GABRIELI - Dialoghi Musicali - Bongiovanni Musica
GABRIELI - Dialoghi Musicali - Bongiovanni Musica
GABRIELI - Dialoghi Musicali
GABRIELI - Dialoghi Musicali - Bongiovanni Musica
GABRIELI - Dialoghi Musicali - Bongiovanni Musica
GABRIELI - Dialoghi Musicali
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GABRIELI - Dialoghi Musicali

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GIOVANNI GABRIELI
Liuwe Tamminga • Leo Van Doeselaar – organo 
Basilica di San Petronio, Bologna
  1. Fuggi pur se sai. Aria da sonar a 8, Ch. 116 (from "Dialoghi musicali raccolte da diversi eccellentissimi", Venice, 1590)
  2. O che felice giorno. Hodie Christus natus est a 8, Ch. C8 (from "Dialoghi musicali raccolte da diversi eccellentissimi", Venice, 1590)
  3. Chiar' Angioletta. Aria da sonar a 8, Ch. 117 (from "Dialoghi musicali raccolte da diversi eccellentissimi", Venice, 1590)
  4. Dormiva dolcemente a 8, Ch. 115 (from "Dialoghi musicali raccolte da diversi eccellentissimi", Venice, 1590)
  5. Sacrae symphoniae, Liber 1 (1597): No. 29, Canzon per sonar septimi toni a 8, Ch. 171
  6. Sacrae symphoniae, Liber 1 (1597): No. 33, Sonata pian e forte, Ch. 175
  7. Sacrae symphoniae, Liber 1 (1597): No. 31, Canzon per sonar noni toni a 8, Ch. 173
  8. Sacrae symphoniae, Liber 1 (1597): No. 30, Canzon per sonar septimi toni a 8, Ch. 172
  9. Sacrae symphoniae, Liber 1 (1597): No. 32, Canzon per sonar duodecimi toni a 8, Ch. 174
  10. Sacrae symphoniae, Liber 1 (1597): No. 59, Sonata octavi toni a 12, Ch. 184
  11. Canzon vigesimasettima 'fa-sol-la-re' a 8, Ch. 190 (No. 27 from "Canzoni per sonare con ogni sorte di stromenti", Venice, 1608)
  12. Canzon vigesimaottava 'sol-sol-la-sol-fa-mi' a 8, Ch. 191 (No. 28 from "Canzoni per sonare con ogni sorte di stromenti", Venice, 1608)
  13. Canzoni et sonate (1615): Canzon XII a 8, Ch. 205
  14. Canzoni et sonate (1615): Canzon XIV a 10, Ch. 207
  15. Canzoni et sonate (1615): Canzon VIII a 8, Ch. 202

"In the present recording, the organists Liuwe Tamminga and Leo Van Doeselaar have selected eleven double-choir instrumental pieces (from Giovanni Gabrieli. This selection of eight-to-twelve-part pieces, performed on two of the most beautiful and suitable organs for this repertoire—the two magnificent organs of the San Petronio Basilica in Bologna (unfortunately no comparable organs have survived in Venice) — offers an excellent panorama of Giovanni Gabrieli’s double-choir compositions in the older (canzoni and madrigals) and newer (sonate) forms and styles of the two decades between the late 16th and the early 17th century in Venice."