Dialogue for Two Organs
Cherubini • Galuppi • Clementi • Bonazzi • Busi • Canneti
Dialogue: “a verbal interchange, conversation between
two or more persons … a composition for two or more
voices or instruments”. Intelligence, logic and reason all
have a part to play, not only in human conversation, but
also in musical dialogues, through simplicity of
expression, hexachordal mutation of Gregorian chant,
well-considered responses to musical cues, and so on.
These dialogues for two organs originate in part
from the practice of alternatim, in which the instrument
would both add to and draw inspiration from a complex
polyphonic texture. Organ improvisation is moreover
centuries-old, as shown by this reference made to it by
Girolamo Diruta (c.1550- after 1612) in his organ
treatise Il Transilvano: “… listening in St Mark’s
(Venice), that most famous of churches, to a duel
between two organs responding to one another with
such skill and grace that I was almost beside myself, and
longing to meet these two great champions, I waited by
the door until I saw appear Claudio Merulo and Andrea
Gabrieli…”. The cities of Venice, Milan, Padua,
Bologna, Rome and Naples — whose churches boasted
instruments constructed by the greatest organ-builders
— all, thanks to the musical genius and imagination of
their organist-composers, played a part in establishing
compositional criteria and various different musical
forms, of which this CD contains a number of examples,
the latest work dating from the mid-nineteenth century.
The Sonata for two organs by the Florentine
composer Luigi Cherubini (1760-1842) is dated 1780,
Milan. The lighthearted opening theme is followed by a
masterful display of counterpoint in two fugues, for the
first and second organ respectively. The initial theme
returns at the end in a duel of rhythm and movement
before the two join in unison at the final cadence. In his
light and elegant Sonata for two harpsichords, or organ
and spinet, Baldassare Galuppi, “Il Buranello” (1707-
85), favours the style galant, the simplified and stylised
descendant of the Baroque. The score of the nineteenthcentury
Sonata for two organs by an “anonymous
Italian”, like those of the Clementi and Bonazzi pieces,
is held in the Milan Cathedral archive. All these works
have been newly published by Armelin (Padua). In the
anonymous piece, the thematic elements (variously
transposed) are passed back and forth, echo-like,
between the two instruments, thereby creating a
transparent, flowing musical texture, with richer
harmonies generally occurring at the cadences.
Also included on this CD is the Sonata for two
organs by Muzio Clementi (1752-1832), prodigy,
composer, pianist and publisher. His skill in the
pianistic idiom is evident in this piece, which is divided
into three principal sections: Allegro molto-Allegretto-
Allegro molto. Ferdinando Bonazzi (1764-1845) was
first organist at Milan Cathedral and his Suonata and
Pastoral for two organs both come from its archive. We
know that there were two organists at Milan, who would
take turns to play the two exquisite instruments built by
Gian Giacomo Antegnati (1559) and Cristoforo
Valvassori (1607). The presence of these instruments
(subsequently modified) probably explains the quantity
of works written for two organs. The style galant of the
first piece by Bonazzi contrasts with the pastoral
gracefulness of the second, which unfolds in three
sections: Andante-Minuetto Allegro-Allegro.
The Four Sonatas for two organs by the Bolognese
composer Giuseppe Busi (1808-71) show how the
idiom was developing under the influence of opera,
which was by then the dominant musical form in Italy.
The Four Sonatas are written in different tempi
(Sonata I Allegro giusto; Sonata II Adagio; Sonata III
Allegro; Sonata IV Largo) but the first three employ the
by then standard rhythmic and harmonic (and, often,
melodic) stimuli. The Fourth Sonata progresses in a
more subdued manner, its dialogue linear and
transparent, while denser harmonies emphasise
moments of expressive tension.
Even more obviously influenced by the musical
world of his time was the organist-composer Francesco
Canneti (1807-84). Organ transcriptions of symphonies,
arias, marches and other such pieces by famous
composers were commonplace by this time, and
Canneti’s Finale for two organs from Verdi’s Aida is an
entertaining example, bringing our programme to an
end with the well-known Triumphal March.
Nestling in the medieval town of Sant’Elpidio a
Mare, the magnificent Basilica of the Madonna della
Misericordia contains not only works of art by Boscoli,
Pomarancio and Lilli among others, but also two
internationally renowned organs. The quality of these
instruments along with the church’s impeccable
acoustics and beautiful sound synthesis make this a
unique setting for music-making.
Luigi Celeghin
English translation: Susannah Howe