Picchi - Organ Music
£11.35
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Label: Brilliant Classics
Cat No: 96098
Format: CD
Number of Discs: 2
Genre: Instrumental
Release Date: 29th September 2023
Contents
Works
Alla Madonna delle lacrimeAssolo di Tromba Armonica
Berceuse e Saltarello
Canzonetta
Capriccio in C major
Capriccio
Davanti alla cuna
Exultet orbis
Fides invicta
Finale giocoso
Jerusalem
Marcia 'Alleluia'
Marcia 'Lauda Sion'
Marcia 'Veni creator'
Marcia nuziale
Minuetto-Scherzo
Minuetto
Moto perpetuo
Musetta
Offertorio in C major
Offertorio in E major
Per un eroe
Regina caeli
Resurrezione
Scherzo in D major
Scherzo in G major
Tempo di sonata
Toccata
Tuba insonet salutaris
Artists
Paolo Bottini (organ)Works
Alla Madonna delle lacrimeAssolo di Tromba Armonica
Berceuse e Saltarello
Canzonetta
Capriccio in C major
Capriccio
Davanti alla cuna
Exultet orbis
Fides invicta
Finale giocoso
Jerusalem
Marcia 'Alleluia'
Marcia 'Lauda Sion'
Marcia 'Veni creator'
Marcia nuziale
Minuetto-Scherzo
Minuetto
Moto perpetuo
Musetta
Offertorio in C major
Offertorio in E major
Per un eroe
Regina caeli
Resurrezione
Scherzo in D major
Scherzo in G major
Tempo di sonata
Toccata
Tuba insonet salutaris
Artists
Paolo Bottini (organ)About
The first phase of his musical activity saw him engaged in the concert and operatic life of the province as well as composing: instrumental and vocal works, a Requiem Mass (1922) and musical accompaniments for the Passione di Cristo (1925) to a text by Don Ennio Bernasconi.
In Como, Picchi’s true vocation, for sacred music, was able to be realised: as a boy he had had the opportunity to play for liturgical services on the Sairano organ and, as a young student at the Conservatory, he had continued this activity in villages in the surroundings of Milan.
He also composed pieces for organ which were featured in L’Organista italiano (1922–26) and I Maestri dell’Organo (1931), journals issued by the Carrara music publishing house of Bergamo, whose founder Vittorio Carrara was astute enough to sense and appreciate Picchi’s talents: his artistic substance as well as the playability of his music and its suitability for the liturgy. In 1932 Carrara entrusted him with the editorship of a new journal, L’Organista liturgico, which he held until 1943.
Alongside his music for organ Picchi also composed vocal works for use by the cathedral choir as well as amateur choral groups and public assemblies, including various motets as well as masses (Cristo risusciti, 1932; Italica, 1940; Christus vincit, 1941) and also educational music (theatrical sketches, school songs) and theoretical works (Scuola moderna di Teoria e Solfeggio, 1941–44).
His wish to set the text of the mass in an appropriate manner together with his faithfulness to Cecilian ideals led Picchi to the innovations of his Missa Misericors Deus (1949), published by Ricordi together with the masses in honour of San Nicolao della Flüe (1947) and San Pio X (1954) and his collections of Christmas Carols (1947) and Easter Songs (1950–54).
In 1954 Picchi established a new journal on organ music, Laus Decora; operating from Como, it was issued over the course of a decade with associated publications from the Schola music publishing house and introduced readers to a wide range of vocal compositions by Picchi, including various songs and motets, the masses Rex pacificus (1945), In onore di Maria Vergine Assunta (1950) and Auxilium Christianorum (1960) as well as various school songs and educational works (Nuovo Corso di Solfeggio, 1954; Metodo teorico-pratico per lo studio dell’Armonio e del Pianoforte, 1956).
The resumption of his collaboration with the Carrara publishing house coincided with the implementation of the liturgical reforms as stipulated by the Second Vatican Council, of which Picchi had already been a precursor in his interpretative consistency as well as his involvement of the assembly of the faithful, namely in his songs for Il popolo alla messa, 1953, written in collaboration with Don Luigi Agustoni and Don Silvano Albisetti. His greatest success in this field was the Messa Vaticano II (1965) followed by the Messa dei Defunti (1966) and the Messa Apostolica (1968).
On this new recording Italian organist Paolo Bottini plays the Carlo Vegezzi-Bossi organ (1901) in the Barozzi Hall of Istituti dei Chiechi, Milan, Italy. This magnificent instrument is undoubtedly one of the most perfect, complete and intact examples (without stylistic alterations) of a great Italian romantic/symphonic organ of the early twentieth century, the golden age of the evolution of this instrument in Italy. The organ’s full specifications are included in the booklet.
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