Frescobaldi: Fantasie, Book 1, etc.

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Frescobaldi: Fantasie, Book 1, etc.



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2 hours 11 minutes


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Fantasie, Book 1

Ricercari franzese (10)

Canzoni Francesi

Sergio Vartolo (Harpischord and Organ)

CD - 2 discs


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Girolamo Alessandro Frescobaldi: Fantasie, Book I

Prima Sopra un soggietto

Seconda Sopra un soggietto solo

Terza Sopra un soggietto solo

Quarta Sopra doi soggietti

Quinta Sopra doi soggietti

Sesta Sopra doi soggietti

Settima Sopra tre soggietti

Ottava Sopra tre soggietti

Nona Sopra tre soggietti

Decima Sopra quattro soggietti

Undecima Sopra quattro soggietti

Duodecima Sopra quattro soggietti

Girolamo Alessandro Frescobaldi: Ricercari

Ricercar Primo

Ricercar Secondo

Ricercar Terzo

Ricercar Quarto Obligo mi, re, fa, mi

Ricercar Quinto

Ricercar Sesto Obligo fa, fa, sol, la, fa

Ricercar Settimo Obligo sol, mi, fa, la, sol

Ricercar Ottavo Obligo di non uscir mai di grado

Ricercar Nono Obligo di quattro soggetti

Ricercar Decimo Obligo la, fa, sol, la, re

Girolamo Alessandro Frescobaldi: Canzoni Francesi

Canzone I

Canzone II

Canzone III

Canzone IV

Canzone V

Gramophone Classical Music Guide


“The Fantasie (1608) and Ricercari (1615) are the earliest of Frescobaldi's keyboard publications, and as neither has been issued complete before; to get both together, and at super-budget price, is treasure-trove indeed. Frescobaldi fanatics need read no further.
Vartolo's tendency to spin out the music at twice the length of most other interpreters can be rather off-putting, and doesn't always help the listener to grasp the overall design of formally complex pieces like the Toccatas. But these Fantasias and Ricercars are imitative, fugal pieces, more abstract in conception than the exuberant toccatas; recognising this, Vartolo avoids extreme tempi, and instead gives measured performances that gain in clarity what they have lost in eccentricity. These are (and this isn't intended to damn with faint praise) sensible performances, that give both composer and audience their due.
Vartolo loosens up a bit in the playful CanzoniFrancesi that conclude the book of Ricercars, but in this he follows the composer's lead, and demonstrates his own sensitivity to style.
Vartolo mostly performs on a modern copy of an Italian harpsichord, and on the organ of the Chiesa del Spirito Santo, Pistoia (built a few years after Frescobaldi's death). Suffice it to say that this recording would be a must-have at full price; as it is, you won't find better value anywhere.”

The Times

“Vartolo brings this music to life with a rhythmically flexible performance and a sharp articulation that makes those hewn themes really stand out.”

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