Fantasia from Andrea Gabrieli to Johann Sebastian Bach Andrea Buccarella

• Andrea Gabrieli (1533 - 1585): Fantasia allegra del duodecimo tono:
• 1 Gabrieli: Fantasia allegra del duodecimo tono 02:46
• William Byrd (1543 - 1623): Fantasia in A Minor, BK 13:
• 2 Byrd: Fantasia in A Minor, BK 13 07:44
• Jan Pieterszoon Sweelinck (1562 - 1621): Fantasia chromatica, SwWV 258:
• 3 Sweelinck: Fantasia chromatica, SwWV 258 08:00
• John Bull (1562 - 1628): Fantasia a leona:
• 4 Bull: Fantasia a leona 03:42
• Girolamo Frescobaldi (1583 - 1643): Fantasia Seconda sopra une soggetto solo, F 6.02:
• 5 Frescobaldi: Fantasia Seconda sopra une soggetto solo, F 6.02 04:48
• Johann Jakob Froberger (1616 - 1667): Fantasia sopra Ut Re Mi Fa Sol La, FbWV 201:
• 6 Froberger: Fantasia sopra Ut Re Mi Fa Sol La, FbWV 201 07:18
• Johann Pachelbel (1653 - 1706): Fantasia in E-Flat Major, P. 127:
• 7 Pachelbel: Fantasia in E-Flat Major, P. 127 03:15
• Johann Sebastian Bach (1685 - 1750): Fantasie in C Minor, BWV 906:
• 8 Bach: Fantasie in C Minor, BWV 906 04:20
• Fantasie und Fuge in A Minor, BWV 904:
• 9 Bach: Fantasie und Fuge in A Minor, BWV 904: I. Fantasie 03:31
• 10 Bach: Fantasie und Fuge in A Minor, BWV 904: II. Fuge 04:43
• Chromatische Fantasie und Fuge in D Minor, BWV 903:
• 11 Bach: Chromatische Fantasie und Fuge in D Minor, BWV 903: I. Fantasie 06:09
• 12 Bach: Chromatische Fantasie und Fuge in D Minor, BWV 903: II. Fuge 05:02
• Total Runtime 01:01:18

Info zu Fantasia from Andrea Gabrieli to Johann Sebastian Bach

Andrea Buccarella untersucht in dieser ersten Aufnahme die Geschichte der Toccata als DEM Sinnbild der Barockmusik - von ihrem Erscheinen in Italien Ende des 16. Jahrhunderts bis zu ihrer Apotheose in Johann Sebastian Bachs Toccata in d-Moll. Die italienische Toccata - deren Name wahrscheinlich vom Verb ‚toccare‘ (berühren/anfassen) abgeleitet ist - eröffnete mit ihrem Erfindergeist, ihrer formalen Freiheit, ihren kontrastreichen Effekten von Virtuosität und Emotion den Weg für den ‚stylus fantasticus‘, der Ende des 17. Jahrhunderts Deutschland dominieren sollte. Um jeder Periode ihren optimalen Klang zu verleihen, spielt Buccarella Kopien von vier verschiedenen Cembali - zwei italienischen, einem flämischen und einem deutschen -, die mit ihren Entstehungsdaten und Bauarten die wichtigsten Phasen des barocken Instrumentenbaus veranschaulichen.

Andrea Buccarella, Cembalo

Andrea Buccarella
was born in Rome in 1987 and undertakes his first musical studies as Puer Cantor in the prestigious choir of the Sistine Chapel (1997 – 2000). After obtaining the diploma in organ and organ composition at the Conservatorio di Santa Cecilia in Rome (2008), he graduates cum laude in harpsichord and historical keyboards under Enrico Baiano (2016). In June 2018 he will obtain his master’s degree in harpsichord at the Schola Cantorum Basiliensis under the guidance of Andrea Marcon.

An intense concert activity, both as soloist and as member of orchestras and chamber ensembles, brought him to perform in important festivals in Europe, the USA, Korea and Japan. He took part in several recordings with Concerto Romano, Abchordis Ensemble, La Cetra, Il Pomo d’Oro, Musica Antique Latina and Ensemble Mare Nostrum; moreover, he recorded for several radio stations such as Rai Radio 3, Radio Vaticana, France Musique, Radio Espace 2, WDR 3, ORF Ö1, Radio Televizija Vojvodine (RTV).

In 2012 he became the artistic director and conductor of Abchordis Ensemble. Since then, Andrea dedicated himself to a conscientious activity of research, aiming for the discovery of musical masterpieces of the past which are not performed in modern times, with special focus on the sacred repertoire of 18th-century Italy. He has conducted the Abchordis Ensemble in many important festivals, among others Festival d’Ambronay (France), Internationale Händel-Festspiele (Göttingen, Germany), Festival classique des Haudères (Switzerland), Mars en Baroque (Marseille, France), Les Riches Heures de Valère (Sion, Switzerland), Valletta International Baroque Festival (Malta), Purtimiro Festival, Pavia Barocca, Urbino Musica Antica, Festival Anima Mea and Festival Alessandro Stradella (Italy). Under his guidance the Abchordis Ensemble won the Public Prize at the showcase organized in 2013 by the REMA (Réséau Européen de la Musique Ancienne), and the first prize at the International Händel Competition 2015 in Göttingen (Germany). As harpsichordist and conductor of Abchordis Ensemble, he released two recordings entirely dedicated to the sacred music of Neapolitan Baroque, for the label SONY Deutsche Harmonia Mundi: Stabat Mater (January 2016) and Dies Irae (May 2018). These include unpublished works by Gennaro Manna, Aniello Santangelo and Giacomo Sellitto in their world’s first recording.

As harpsichordist, Andrea has been awarded the first prize by unanimous decision of the jury of the International Competition Musica Antiqua 2018 of Brugge (MAfestival Brugge).

Booklet für Fantasia from Andrea Gabrieli to Johann Sebastian Bach