Search - Giovanni Maria Trabaci, Sergio Vartolo :: Trabaci: Keyboard Music (Book I, 1603)

Rarely heard early Italian keyboard music

J Scott Morrison | Middlebury VT, USA | 04/17/2003

(4 out of 5 stars)

"Most music-lovers have never heard of Italian composer Giovanni Maria Trabaci (c. 1575-1647). He's from the same generation, more or less, as that of Frescobaldi and Giovanni Gabrieli. He was organist to the Royal Chapel in Naples which, being under Spanish rule, had a different musical culture than Frescobaldi's Venice; Neapolitan music of this era tended to be darker-hued. Still, like Frescobaldi, he was a master of early baroque counterpoint. One reason his music has not been as widely heard as Frescobaldi's is that there was no modern edition of his works until recently. His music had previously been published in open score on four staves, making it very difficult for keyboard players to manage. The music was printed that way primarily to make the contrapuntal lines distinct and the prior editions were printed in old-style notation. Indeed the interweaving lines were printed so that notes sounding simultaneously were not lined up vertically. There has also been some conjecture about whether the music was meant for an instrumental ensemble or for a single keyboard instrument, the same issue surrounding Bach's 'Art of Fugue.' In this traversal the music is played by a keyboard player, Sergio Vartolo (something of a specialist in this music, one gathers from the booklet), who plays several different instruments - organs, harpsichords, a spinettone. This 3-CD set includes Book I of Trabaci's keyboard works and dates from 1603. On the first disc are 12 ricercari, forerunners of the fugue, and they show us that, in addition to being a skilful contrapuntist, Trabaci was capable of writing memorable themes. Other forms included on the full set are canzoni francese, capricci, canti fermi, gagliarde, partite, and toccate. Basically they are all short, highly contrapuntal pieces in a somewhat severe style. There are harmonic experiments along the way (particularly in the 'consonanze stravaganti') that sound unusual even today, reminding one at times of the somewhat outré harmonies of his slightly older contemporary, Carlo Gesualdo.The music is engaging and certainly worth hearing. I have some question about Vartolo's use of rubato. I do not know enough about performance practice of that time and place to argue with his tempo adjustments, but at times, frankly, he sounds like he is slowing down or speeding up at his own whim. It is pleasant to hear the various instruments, some of them owned by the performer, and they are intermixed in such a way there is no sudden change of dynamic level when he moves from one instrument to another. The recorded sound is excellent.There is a companion issue - of Book II - on Naxos but I do not know if more issues are planned.Scott Morrison"