The attribution of works to Benvenuto di Giovanni and his son Girolamo di Benvenuto is problematic and is complicated by the fact that the two undoubtedly collaborated on several works. Focusing on two paintings in the Museum’s collection, the authors reexamine attributions to these artists and compare the paintings to work in other collections in the United States.
Pietro Lombardo, richiamandosi a Girolamo, scriveva che esiste “una scintilla superiore della ragione, che neppure in Caino poté estinguersi, che vuole sempre il bene e odia sempre il male”. La scintilla della coscienza avrebbe dunque il ruolo di giudice interiore delle nostre azioni. Nel corso dei secoli, tuttavia, il concetto stesso di coscienza ha subito metamorfosi che ne hanno cambiato sensibilmente il significato. …
New recording of lute music Girolamo Giovanni Kapsberger. The composer, of Austrian descent, settled in Rome in the beginning of the 17th century, and became a highly influential and famous virtuoso on the lute. In his compositions for this instrument Kapsberger embraced the new style, the “Stilus Phantasticus”, characterized by spontaneous changes, sharp contrasts, unusual rhythmic groupings, and in general a great feeling of freedom.
This is the fifth and final volume in the Ligia series of the complete keyboard music of Girolamo Frescobaldi (1583–1643). Previous volumes reviewed in Fanfare include the Primo libro di capricci and Secondo libro di toccate (both 34:2), and the Primo libro di toccate (34:6). The present volume includes published collections from the beginning, middle, and end of Frescobaldi’s career. The Primo libro delle fantasie was published while the composer was still in Milan; it served as a kind of audition piece that eventually won him the position of organist at St. Peter’s in Rome.
The Second Book [of toccatas] was composed 12 years after the first, in 1627, when Frescobaldi was at the height of his creative powers and indeed his prestige: he was organist at the then-largest church in the world, the Roman Basilica of St Peter. (brilliantclassics.com)
[The canzonas] in the 1628 collection show [Frescobaldi's] wonderful inventiveness and profligacy with musical ideas which never outstay their welcome but are constantly replaced with new ones or with modifications of the originals. They are forged from the simplest of musical materials - a repeated interval, a fraction of a scale, a rhythmic pattern - but each is individually crafted and ear-catching. The genre is inherently non-demonstrative and must have been used as background music much of the time, but Frescobaldi never flags in imagination and the sheer range and variety of his invention is breath-taking, underscored in these performances by a great diversity of instrumentation. (Noel O'Regan, CD booklet, 2008)
Brilliant Classics is recording the complete harpsichord music of Girolamo Frescobaldi [1583-1643], in lively and historically informed interpretations by Roberto Loreggian. This first volume contains his toccatas and partitas, which were much admired by J. S. Bach. They have never left the repertory of keyboard players and their challenges and rewards are just as stimulating today as they were for the those who eagerly snapped them up in the 17th century.