CD, стоящие на полке рядом : Classics (Organ & Harpsichord)      

Herbert Tachezi Ebert-Orgel Innsbruck

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Independent instrumental music did not develop in Europe until the early renaissance period. Prior to this, vocal music dominated, with instruments serving mainly as support for vocal parts or alternating with them. Now, however, instruments were being played alone. Initially, vocal settings, for example chansons, were transposed for chordal instruments, that is to say "intabulated". By means of an independent notation, consisting of signs and letters, with some parts being ornamented, "coloured" "diminished", they were set out in tablature books. In addition, dance movements such as pavangalliards, were played on instruments, and polyphonic music was then also composed specifically and only for instruments. The art of the organ was already in a relatively advanced stage of development. The organist was famous for his art of improvisation, of diminution and of "intabulation". Independent organ works first appeared in Italy, and the Italian type of mono-manual organ with dependent pedal led to the use of full chords and passage techniques. The toccata made its debut, and at the same time the vocal imitation technique was also transferred to instruments. The precursors of the fugue, such as the fantasia, canzona and ricercare, emerged. North of the Alps polyphonic compositions based upon liturgical melodies was perfected. A melody was set in a part in long note values as the "cantus firmus" and contrapuntally paraphrased by other parts, and choral arrangements evolveld. In the majority of cases the compositions for organ were noted down in the tablature books or the Italian toccata books. This was also the period for the first major instructional works for playing keyboard instruments, for instance the "Arte de taner fantasia" by Tomas de Santa Maria. "Il Transilvano" by Girolamo Diruta, or the "fundamentum organisandi" by Konrad Paumann.