CD OF THE MONTH - Alte Musik Actuel

FRESCOBALDI KEYBOARD MUSIC

Colin Booth - harpsichord & organ

Toccata 1 (book I) - Capriccio on La Bassa Fiammenga - Canzona 1
Toccata 8 (book I) - Capriccio on L’Aria Or Che noi rimena - Canzona 4
Toccata 5 (book II) - Partite (Variations) on L’Aria della Romanesca
Toccata 11 (book I) - Variations an L’Aria detto Balletto - Ricercar 3
Toccata 7 (book II) - Capriccio on La, Sol, Fa, Mi, Re, Utr

CD of the Month:
One doesn’t have to be an Italian to create a sensation by a provocative and extraordinary performance. This is demonstrated here by the English harpsichordist Colin Booth, on a copy of an early Italian harpsichord with two keyboards – which is rare for this type of instrument. The original is in the Germanisches National Museum in Nuremberg, and the maker of the copy is Colin Booth himself. In addition he uses an organ by Robin Jennings on the recording.

The meantone tuning of the instrument is extremely attractive. But the real thrill of the CD is the almost non-conformist approach of the player, which on the one hand brings Frescobaldi much closer to Bach and the Baroque, and on the other shows how a shrewd musician can – to put it rather daringly – play the music as if it were jazz. The range of tonal colour, rhythmic freedom, and creative boldness are all features of jazz.

It is to the great credit of Colin Booth that he has brought a composer from the late-Renaissance much closer to our own age. For this he is to be warmly thanked.
Alte Musik Aktuell, November 2001

Booth's approach to this music is more intimate and personal than many performers of Frescobaldi's works. In the organ works it can be clearly heard that he is focussing more on the music than the sound of the organ. Rather than choose a grandiose organ in the reverberating acoustic of a church, he plays a small organ in a simple room, much like that where Frescobaldi might have often played his music. This gives the organ works a quality rarely heard - one is not overcome by the force of the instrument; the listener can hear the music for what it is, rather than for the context in which it is played. This is not likely to please those listeners who seek loud, energetic organ recordings, but others who appreciate the subtleties which arise from listening to this type of instrument. Toccata XI, played on organ, is a slow, intense piece, with subtle lines that weave together well on this simple organ. Ricercar III is an attractive, moving fugue, played slowly and with feeling. Booth may be a bit too rigid in this work, lacking in just a bit of energy, but the result is spellbinding nevertheless.

The harpsichord works let Frescobaldi's virtuosity be clearly heard. Booth shows a mastery of the technique, as he negotiates runs up and down the keyboard, yet never loses track of the main lines. The longest piece is the Variations on the Romanesca, exploring many different timbres and rhythms. Booth gives a fine performance of this beautiful work, showing an excellent command of the variety of touch necessary, from a light, subtle touch to a more forceful, energetic and rhythmic approach.

This disc offers a fine a selection of Frescobaldi's works. The originality of using a small organ, and of presenting both organ and harpsichord, is an excellent choice, which makes for an attractive listening experience. Booth's harpsichord especially stands out for its rich, subtle sound.
Classical Music on the Web, January 2002