Dale Carr | Toccata no.5, for organ, from Frescobaldi's 2nd book of toccatas {1637}, performed by Dale Carr @dalecarr6361 | Uploaded January 2021 | Updated October 2024, 1 hour ago.
Toccata no.5, for organ, from Frescobaldi's 2nd book of toccatas {1637}, performed by Dale Carr on the Schnitger organ {1702} in the Der Aa-Kerk in Groningen on 20 September, 1991
Frescobaldi's subtitle, in English: on the pedals for the organ, and without. This suggests that the use or omission of pedals is the player's choice, so I have omitted the pedal in part of the piece.
Just as Frescobaldi's harpsichord toccatas invite a flourish at the opening, so does this organ toccata. And just as some tied notes in the harpsichord works seem to allow for repeating the note - or vice versa - at the judgment of the player, so I have allowed myself a similar discretion in this piece.
The long pedal tones each dictate a limited harmonic range in each individual section; the composer exploits this limitation with the greatest possible variety. Frescobaldi seemed to enjoy setting himself a compositional challenge, as here, or elsewhere e.g. by avoiding stepwise movement, or by resolving all the dissonances incorrectly, or by repeating the 4-note bass line 100 times.
The performance used the plenum of the rugwerk.
Toccata no.5, for organ, from Frescobaldi's 2nd book of toccatas {1637}, performed by Dale Carr on the Schnitger organ {1702} in the Der Aa-Kerk in Groningen on 20 September, 1991
Frescobaldi's subtitle, in English: on the pedals for the organ, and without. This suggests that the use or omission of pedals is the player's choice, so I have omitted the pedal in part of the piece.
Just as Frescobaldi's harpsichord toccatas invite a flourish at the opening, so does this organ toccata. And just as some tied notes in the harpsichord works seem to allow for repeating the note - or vice versa - at the judgment of the player, so I have allowed myself a similar discretion in this piece.
The long pedal tones each dictate a limited harmonic range in each individual section; the composer exploits this limitation with the greatest possible variety. Frescobaldi seemed to enjoy setting himself a compositional challenge, as here, or elsewhere e.g. by avoiding stepwise movement, or by resolving all the dissonances incorrectly, or by repeating the 4-note bass line 100 times.
The performance used the plenum of the rugwerk.