Storace - Ciaccona

Bernardo Storace - Ciaccona in C Major (Venice, 1664)
from "Selva di varie compositioni d'intavolatura per cimbalo ed organo" performed on a Johannus Ecclesia D 350 organ.

This live recording was done on the 26th of May on the Organ-Truck in Basel. We toured Switzerland with this truck for weeks now and played for the elderly and other people who weren't allowed to leave their home. Here I'm playing in front of a crowd that spontaneously gathered in the streets and recorded the whole performance with a GoPro strapped to my chest so you can have a POV of this beautiful piece of music.

Many thanks to Cameron Carpenter for his patronage, Martinu Festtage for the realisation of the project and to Rotary Distrikt 2000 for their backing of the Orgel-Truck! Without you, all of this wouldn't be possible.
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Bio:
Nenad Leonart is a musician based in Switzerland. He was born in Nis, Serbia, where he started to play piano when he was six years old. In 2001 he continued learning the piano with Robert Kolinsky at the Musikschule Konservatorium Zürich. He started early with public performances, as a soloist as well as a chamber musician and claimed several first prizes at the Schweizerischer Jugendmusikwettbewerb and at the Zürcher Musikwettbewerb.

After studying piano for two years with Konstantin Scherbakov at the ZHdK he moved his focus to old music and restarted his music studies on the harpsichord in Zurich with Michael Biehl. He graduated with honor his Bachelor of Arts and his Master Pedagogy studies and continues his studies in his second Master of Performance on the harpsichord. Since last year, he has started his own series of concerts in his home studio in Greifensee and he has moved into the music video production business.
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Bernardo Storace (fl. 1664) was an Italian composer. Almost nothing is known about his life; his only surviving collection of music contains numerous variation sets and represents a transitory stage between the time of Girolamo Frescobaldi and that of Bernardo Pasquini.

In 1664 he served as Vice-Maestro di cappella to the senate of Messina. This fact is mentioned on the title page of Selva di varie compositioni d'intavolatura per cimbalo ed organo, the single surviving collection of Storace's music, which is also the only source of information on the composer. It is possible that Storace was originally from the north of Italy.

Storace's main interest in Selva di varie compositioni is the variation form. Particularly notable are the four passacaglias, which contain, in total, 320 representations of the descending tetrachord. Two of these works are split into several sections connected by modulatory passages: Passagagli sopra D sol re per # contains four sections (a total of 91 variations) and Passagagli sopra Fe fa ut per b three (a total of 72 variations). The single chaconne included in the collection also comprises variations on a four-bar pattern.

The rest of the variation sets tend to feature longer patterns, up to 24 bars in Aria sopra la Spagnoletta. Storace uses a transposed version of it and produces six variations with very brief connecting passages between them. A similar situation is observed in Partita sopra il Cinque passi: there are fifteen variations on a six-bar theme, connected by brief transitions, and the theme is again not related to the more well-known Cinquepassi of The Mulliner Book, or to cinquepassi as explained by Michael Praetorius in his writings. Storace's Follia uses the same theme as Frescobaldi's Follia, but neither is related to the famous La Folía. Finally, Storace's variations on the Passo e mezzo include one on the moderno variant of the theme and two on the antico; all three sets are examples of mixed variations, for they include sections marked gagliarda or corrente, i.e., dances.

Storace's two toccatas are rather brief pieces, less complex harmonically than their Italian predecessors. The two ricercars, on the other hand, are masterful works. The last piece of Selva di varie compositioni is also its most intriguing: Storace's Pastorale is a very long work consisting of numerous repeated figures, variations, etc., all over an incessant pedal note.
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