pour les passacailles nommées ci-dessus et quelques-unes des variations entendues de-ci de-là, ce coffret vaut la peine d’être acquis. (Jean-Paul Lécot)

All that is known of Bernardo Storace’s life derives from the title-page of his sole collection of music: in 1664 he was vice-maestro di cappella to the senate of Messina, Sicily. It is not known whether he was an antecedent of the Storace family of singers and musicians active in England at the end of the 18th century. His surviving music is all contained in his Selva di varie compositioni d’intavolatura per cimbalo ed organo, published in Venice in 1664. While the work of Frescobaldi was surely not unknown to Storace, the later composer’s voice is individual and original. Taken in the round, the collection presents a ‘state of the art’ of keyboard music of the time. There are pieces such as passamezzi and ground-bass variations that adhere to a particular tradition and others that are more modern, with deliberate departures from established modes that embrace both a new tonal handling of harmony and echoes of a more antique and modal approach. Among the collection’s most novel features is its final piece, a long Pastorale with the flavour of a hornpipe, and the most ingeniously contrived repeated patterns and variations in texture and mood, all over a D pedal. Another feature pointing to Storace’s originality is the use of tonalities, especially bearing in mind how the instruments would have been tuned. The first three pieces ascend in thirds (A major, C minor, E minor), the next two feature one key and its relative minor (the Romanesca in C major and the Spagnoletta in A minor), and then come the Monica in G minor and the Ruggiero in G major. The most remarkable juxtaposition is found in the two gems of the collection: the Passagagli fe fa ut per bi in F minor and the Ciaccona, composed in a luminous, lively C major. To convey the varied colours and textures of Storace’s music for this new recording, Enrico Viccardi has chosen to play four different instruments: a harpsichord built as a copy of a Grimaldi, a spinet modelled on the Venetian instruments of the second half of the 17th century, a Neapolitan positive organ by F. Cimino with all original pipes (first half of the 18th century) and the historically significant organ at the Collegiate Church of Santa Maria della Neve at Gualtieri (RE).