Domenico Zipoli: Sonate d'Intavolatura per Organo e Cimbalo (1716), Band II: Susan Alexander-Max
by Brian J. Hay
Some of Zipoli's music has seen the light of day before but the instruments used for performances thus far have generally been harpsichords. J. Scott Morrison (a reviewer much more knowledgeable than myself) mentions one and apparently there was another done (in 1973) by Martha Goldstein where she played and recorded the B-Minor Gavotte as part of a collection of baroque keyboard works. Even the few people who have heard either of those recordings should look at this one. The sound of the fortepiano (particularly the early ones built by Cristofori) bears a marked similarity to that of a harpsichord but it is also obvious that it's an entirely different instrument. Its sound has the lightness of a harpsichord and strings can be heard clearly to be strings but the hammer mechanism of the fortepiano (versus the plucking action of the harpsichord) has a sound that's all its own. As well, it allows soloists control over phrasing, the ability to sustain notes and a dynamic range of sounds that harpsichordists can only yearn for.
The roots of Zipoli's music are obvious. His stylings are very similar to the keyboard works of Domenico Scarlatti and his musical phrases are similar in length. Many of his melodic ideas used run in a similar vein as well. In this his work is clearly music of its time but Zipoli had his own ideas about how they should be employed. He seems to have been partial to the use of rich and attractive melody as a means of holding listener attention. His melodic lines are lush and sumptuous regardless of whether they're written in a major or minor key. He holds clearly to an idea while running through it but varies it sharply with spacing, tempo changes and additions or subtractions from the original motifs. His music is less challenging than Scarlatti's and there aren't as many ideas used in each piece but he doesn't repeat anything to the point where it becomes tiresome either.
Pianist Susan Alexander-Max makes full use Zipoli's ideas and of the instrument's capabilities. Her touch is light and deft but she's more than willing to make full use of the volume the instrument offers as well. Her control is remarkable and her sense of musical phrasing is exquisite. The music often seems to be rolling back and forth like waves from a gentle sea or the rocking of a child's cradle. She's equally at home with any passage or tempo and always just seems to be rolling through the music as if she and it are inside one another. There's never a sense of listening to a Scarlatti rip-off and if this disc has an effect other than becoming a wonderful addition to any library of classical music it's to make me wish that Susan Alexander-Max would record some of Scarlatti's work as well. I suspect they would be a revelation to many listeners. She really is that good.
The placement of the microphone used for this recording is a bit unconventional. It's placed very close to the instrument and a lot of the noise from the area closest to the sound-board can be heard clearly. Noises from the instrument's mechanism, sounds of hammers brushing against strings and even echoes from within the cabinet itself are all clearly audible. This may be the best way to record these instruments though. The fortepiano has a delicate sound but its tones are rich to the point of being seductive. That quality is often lost in recordings but it comes through clearly here. Every note is bright, clear and warm. The notes from lowest octaves of these instruments have that beautiful "growl" unique to these instruments surrounding them. The placement given to the listener is unusual as well. Most recordings of solo keyboard instruments place the listener alongside the instrument. This one puts them pretty close to where they'd be if they were playing the instrument themselves. It's unusual and takes some getting used to but it's worth taking the time to do so.
The best thing to do with this recording is to just put it on the player, let it wash over and enjoy the surprises; there will be plenty of them. This is beautiful music and it's played and recorded beautifully on an instrument that has a sound not often heard anymore. This is a "must" for all lovers of baroque music with an Italian flavouring to it.
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The Cristofori Grand Piano 1720
Made by Bartolomeo Cristofori (Italian, 1655–1731)
From The Crosby Brown Collection of Musical Instruments
Susan Alexander-Max:
The Music Collection: Official Site
The Cristofori Grand Piano:Information
Period Pianos:
Information and Sound Files
