Girolamo Frescobaldi (1583-1643)
Toccata I
Partite sopra Passacagli
Inno Iste Confessor
Partite sulla Romanesca
Inno della Domenica
Partite sopra il Ruggiero
Inno degli Apostoli
Partite sopra La Monica
Inno Ave Maris Stella
Partite sopra Follia
Partite sopra Ciaccona
Partite sulla Frescobalda
Aria detta Balletto
Partite sopra Passacagli

Daniele Proni, clavecin, orgue

Girolamo Frescobaldi (1583-1643) is without doubt the most influential figure in the field of harpsichord in the first half of the seventeenth century. Harpsichord and organ, thanks to the large compositive legacy that the composer from Ferrara delivered to the press, evolve until they became different tools to use and purpose. The great independence from the schemes and the flair of style are the distinguishing features of his writing that, while “imprisoned” on the lines, leaves to the performer the “toccatistic” and imaginative freedom typical of the Renaissance period. The musical expression of feelings is what drives his music: tensions and relaxations, blooms, changes of rhythm enrich every page and every little fragment. But it is in the art of variation that Frescobaldi excels and this incision wants to tell, in a path between the sacred and the profane and in the alternation of the two instruments, a significant part of the work for the keyboard.