Tinazzoli - Complete Keyboard Works
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Label: Brilliant Classics
Cat No: 96875
Format: CD
Number of Discs: 2
Genre: Instrumental
Release Date: 28th April 2023
Contents
Works
Capriccio no.3Capriccio no.7
Capriccio no.9
Capriccio no.10
Capriccio no.14
Capriccio no.15
Capriccio no.16
Keyboard Sonata no.1
Keyboard Sonata no.2
Keyboard Sonata no.4
Keyboard Sonata no.5 'Offertorio'
Keyboard Sonata no.8
Keyboard Sonata no.11 'Offertorio'
Keyboard Sonata no.12 'Elevazione'
Keyboard Sonata no.13 'Post Agnus'
Partite sopra il passagallo
Toccata no.6
Toccata no.17
Toccata no.18
Artists
Simone Pierini (harpsichord, organ)Works
Capriccio no.3Capriccio no.7
Capriccio no.9
Capriccio no.10
Capriccio no.14
Capriccio no.15
Capriccio no.16
Keyboard Sonata no.1
Keyboard Sonata no.2
Keyboard Sonata no.4
Keyboard Sonata no.5 'Offertorio'
Keyboard Sonata no.8
Keyboard Sonata no.11 'Offertorio'
Keyboard Sonata no.12 'Elevazione'
Keyboard Sonata no.13 'Post Agnus'
Partite sopra il passagallo
Toccata no.6
Toccata no.17
Toccata no.18
Artists
Simone Pierini (harpsichord, organ)About
The New Grove Dictionary of Music and Musicians informs us that Agostino Tinazzoli was born in Bologna during the second half of the 17th century, quite possibly around 1660. Most of the works attributed to Tinazzoli concern sacred music, including various oratorios (such as Il sacrifizio di Gefte), and masses (such as an incomplete Requiem).
This collection of solo keyboard music comes from two manuscripts currently preserved in Münster and Bologna. The former contains all the pieces included in the two CDs, while the latter includes Toccata no.18 and a larger version of the Toccata no.17 including all the movements performed (the Münster manuscript contains only the first movement). Four of the pieces of the collection are specified for the organ, and they are intended to be used during the Mass: there are two Offertorios, one Elevazione and a Post Agnus, and all of them are titled Sonata. Tinazzoli assigns the terms Sonata, Toccata, and Capriccio to these pieces (except for the Passagallo), but there is seemingly no criteria for the choice of name.
The collection employs a wide range of styles and formal structures: there are concerto-like pieces (Toccata no.17, Sonata no.4), as well as fugato pieces (Sonata no.11), and dance movements (for example, the Sarabanda in Sonata no.4, or the concluding Minuetto in Capriccio no.3). While we are unable to determine a precise timeframe of composition, it seems that even if the pieces may have been composed in disparate years Tinazzoli remained well informed throughout his career about the stylistic developments occurring in Italy and Europe in his day: the organ pieces, for example, adhere to the late- 18th-century style, which was fundamentally more operatic.
The most important feature of these pieces, however, is the pervasive employment of basso continuo: the pieces are almost constantly notated in two voices (treble and bass) but with figured bass numerals throughout. In this collection, Simone Pierini has employed basso continuo and improvisation features in the most stylistically appropriate way, considering the wide range of styles included.
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