This solo recording is motivated by an intention to present Girolamo Frescobaldis dance pieces, galliards and correntes, from his book 2 (1637), in a setup with music of more "substantial" character, such as the improvisational and madrigal-like toccatas, polyphonic canzonas and the larger scaled variation work on the passacaglia. Are parts of it considered more meaningful or important when a composer like Frescobaldi publishes his pieces in a specific order and that hints in the preface that the essential part of the publication are the toccata-pieces? Are the shorter dance pieces at the end of the music book considered less significant?
The title of the recording plays around with the paradox which might occur when we consider music as more or less important or significant. In his preface to the collection, granting the reader liberty to remain practical when performing the music, Frescobaldi’s significant way of demonstrating ‘meaninglessness' trigged the overall performance of the pieces, to read them thoroughly and yet to play them with ease.
frescobaldi, harpsichord, interpretation, galliard, toccata, historic, hip
The Grieg Academy, Faculty of Fine Art, Music and Design, University of Bergen