Among the musicians who were active in the first half of the seventeenth century, Girolamo Frescobaldi (Ferrara, 1583 - Rome, 1643)stands out not only as an organist whose virtuosity and technical skill were superlative and incomparable, but also as a formidable musician who was able to interpret the artistic stirrings in the musical language of his time and to incorporate them, in an effective and significant way, into his vast production for keyboard instruments.
Frescobaldi not only inaugurates a new manner of playing but also illustrates a new refined “modus componendi” through a language of astonishing modernity.
The concert offers pages taken from his printed (Libro I Toccatas, Libro II Toccatas) and unpublished (Chigi Codex ) music collections.
It is music that seduce by its spontaneity, by its freshness, by the naturalness of the lyric melodic gesture.
In fact, the pages of the illustrious organist enjoy the luminous and fascinating sonorities of a magnificent example of Italian organ building art, belonging to one of the most famous dynasties of Brescian builders, active in the years between the sixteenth and seventeenth centuries: the Antegnati. In particular, it is an ancient organ built by Gian Giacomo Antegnati in 1554, located, in the mirifica Church of San Maurizio al Monastero Maggiore in Milan.
These pages are so imbued with a great expressive intensity and a poignant grace that, even today, they amaze us with their relevance. They are compositions permeated by a magic of sounds and an emotional tension that seems to never end.