Girolamo Cavazzoni (?1525-?1577)
Ricercare Terzo

Rocco Rodio (?1530-?1615)
Quinta ricercata

Giovanni Gabrieli (1557-1612)
Canzone detta "La Spiritata"

Giovanni Maria Trabaci (?1575-1647)
Canzona franzesa cromatica settima

Girolamo Frescobaldi (1583-1643)
Toccata Prima
Canzona Quarta
Partite sopra la Monica
Toccata cromatica per l'elevazione

Nicolo Corradini (?1685-1646)
Ricercare del IX tono con due fugue

Bernardo Pasquini (1637-1710)
Variazioni per il Paggio Todesco
Passagagli
Introduzione e Pastorale

Domenico Zipoli (1688-1726)
Quattro versi e Canzona in Do

Giovanni Battista Grazioli (1746-1820)
Pastorale

Giulia Corvaglia, orgue
Angela D'amico, orgue
Stella Beatrice Lotesoriere, orgue
Pierluigi Mazzoni, orgue
Fabio Paiano, orgue
Margherita Sciddurlo, orgue
Graziano Semeraro, orgue
Domenico Tagliente, orgue
Giovanna Tricarico, orgue
Nicola Vinci, orgue

The Organ School of “Nino Rota”Music Conservatory of Monopoli wanted to realize this project, that arises two objectives: First of all, the valorisation and documentation of the organ heritage of our land, full of examples and testimonies of a story that tells us the love of our ancestors towards music in the liturgy, in rites and in religious traditions; In the second place we want to present, in addition to the jewels of the past to the registration, and which represent the witnesses to which the teachers provide instruments, executive art and all the knowledge and skills acquired in a life of teaching. The Pugliese organ heritage is enormous and to date only partially classified. The Pugliese organ is commonly derived from the constructive and phonic tradition of the Neapolitan positive, a model to which even the instrument of Saint Francis can be assimilated. That model remains almost unchanged until the middle of the nineteenth century, even if the organ evolution of the Central and Northern-Italy is also felt in Puglia; however, the presence of great instruments with more keyboards and “concert” recordings remains an exception, the prerogative of some great cathedrals and extra ordinary events, which with some exceptions does not take hold in the small but active circle of the southern organ, always loyal to the Neapolitan model, in deference to the seventeenth-century polyphonic tradition. The instruments of Saint Francis in Monopoli is of uncertain attributions even if it is to be counted as an anonymous Pugliese architect, who realized it in 1710. The last restoration of 2010, by Francesco Zanin of Codroipo (UD), wanted to give the instrument a historically reliable intonation, based on numerous examples of contemporary instruments present in the area; the program executed aims to enhance the peculiar characteristics of the instrument in terms of intonation and temperament.