Cembali Spezzati, Małgorzata Skotnicka, Maksym Zajączkiewicz - Music from Gdańsk for Two Harpsichords (2026) [Hi-Res]

Tracklist

01. Gloria in excelsis Deo [à 8]
02. Canzon à 8
03. Sonata sopra ut re mi fa sol la a due violini
04. Tombeau de Mons: von der Linden compose p[ar] Mons. Henry Niewerth / Countrepartie de Nievert sur Mareschal Linde Allem
05. Courante du Meme / Countrepartie. Courante du mesme
06. Sarabande du Meme / Countrepartie, Sarabande du mesme
07. Gique du Meme
08. Dulcis amor Jesu à 4 […] di Sig:r Gasparo Förster, KBPJ 14
09. Cantata am Ersten Wey=nachts Feur=Tage. A 11. […] da Sign: du Grain
10. Das ist meine Freude, NesF B44
11. Trio 1. a 2 Clavier & Pedal da Mohrheim [without tempo indication]
12. Trio 2. a 2 Clavier & Pedal da Mohrheim [Andante]
13. Trio 3. a 2 Clavier & Pedal da Mohrheim [Fuga]
14. Sonata 1. à due Clav: et Pedale
15. Trio Chaconne par J V Meder
16. Ex trinitatis culmine

The title Cembali spezzati does not, therefore, refer to a folding harpsichord (cembalo spezzato), nor to a keyboard instrument with split keys (tasti spezzati), but to the very technique of divided choirs – cori spezzati – in which each ensemble, a complete “instrument” in itself, either collaborates with, or is set in opposition to, the other. The initial plan was to focus exclusively on dialogue-style choral music composed in Gdańsk and to transfer it to the medium of two harpsichords. Andrea Gabrieli and Claudio Merulo had acted in a similar way when they performed Italian cori spezzati on the organ. Their legendary performances in the Basilica of San Marco in Venice inspired others to use the available repertoire or improvise upon it, and, in time, to write their own music for two keyboard instruments. One such composer was Aurelio Bonelli, who wrote toccate and dialoghi for two organs or two harpsichords.

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