Zipoli in Diamantina Marco Brescia

• Domenico Zipoli (1688 - 1726): Sonate d'Intavolatura per Organo e Cimbalo, Op. 1:
• 1 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: I. Toccata in Re Minore 04:48
• 2 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: II. Verso I in Re Minore 00:52
• 3 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: III. Verso II in Re Minore 00:40
• 4 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: IV. Verso III in Re Minore 01:01
• 5 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: V. Verso IV in Re Minore 00:39
• 6 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: VI. Canzona in Re Minore 03:30
• 7 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: VII. All'Elevazione in Do Maggiore 03:16
• 8 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: VIII. All'Offertorio in Do Maggiore 01:44
• 9 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: IX. Verso I in Do Maggiore 00:46
• 10 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: X. Verso II in Do Maggiore 00:42
• 11 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XI. Verso III in Do Maggiore 00:55
• 12 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XII. Verso IV in Do Maggiore 00:45
• 13 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XIII. Canzona in Do Maggiore 02:39
• 14 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XIV. All'Elevazione in Fa Maggiore 03:57
• 15 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XV. Al Post Comunio in Fa Maggiore 01:47
• 16 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XVI. Verso I in Fa Maggiore 00:52
• 17 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XVII. Verso II in Fa Maggiore 00:54
• 18 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XVIII. Verso III in Fa Maggiore 00:55
• 19 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XIX. Verso IV in Fa Maggiore 00:49
• 20 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XX. Canzona in Fa Maggiore 04:04
• 21 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXI. Pastorale in Do Maggiore 03:24
• 22 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXII. Verso I in Mi Minore 00:57
• 23 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXIII. Verso II in Mi Minore 00:59
• 24 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXIV. Verso III in Mi Minore 00:39
• 25 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXV. Verso IV in Mi Minore 00:45
• 26 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXVI. Canzona in Mi Minore 02:48
• 27 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXVII. Verso I in Sol Minore 00:41
• 28 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXVIII. Verso II in Sol Minore 00:48
• 29 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXIX. Verso III in Sol Minore 00:44
• 30 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXX. Verso IV in Sol Minore 00:52
• 31 Sonate d'Intavolatura per Organo e Cimbalo, Op. 1: XXXI. Canzona in Sol Minore 03:48
• Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia:
• 32 Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia: Tocada 02:39
• 33 Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia: Obra de I tono 02:43
• 34 Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia: Príncipe 02:27
• 35 Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia: Retirada del Emperador de los dominios de España 01:36
• 36 Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia: Primavera 02:39
• 37 Manuscript, Sones mo organo, San Rafael de Velasco, Bolivia: Folías 04:03
• Total Runtime 01:08:07

Info zu Zipoli in Diamantina

Zipoli in Diamantina: the first recording made on the historic organ Almeida e Silva of Diamantina (1787), state of Minas Gerais, Brazil—consists of the complete organ works published by Domenico Zipoli (Prato, Italy, 1688 – Córdoba, Argentina, 1726) in his Sonate d’Involatura per Organo e Cimbalo (Rome, 1716), besides some works attributed to the composer from the manuscript Sones mo organo (1746), a miscellany of keyboard works from the Jesuit mission of San Rafael de Velasco, Bolivia. The Chiquitos’ works selected for the present recording were very likely disseminated by priest Martin Schmid. Even if not effectively composed by Zipoli, they do reveal a clear stylistic influence of the composer who passed away in the Córdoba missions, where Schmid was in 1729 before leading to the Chiquitanía. The repertoire presented in this album follows a historically informed approach seeking a commitment between the performance traditions from Italy and Spain of the first half of the 18th century, using for this purpose an 18th century sound source of autochthone Brazilian construction, of which the aesthetical characteristics led to a conscious performance of a Zipoli with a pronounced Ibero-American accent.

Marco Brescia, organ

Marco Brescia
Italian / Brazilian organist settled in Porto (PRT), Marco Brescia is a remarkable specialist in the historically informed performance practice of Iberian and Italian keyboard music (16th — 19th centuries).Mr. Brescia performs regularly in prestigious organ and early music international festivals like Euro-Via / Festival Internazionale di Venezia, Festival Organistico Internazionale Città di Treviso e della marca trevigiana, Stagione Internazionale di concerti sugli organi storici della provincia di Alessandria, Settimana Organistica Internazionale di Piacenza (ITA), Landsberger Orgel Sommer (DEU), Festival Internacional de Música Antigua de Daroca, Festival Espazos Sonoros de Galicia (ESP), Festival de Órgão da Madeira, Festival de Estoril / Lisboa (PRT), Festival Internacional de Música Colonial Brasileira e Música Antiga de Juiz de Fora (BRA), etc. The classes given by José Luis González Uriol in the early music courses of Daroca (ESP) were crucial to Mr. Brescia’s artistic development. He holds a masters in Performance of Early Music / Historic Organ (Escola Superior de Música de Catalunya / Universitat Autònoma de Barcelona), accomplished under the supervision of Javier Artigas and in which he was awarded with the prestigious matrícula de honor, as well as a PhD in Musicology (Universities Paris IV – Sorbonne / NOVA de Lisboa), receiving the highest commendation, très honorable à l’unanimité. Mr. Brescia is currently a researcher at the Faculty of Human and Social Sciences / NOVA de Lisboa University, where he is an effective member of the CESEM – Centre for Studies of Sociology and Musical Aesthetics. Main promoter and technical coordinator of the critical restoration of the historic organ Almeida e Silva of Diamantina (1787) he was decorated by the Government of the State of Minas Gerais with the Medalha de Honra Presidente Juscelino Kubitschek.

With the soprano Rosana Orsini, Mr. Brescia recorded at the historic organ Manuel de la Viña / Ramón Cardama of the Convent of Santa Clara in Santiago de Compostela (1713/1865) the album «Angels and Mermaids: religious music in Oporto and Santiago de Compostela (18th/19th century)» (Arkhé Music, 2016). Since 2015, he has been the artistic director of the Festival Internacional de Órgão de Vila Nova de Famalicão e Santo Tirso (PRT).

Booklet für Zipoli in Diamantina