Frescobaldi: Il Secondo Libro di Toccate
1 - Toccata Quinta In G "Per l'organo sopta I pedali, e senza"	3:42 	
2  - Toccate - Toccata Quarta In A "Per l'organo da sonarsi alla levatione"	6:10 	
3  - Toccate - Toccata Prima	4:25 	
4  - Toccata Terza "Per l'organo da sonarsi alla levatione"	7:55 	
5  - Toccata Sesta "Per l'organo sopra I pedali, e senza"	5:15 	

6 Pasquini: Toccata dell'ottavo tono In G	3:50 	
7 Pasquini: Sonata In E Minor "Elevazione"	4:10 	
8 Zipoli: Canzona In G Minor	4:01 	
9 Casini: Pensiero per l'organo II In D	5:16 	
10 Bencini: Fuga In G	2:11 	
11 Bencini: Sonata In F Minor	4:08 	
12 Porpora: Fuga In E Flat	5:08

Fernando Germani – organ

Church Organ of  Santa Maria del Riposo – Venice  (Pietro Nacchini organ1751)
(Recorded in 1969)

Il secondo libro di toccate ("The Second Book of Toccatas") is a collection of keyboard music by Girolamo Frescobaldi, first published in 1627. A work of immense historical importance, it includes the first known chaconne and passacaglia, as well as the earliest set of variations on an original theme (i.e. not a popular song, as in all earlier music). Il secondo libro di toccate is widely regarded as a high point in Frescobaldi's oeuvre.

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1 	"Toccata II" 	4:44
2 	Introito. "Civitas Hierusalem" 	3:07
3 	Kyrie I (a 8) 	1:21
4 	Christe (a 4) 	0:58
5 	Kyrie II (a 8) 	0:52
6 	Gloria (a 8) 	4:41
7 	Epistola (gregoriano) 	0:51
8 	Graduale. "Canzona XI" 	3:05
9 	Vangelo (gregoriano) 	2:19
10 	Credo (a 8) 	9:37
11 	Offertorio. "Ricercar dopo il Credo" 	2:41
12 	Prefatio (gregoriano) 	3:21
13 	Sanctus (a 8) 	1:45
14 	Elevazione. "Toccata IV" 	6:02
15 	"Iesu flos Mater Virginis" 	3:23
16 	Pater Noster (gregoriano) 	2:59
17 	Agnus Dei (a 8) 	1:18
18 	Communio. "Ego sum panis" 	2:37
19 	Post Communio. "Canzon II a 4) 	4:59
20 	Ite Missa est (gregoriano) 	0:51
21 	"Capriccio V sopra la bassa fiamenga" 	6:04

Il Teatro Armonico - Ensemble
Guiseppe Maletto - Tenor
Roberto Abbondanza - Baritone
Michel van Goethem - Counter-Tenor
Pascal Bertin - Counter-Tenor
Furio Zanasi - Baritone
Attilio Cremonesi - Organ
Alessandro De Marchi - Conductor

Girolamo Frescobaldi is one of the most important composers of keyboard music from the late Renaissance and early Baroque periods; with so much just attention paid to his keyboard music, his vocal oeuvre, a style he did not fully master, is, despite its size, much less noted. - Alessandro di Marchi leads Il Teatro Armonico in these performances, originally recorded in 1991. - Booklet includes sung texts. ---Editorial Reviews

The sound is often a bit rough around the edges but the fluent and skilful performance of the three-part motet Ego sum panis vivus...contradicts criticism by the 17th-century writer Antimo Liberati that Frescobaldi was 'unhappy and inept as a composer of vocal music'. ---GRAMOPHONE, prestoclassical.co.uk

From 1608 Frescobaldi was the organist at St Peter's Basilica in Rome. In 1615 a new basilica was built with two fine organs upon which Frescobaldi performed his famous improvisatory toccatas during ceremonial occasions but he was also expected to provide vocal and choral works for his patron, the Ferrara based Este efamily. It is likely that the Mass 'Sopra l’aria della Monica' was performed in the basilica and based on a popular tune. The 'aria della Monica' was a secular song, quite often used for keyboard variations and instrumental compositions. The mass reflects common practice in Rome in that is scored for eight voices in two choirs and is a beautifully crafted example of late 17th-century Italian church music. Amongst the singers are such familiar names as Rossana Bertini, Giuseppe Maletto (both La Venexiana, La Compagnia del madrigale), Marco Beasley, or Furio Zanasi. Musical direction is in the able hands of Alessandro De Marchi. Formerly available on the Symphonia label, recorded in 1993. Virtually no competition. ---prestoclassical.co.uk

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  	Messa Della Domenica
1.1 		Toccata Avanti La Messa Della Domenica 	1:57 	
1.2 		Kyrie Della Domenica 	1:02 	
1.3 		Kyrie 	1:29 	
1.4 		Christe 	1:29 	
1.5 		Christe, Alio Modo 	0:53 	
1.6 		Christe, Alio Modo 	0:52 	
1.7 		Christe, Alio Modo 	1:42 	
1.8 		Kyrie 	1:04 	
1.9 		Kyrie, Alio Modo 	1:06 	
1.10 		Kyrie, Alio Modo 	1:17 	
1.11 		Kyrie, Ultimo 	1:35 	
1.12 		Kyrie, Alio Modo 	1:03 	
1.13 		Kyrie, Alio Modo 	0:55 	
1.14 		Canzon Dopo La Pistola 	2:57 	
1.15 		Recercare Dopo Il Credo 	2:26 	
1.16 		Alio Modo, Si Placet 	1:13 	
1.17 		Tocata Cromaticha Per La Levatione 	5:57 	
1.18 		Canzone Post Il Comune 	4:19 	
  	Messa Della Madonna
1.19 		Tocata Avanti La Messa Della Madonna 	2:02 	
1.20 		Kyrie Della Madonna 	1:31 	
1.21 		Kyrie 	1:39 	
1.22 		Christe 	1:38 	
1.23 		Christe 	1:29 	
1.24 		Kyrie 	1:03 	
1.25 		Kyrie 	2:20 	
1.26 		Canzon Dopo La Pistola 	2:11 	
1.27 		Recercare Dopo Il Credo 	3:21 	
1.28 		Tocata Avanti Il Ricercar 	1:45 	
1.29 		Recercar Con Obligo Di Cantare La Quinta Parte Senza Tocarla 	5:06 	
1.30 		Tocata Per La Levatione 	4:20 	
2.1 		Bergamasca 	7:26 	
2.2 		Capriccio Sopra La Girolmeta 	7:54 	
  	Messa Delli Apostoli
2.3 		Tocata Avanti La Messa Delli Apostoli 	3:09 	
2.4 		Kyrie Delli Apostoli 	1:20 	
2.5 		Kyrie 	2:12 	
2.6 		Kyrie 	1:23 	
2.7 		Christe 	1:49 	
2.8 		Christe 	0:59 	
2.9 		Kyrie 	1:24 	
2.10 		Kyrie 	1:33 	
2.11 		Kyrie 	2:24 	
2.12 		Canzon Dopo La Pistola 	3:56 	
2.13 		Tocata Avanti Il Recercar 	2:18 	
2.14 		Tocata Cromaticha Post Il Credo 	4:47 	
2.15 		Altro Recercar 	6:19 	
2.16 		Tocata Per La Levatione 	6:13 	
2.17 		Recercar Con Obligo Del Basso Come Appare 	4:37 	
2.18 		Canzon Quarti Toni Dopo Il Post Comune 	4:16 	

Sergio Vartolo – organ
Cappella Musicale Di S. Petronio
Nova Schola Gregoriana
Alberto Turco – chorus master

Recorded 12-13 February 1990, Chiesa di S. Francesca Roma, Ferrara (Italy) [tracks 1.1 to 1.18] and 28-31 January 1990, Basilica di San Petronio, Bologna (Italy) [tracks 1.19 to 2.18]

Born in the northern city of Ferrara in 1583, Girolamo Frescobaldi was one of the most significant figures in Italian keyboard music before Domenico Scarlatti. Under the patronage of the Este family, Ferrara had developed into a major centre for the arts, especially the musical avant-garde, and Frescobaldi thrived in this exciting artistic firmament. In 1608 he was promoted to the post of organist at St Peter's Basilica in Rome. Here he was required to play at all the major religious ceremonies, and to provide organ improvisations as interludes in the Mass. The Fiori Musicali or 'musical flowers' occupy a special place among his works. Published in 1635, they consist of three 'organ Masses'. Designed for churches where there was an organ, but no choir, the organ would play the movements of the Mass in the form of toccatas, canzonas, recercars and so on, sometimes with plainchant provided by the priest. The music is relatively simple to play compared with Frescobaldi's other works for organ. No doubt he was thinking of country organists who were endowed with more modest abilities as musicians. That said, they are deeply felt and sincere works. ---brilliantclassics.com

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1. Vigesimaquarta a Due Bassi e Canto detta la Nobile
2. Ottava a Basso Solo detta l'ambitiosa
3. Prima a 4, Canto Alto Tenor Basse Sopra Rugier
4. Seconda a Canto Solo detta la Bernardinia
5. Undecima a Due Canti detta la Plettenberger
6. Prima a 2 Bassi
7. Trigesima Quinta detta l'Alessandrina
8. Seconda a 2, Canto e Basso
9. Terza a 2, Canto e Basso
10. Prima a Basso Solo (Sesta detta Laltera)
11. Quinta a 4, Canto Alto Tenor Basse
12. Decimasettima a Due Bassi detta la Diodata
13. Quarta a 4, Due Canti e Due Bassi
14. Prima a 2, Canto e Basso
15. Quintadecima a 2 Bassi detta la Lieuoratta
16. Settima a Basso Solo detta la Superba
17. Decimasesta a 2 Bassi detta la Samminiata
18. Seconda a 4, Due Canti e Due Bassi
19. Quinta a 3, Due Canti e Basso
20. Terza a Canto Solo detta la Donatina
21. Seconda a 4, Canto Alto Tenor Basse Sopra Romanesca

Bruno Cocset & Les Basses Réunies

Bruno Cocset, tenor de violon, basse de violon "a la Bastarda" & direction
Emmanuel Jacques, tenor & basse de violon
Emmanuel Balssa, basse de violon
Richard Myron, violone & contrebasse
William Dongois, cornets
Xavier Diaz-Latorre, theorbe
Christina Pluhar, harpe
Luca Guglielmi & Laurent Stewart, clavecin & claviorganum

This is by far the best intro to Frescobaldi's music I've encountered. Even by Renaissance/early Baroque standards his knotty, intricate compositions are not always the most approachable - though this has partly to do with the difficulties of interpretation. This recording really understands and fleshes out the music. I'm not an expert on Frescobaldi nor have the grammatical knowledge of music to explain exactly why I like this recording, but it's definitely superior to the recording of his Canzoni by Il Viaggio Musicale. I guess you could say it "swings." And the audio quality of the recording is outstanding as well. ---David I. Cahill, amazon.com

Featuring performances of nobility and sensitivity, works of elegance and expressivity, recordings of depth and clarity, and, last but not least, packaging of exemplary beauty, it is impossible to over-recommend this disc. Bruno Cocset -- the terrific young period cellist whose recording of Bach's Cello Suites was in the same league as Casals' and Fournier's -- leads his colleagues and friends of Les Basses Réunies in performances of strength, subtlety, and great dignity. Frescobaldi's Canzoni are landmark works in the emancipation of the instruments whose ease of counterpoint is matched by their grace of melodies. Alpha's recording is warm, rich, honest, real, and true, capturing Les Basses Réunies in an ideal acoustic environment. Alpha's packaging has interesting and informative notes wrapped in a superb if tiny reproduction of The Finding of Romulus and Remus by Faustulus by Pietro Berrittini, a work painted at about the same time that Frescobaldi composed his Canzoni. ---James Leonard, Rovi

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