Opere Complete per Organo

Bertoldo, Sperindio (1530-1570)


Edited by Marco Ghirotti

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Bertoldo Sperindio born in Modena in 1530 c.
On January 1st 1552 “Master Sperandio” was appointed organist to Cathedral of Padua. In 1557 he obtain a ten year contract for the same charge and received a substantial raise in salary. In 1567 is renewed him the contract for further sixteen years, but at the same year he was suspended from his service for insubordination. We don’t exactly know the reason for such suspension, but probably consequence of a remarkable fact if the superior think even to a substitute. He’s reinstated however in August of the same year. He dies in Padua 15 August 1570. After his die the Charpet members bestowed Bertoldo salary to his widow and children.

The corpus of Bertoldo’s works comprises two collections of madrigals, printed during the life of the author, and two collections of organ music, printed posthumous. Even if in the dedication of his two books of madrigals Bertoldo described them as the “second and third parts”, we don’t have trace of that that had to be his “first part”. The “Primo libro di madrigali a 5 voci…con un echo, 6 voci, et un dialogo, 8 voci” Venice 1561. The second book of “Madrigali, 5 voci…libro secondo”, Venice 1562 “Canzoni francese intavolate da sonar d’organo” Venice 1591 “Tocate, ricercari et canzoni francese intavolate per sonar d’organo” Venice 1591.

The two prints of organ music contain typical compositions of the Renaissance period for keyboard instrument what the Toccata, the Ricercare and the Canzona. The kind of the Toccata is well represented in this phase from the refined and at the same time monumental Toccata “Venetian”, what we find it in works of Andrea Gabrieli and Claudio Merulo. Bertoldo’s Toccatas have first of all differed rather since last for the brevity (the first one has 42 bars, the second 30), but above all for the continuous renouncement to that “mechanicalism” characteristic of the Venetian Toccata.
The Toccatas of Sperindio generally proceed in chordal style, with parsimonious use of the diminution and with sporadic insertions of footsteps in imitative style. Also the Ricercars are of redoubts dimensions (40 bars VI Tuono, 64 bars I Tuono, 56 bars III Tuono), and built around mainly to an only subject, except in the case of the “Ricercar del III Tuono” that introduces three subjects. On the copy of the preserved print to Basel, at the bottom of the first page of the aforesaid Ricercar a remark in pencil: “Totum ex Hann. Padovani Ric. gestolen”. In reality it’s the keyboard tablature of the first Ricercar (“Ricercar del III Tuono”) contained in the “ Primo libro de recercari a Quattro voci” of the 1556 of Annibale Padovano and that Bertoldo has modified eliminating the episodes that go from bar 40 to 114 and from bar 178 to 286. The “Canzoni Francese” take to model (except the first one) those vocals of Thomas Crequillon (“Un gay bergier”), Clement Janequin (“Or vien ça vien” and “Petit fleur”) and Clemens non Papa (“Frisque et gailliard”).

Gewicht 2,0000 kg