doing a master24

Castellanza - S.Giulio
(2007) - II/28
H.M.Higgs
Toccata
(live)
Descrizione fonica dello strumento
Due tastiere 58 note
Pedaliera 30 note




Two keyboards 58 notes C - g'''
Pedalboard 30 notes C - f'

I° Man. - G.Organo
Principale 16'
Principale 8'
Flauto 8'
Gamba 8'
Ottava 4'
Quinta 2.2/3'
Superottava 2'
Ripieno 4/6f.
Cornetto 4f.
Tromba 8'
Unioni
I 8 Ped.
II 8 Ped.
II 8 I
II 16 I
II 4 I




Organo a trasmissione meccanica per tastiere e pedaliera, elettrica servo-assistita per i registri

Mechanical action for keyboards and pedal, electric stop action.
II° Man. - Espressivo
Quintadena 16'
Bordone 8'
Viola 8'
Flauto ottaviante 4'
Principale 4'
Nazardo 2.2/3'
Ottavino 2'
Terza 1.3/5'
Forniture 3/5 file
Tromba armonica 8'
Oboe 8'
Voce Celeste 8'
Tremolo
Pedale
Contra Basso 16'
Subbasso 16'
Basso 8'
Flauto 8'
Corno 4'
Trombone 16' (Ascolta il Suono in formato .mp3)
(Listen to the Sound .mp3)

Il Nuovo Organo

La Chiesa di S. Giulio in Castellanza ha caratteristiche architettoniche decisamente interessanti, espressione dello stile neoclassico tipico dei rifacimenti d'inizio '900, presenta un vano di grandi dimensioni, con un acustica ricca di riverbero. Tenendo in considerazione la risposta acustica, che esige grandi sonorità, ben caratterizzate, il nuovo organo è stato inserito nell'abside in modo naturale, evitando il più possibile il disturbo per l'architettura esistente. Tale scelta si è rivelata anche utile dal punto di vista liturgico, per facilitare l'uso dello strumento nell'accompagnamento del coro e dell'assemblea.

Lo strumento vuole essere espressione di un nuovo modo di pensare il suono prestando grande attenzione alle sonorità sinfoniche francesi. Pur senza pregiudicare un modo più "classico" di intendere l'organaria, si è voluto tenere in giusta considerazione il significativo repertorio sinfonico, espressione genuina di un'epoca sino ad ora poco conosciuta. La presenza numerosa e diversificata di fondi di 8' permette grandi sonorità d'amalgama, ma anche molte possibilità di tipo solistico. Le ance si prestano con efficacia sia alla letteratura barocca francese che a quella sinfonica europea. Punto di riferimento sono gli strumenti Cavalle-Coll, Merklin di fine '800. Il tutto è stato sviluppato considerando le necessita della liturgia, ove un adeguato sostegno del canto si rende necessario ed irrinunciabile, mentre l'esecuzione del repertorio organistico si inserisce come esigenza culturale di grande importanza.

The new organ

The church of S. Giulio in Castellanza has decidedly interesting architectonic characteristics, expression of the typical neoclassic style. Taking into account the acoustic response of the church, the new organ is located in the apse trying not to interfere with the existing structures.
The instrument wants to be expression of a new way of thinking the sound with great attention to the French symphonic sonorities.

Johann Sebastian Bach was born on March 21st l685, the son of Johann Ambrosius, court trumpeter for the Duke of Eisenach and director of the musicians of the town of Eisenach in Thuringia. For many years, members of the Bach family throughout Thuringia had held positions such as organists, town instrumentalists, or Cantors, and the family name enjoyed a wide reputation for musical talent.
The family at Eisenach lived in a reasonably spacious home just above the town center, with rooms for apprentice musicians, and a large grain store. (The pleasant and informative "Bach Haus" Museum in Eisenach does not claim to be the original family home). Here young Johann Sebastian was taught by his father to play the violin and the harpsichord. He was also initiated into the art of organ playing by his famous uncle, Johann Christoph Bach, who was then organist at the Georgenkirche in Eisenach. Sebastian was a very willing pupil and soon became extraordinarily proficient with these instruments.

Although Pachelbel was renowned in his lifetime for his chamber works (contemporary sources praise his serenades and sonatas), most of them were lost. Only Musikalische Ergötzung, a collection of partitas published during Pachelbel's lifetime, is known, and a few isolated pieces in manuscripts. Canon and Gigue in D major is one of such pieces. A single manuscript copy of it survives, Mus.MS 16481 in the Berlin State Library, which contains two more chamber suites; another copy, previously kept in Hochschule der Künste in Berlin, is now lost.[1] The circumstances of the piece's composition are wholly unknown. One writer hypothesized that the Canon may have been composed for Johann Christoph Bach's wedding, on 23 October 1694, which Pachelbel attended. The music for the occasion was provided by Johann Ambrosius Bach, Pachelbel, and other friends and family members.[2] Johann Christoph Bach was a former pupil of Pachelbel's, and Johann Sebastian Bach's oldest brother.

The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel's chamber music.[3] His research was inspired and supported by renowned early music scholar and editor Max Seiffert, who in 1929 published his arrangement of Canon and Gigue in his Organum series.[4] However, that edition contained numerous articulation marks and dynamics not found in the original score; furthermore, Seiffert provided tempi which he considered right for the piece, but which were not supported by later research.[5] The Canon was first recorded in 1940 by Arthur Fiedler,[6] and the first famous recording[citation needed] of the piece was made by the Jean-François Paillard chamber orchestra.[7]

Over the years, the Canon has been arranged numerous times for a wide variety of ensembles. A non-original viola pizzicato part is also commonly added (in a string orchestra or quartet setting) when a harpsichord or organ player is not used to improvise harmonies over the bass line.[citation needed] The Canon's chord progression proved to be influential; it is used in many pop and rock songs, where the main theme (or the associated harmonic sequence) is frequently adapted, much like the opening of Bach's Toccata and Fugue in D minor, BWV 565. The gigue that originally accompanied the canon never received the same amount of popularity, even though it is a lively and energetic dance.

The composer was born in Ferrara, Italy. His father Filippo was a man of property, possibly an organist, since both Girolamo and his half-brother Cesare became organists.[2] (There is no evidence that the Frescobaldi of Ferrara were related to the homonymous Florentine noble house.) Frescobaldi studied under Luzzasco Luzzaschi, a noted composer of madrigals and an organist at the court of Duke Alfonso II d'Este. Although Luzzaschi's keyboard music is relatively unknown today (much of it has been lost), contemporary accounts suggest he was both a gifted composer and performer, one of the few who could perform and compose for Nicola Vicentino's arcicembalo.[3] Contemporary accounts describe Frescobaldi as a child prodigy who was "brought through various principal cities of Italy"; he quickly gained prominence as a performer and patronage of important noblemen. Composers who visited Ferrara during the period included numerous important masters such as Claudio Monteverdi, John Dowland, Orlande de Lassus, Claudio Merulo, and, most importantly, Carlo Gesualdo.

In his early twenties, Frescobaldi left his native Ferrara for Rome. Reports place Frescobaldi in that city as early as 1604, but his presence can only be confirmed by 1607. He was the church organist at Santa Maria in Trastevere, recorded as "Girolamo Organista", from January to May of that year.[4] He was also employed by Guido Bentivoglio, the Archbishop of Rhodes, and accompanied him on a trip to Flanders where Bentivoglio had been made nuncio to the court. It was Frescobaldi's only trip outside Italy.[5] Although the court at Brussels was musically among the most important in Europe at the time, there is no evidence of Peeter Cornet's or Peter Philips' influence on Frescobaldi. Based on Frescobaldi's preface to his first publication, the 1608 volume of madrigals, the composer also visited Antwerp, where local musicians, impressed with his music, persuaded him to publish at least some of it. While abroad, Frescobaldi was elected on 21 July 1608 to succeed Ercole Pasquini as organist of St. Peter's Basilica in Rome.[6] Frescobaldi remained in Flanders, however, through the summer and did not return to Rome until 29 October (delaying his arrival with an extended stay in Milan to publish another collection of music, the keyboard Fantasie).[7] He took up his duties on 31 October and held the position, albeit intermittently, until his death.[8] He also joined Enzo Bentivoglio's musical establishment after the latter settled in Rome in 1608, although he grew estranged from his patron after an affair with a young woman.[9] A scandal involving competition between Bentivoglio and the Medici family eventually forced him to leave his position.
Vallio Terme (BS), Chiesa Parrocchiale. Organo attribuibile ad Angelo Bonatti (1760). Restauro e ricostruzione del registro "Tromboncini".

Scheda dello strumento

Altre foto: Canne interne Comandi dei registri Tromboncini ricostruiti
♫ L. N. Clerambault, dalla Suite sul II tono - Organista Massimiliano Sanca.

Nace en Nuremberg (Alemania), y aunque se desconoce la fecha exacta, se sabe que fue bautizado el 1 de septiembre 1653. Sus primeros estudios musicales son con Heinrich Schwemmer, estudiando posteriormente composición con G. Wecker. En 1669 ingresa en la Universidad de Altdorf, a la vez que ocupa el puesto de organista de la iglesia de San Lorenzo. Debido a la falta de medios, en 1670 abandona la universidad y prosigue sus estudios en el más modesto Gymnasium poeticum de Regensburgo, ciudad en la que toma lecciones privadas de composición con Kaspar Prentz. En 1673 viaja a Viena, donde le había sido ofrecido el cargo de organista asistente de la iglesia de San Esteban. Cuatro años después obtiene el puesto de organista titular de la Corte de Eisenach, entrando en relación con varios miembros de la familia Bach, incluido Ambrosius Bach, padre de Johann Sebastian. En 1690 abandona Eisenach para hacerce cargo del órgano de la Corte de Stuttgart., hasta que las milicias francesa invaden la localidad y fuerzan la huída a Gotha de Pachelbel, que se hace cargo del puesto de organista de la corte en 1692. El deseo de pasar los últimos años de su vida en su ciudad natal le hacen aceptar en 1695 el ofrecimiento del puesto de organista de San Sebaldo de Nuremberg. En esa ciudad fallece en 1706, siendo enterrado 9 de marzo. Contaba 52 años de edad. Como organista, Pachelbel compuso para su instrumento en casi todos los géneros de la música profana y religiosa. Dentro del primer grupo, su aportación al coral para órgano y al magnificat, a través de un contrapunto sin complicaciones, fue decisiva para el ulterior desarrollo del mismo en manos de Johann Sebastian Bach. Igualmente, en él encontramos al primer compositor que trató y sistematizó la forma fugada. En la música vocal, elevó el nivel del concierto sacro gracias a su colección de Magnificats. Performer: Wolfgang Friedrich Rübsam (born October 16, 1946, in Gießen, Germany) is a German-American organist, pianist, composer and pedagogue. After his musical training with Erich Ackermann in Fulda, Germany, Rübsam studied at the Musikhochschule in Frankfurt am Main with Helmut Walcha. Additional studies in organ followed with Marie-Claire Alain in France and with Robert T. Anderson at Southern Methodist University in Dallas, Texas. He won the first prize at the International Organ Competition in Fort Wayne, Indiana and the Grand Prix de Chartres for interpretation in 1973.[1]
In 1974, he was appointed as professor of sacred music and organ at Northwestern University. In addition, he also served as University Organist at Rockefeller Chapel at the University of Chicago from 1981 until 1997. Since 1997, he has been professor of organ at the Hochschule für Musik Saar in Saarbrücken, Germany.[2] From 1998 until 2003, he was also artist in residence and university organist at Lawrence University in Appleton, Wisconsin.
Wolfgang Rübsam has published more than 130 recordings, including two recordings of the complete organ works by Johann Sebastian Bach, the complete organ works of Dietrich Buxtehude, Felix Mendelssohn, César Franck, Louis Vierne, and Jehan Alain, as well as recordings of Franz Liszt, Johann Pachelbel, Max Reger, and Joseph Rheinberger. In addition, he has recorded a major part of the keyboard works of Johann Sebastian Bach on modern Bösendorfer pianos. He is also sound engineer and producer for the Naxos Organ Encyclopedia Series. Wolfgang Rübsam is in great demand as concert organist and jury member for international competitions.
Wolfgang Rübsam is also working as composer for the publishing houses Augsburg Fortress in Minneapolis, Minnesota and Schott Music in Mainz, Germany.

Jeremiah Clarke (c. 1674 -- 1 December 1707) was an English baroque composer and organist.

Thought to have been born in London around 1674, Clarke was a pupil of John Blow at St Paul's Cathedral. He later became organist at the Chapel Royal. "A violent and hopeless passion for a very beautiful lady of a rank superior to his own" caused him to commit suicide. Before shooting himself, he considered hanging and drowning as options, so to decide his fate, he tossed a coin—however the coin landed in the mud on its side. Instead of consoling himself, he chose the third method of death, and performed the deed in the cathedral churchyard."[2] Suicides were not generally granted burial in consecrated ground, but an exception was made for Clarke, who was buried in the crypt of St Paul's Cathedral[3] (though other sources state he was buried in the unconsecrated section of the cathedral churchyard[4]). He was succeeded in his post by William Croft.

Clarke is best remembered for a popular keyboard piece: the Prince of Denmark's March, which is commonly called the Trumpet Voluntary, written circa. 1700.[5] From c. 1878 until the 1940s the work was attributed to Henry Purcell, and was published as Trumpet Voluntary by Henry Purcell in William Sparkes's Short Pieces for the Organ, Book VII, No. 1 (London, Ashdown and Parry). This version came to the attention of Sir Henry J. Wood, who made two orchestral transcriptions of it, both of which were recorded.[6] The recordings further cemented the erroneous notion that the original piece was by Purcell. Clarke's piece is a popular choice for wedding music, and has featured in royal weddings.

The famous Trumpet Tune in D (also incorrectly attributed to Purcell), was taken from the semi-opera The Island Princess which was a joint musical production of Clarke and Daniel Purcell (Henry Purcell's younger brother)—probably leading to the confusion.

Johann Christoph Bach, Pachelbel's landlord in Erfurt, died in 1682. In June 1684, Pachelbel purchased the house (called Zur silbernen Tasche, now Junkersand 1) from Johann Christian's widow.[15] In 1686, he was offered a position as organist of the St. Trinitatis church (Trinitatiskirche) in Sondershausen. Pachelbel initially accepted the invitation but, as a surviving autograph letter indicates, had to reject the offer after a long series of negotiations: it appears that he was required to consult with Erfurt's elders and church authorities before considering any job offers.[16] It seems that the situation has been resolved quietly and without harm to Pachelbel's reputation; he was offered a raise and stayed in the city for four more years. Performer: Wolfgang Friedrich Rübsam (born October 16, 1946, in Gießen, Germany) is a German-American organist, pianist, composer and pedagogue. After his musical training with Erich Ackermann in Fulda, Germany, Rübsam studied at the Musikhochschule in Frankfurt am Main with Helmut Walcha. Additional studies in organ followed with Marie-Claire Alain in France and with Robert T. Anderson at Southern Methodist University in Dallas, Texas. He won the first prize at the International Organ Competition in Fort Wayne, Indiana and the Grand Prix de Chartres for interpretation in 1973.[1]
In 1974, he was appointed as professor of sacred music and organ at Northwestern University. In addition, he also served as University Organist at Rockefeller Chapel at the University of Chicago from 1981 until 1997. Since 1997, he has been professor of organ at the Hochschule für Musik Saar in Saarbrücken, Germany.[2] From 1998 until 2003, he was also artist in residence and university organist at Lawrence University in Appleton, Wisconsin.
Wolfgang Rübsam has published more than 130 recordings, including two recordings of the complete organ works by Johann Sebastian Bach, the complete organ works of Dietrich Buxtehude, Felix Mendelssohn, César Franck, Louis Vierne, and Jehan Alain, as well as recordings of Franz Liszt, Johann Pachelbel, Max Reger, and Joseph Rheinberger. In addition, he has recorded a major part of the keyboard works of Johann Sebastian Bach on modern Bösendorfer pianos. He is also sound engineer and producer for the Naxos Organ Encyclopedia Series. Wolfgang Rübsam is in great demand as concert organist and jury member for international competitions.
Wolfgang Rübsam is also working as composer for the publishing houses Augsburg Fortress in Minneapolis, Minnesota and Schott Music in Mainz, Germany.

Johann Mattheson, whose Grundlage einer Ehrenpforte (Hamburg, 1740) is one of the most important sources of information about Pachelbel's life, mentions that the young Pachelbel demonstrated exceptional musical and academic abilities. He received his primary education in St. Lorenz Hauptschule and the Auditorio Aegediano in Nuremberg, then on 29 June 1669 became a student at the University of Altdorf, where he was also appointed organist of St. Lorenz church the same year. Financial difficulties forced Pachelbel to leave the university after less than a year. In order to complete his studies he became a scholarship student, in 1670, at the Gymnasium Poeticum at Regensburg. The school authorities were so impressed by Pachelbel's academic qualifications that he was admitted above the school's normal quota.

Pachelbel was also permitted to study music outside the Gymnasium. His teacher was Kaspar (Caspar) Prentz, once a student of Johann Kaspar Kerll. Since the latter was greatly influenced by Italian composers such as Giacomo Carissimi, it is likely through Prentz that Pachelbel started developing an interest in contemporary Italian music, and Catholic church music in general. Performer: Wolfgang Friedrich Rübsam (born October 16, 1946, in Gießen, Germany) is a German-American organist, pianist, composer and pedagogue. After his musical training with Erich Ackermann in Fulda, Germany, Rübsam studied at the Musikhochschule in Frankfurt am Main with Helmut Walcha. Additional studies in organ followed with Marie-Claire Alain in France and with Robert T. Anderson at Southern Methodist University in Dallas, Texas. He won the first prize at the International Organ Competition in Fort Wayne, Indiana and the Grand Prix de Chartres for interpretation in 1973.[1]
In 1974, he was appointed as professor of sacred music and organ at Northwestern University. In addition, he also served as University Organist at Rockefeller Chapel at the University of Chicago from 1981 until 1997. Since 1997, he has been professor of organ at the Hochschule für Musik Saar in Saarbrücken, Germany.[2] From 1998 until 2003, he was also artist in residence and university organist at Lawrence University in Appleton, Wisconsin.
Wolfgang Rübsam has published more than 130 recordings, including two recordings of the complete organ works by Johann Sebastian Bach, the complete organ works of Dietrich Buxtehude, Felix Mendelssohn, César Franck, Louis Vierne, and Jehan Alain, as well as recordings of Franz Liszt, Johann Pachelbel, Max Reger, and Joseph Rheinberger. In addition, he has recorded a major part of the keyboard works of Johann Sebastian Bach on modern Bösendorfer pianos. He is also sound engineer and producer for the Naxos Organ Encyclopedia Series. Wolfgang Rübsam is in great demand as concert organist and jury member for international competitions.
Wolfgang Rübsam is also working as composer for the publishing houses Augsburg Fortress in Minneapolis, Minnesota and Schott Music in Mainz, Germany.

Pachelbel's Canon, also known as Canon in D major (Kanon und Gigue für 3 Violinen mit Generalbaß in German) (PWC 37, T. 337, PC 358), is the most famous piece of music by German Baroque composer Johann Pachelbel. It was originally scored for three violins and basso continuo and paired with a gigue in the same key. Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919, the piece became extremely popular, and today it is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as Air on the G String by Johann Sebastian Bach. Performer: Wolfgang Friedrich Rübsam (born October 16, 1946, in Gießen, Germany) is a German-American organist, pianist, composer and pedagogue. After his musical training with Erich Ackermann in Fulda, Germany, Rübsam studied at the Musikhochschule in Frankfurt am Main with Helmut Walcha. Additional studies in organ followed with Marie-Claire Alain in France and with Robert T. Anderson at Southern Methodist University in Dallas, Texas. He won the first prize at the International Organ Competition in Fort Wayne, Indiana and the Grand Prix de Chartres for interpretation in 1973.[1]
In 1974, he was appointed as professor of sacred music and organ at Northwestern University. In addition, he also served as University Organist at Rockefeller Chapel at the University of Chicago from 1981 until 1997. Since 1997, he has been professor of organ at the Hochschule für Musik Saar in Saarbrücken, Germany.[2] From 1998 until 2003, he was also artist in residence and university organist at Lawrence University in Appleton, Wisconsin.
Wolfgang Rübsam has published more than 130 recordings, including two recordings of the complete organ works by Johann Sebastian Bach, the complete organ works of Dietrich Buxtehude, Felix Mendelssohn, César Franck, Louis Vierne, and Jehan Alain, as well as recordings of Franz Liszt, Johann Pachelbel, Max Reger, and Joseph Rheinberger. In addition, he has recorded a major part of the keyboard works of Johann Sebastian Bach on modern Bösendorfer pianos. He is also sound engineer and producer for the Naxos Organ Encyclopedia Series. Wolfgang Rübsam is in great demand as concert organist and jury member for international competitions.
Wolfgang Rübsam is also working as composer for the publishing houses Augsburg Fortress in Minneapolis, Minnesota and Schott Music in Mainz, Germany.

Johann Pachelbel was born in 1653 in Nuremberg into a middle-class family, son of Johann (Hans) Pachelbel (* 1613 in Wunsiedel, Germany), a wine dealer,[5] and his second wife Anna (Anne) Maria Mair. The exact date of Johann's birth is unknown, but since he was baptized on September 1, he may have been born in late August.

During his early youth, Pachelbel received musical training from Heinrich Schwemmer, a musician and music teacher who later became the cantor of St. Sebaldus Church (Sebalduskirche). Some sources indicate that Pachelbel also studied with Georg Caspar Wecker, organist of the same church and an important composer of the Nuremberg school, but this is now considered unlikely.[6] In any case, both Wecker and Schwemmer were trained by Johann Erasmus Kindermann, one of the founders of the Nuremberg musical tradition, who had been at one time a pupil of Johann Staden. Performer: Wolfgang Friedrich Rübsam (born October 16, 1946, in Gießen, Germany) is a German-American organist, pianist, composer and pedagogue. After his musical training with Erich Ackermann in Fulda, Germany, Rübsam studied at the Musikhochschule in Frankfurt am Main with Helmut Walcha. Additional studies in organ followed with Marie-Claire Alain in France and with Robert T. Anderson at Southern Methodist University in Dallas, Texas. He won the first prize at the International Organ Competition in Fort Wayne, Indiana and the Grand Prix de Chartres for interpretation in 1973.[1]
In 1974, he was appointed as professor of sacred music and organ at Northwestern University. In addition, he also served as University Organist at Rockefeller Chapel at the University of Chicago from 1981 until 1997. Since 1997, he has been professor of organ at the Hochschule für Musik Saar in Saarbrücken, Germany.[2] From 1998 until 2003, he was also artist in residence and university organist at Lawrence University in Appleton, Wisconsin.
Wolfgang Rübsam has published more than 130 recordings, including two recordings of the complete organ works by Johann Sebastian Bach, the complete organ works of Dietrich Buxtehude, Felix Mendelssohn, César Franck, Louis Vierne, and Jehan Alain, as well as recordings of Franz Liszt, Johann Pachelbel, Max Reger, and Joseph Rheinberger. In addition, he has recorded a major part of the keyboard works of Johann Sebastian Bach on modern Bösendorfer pianos. He is also sound engineer and producer for the Naxos Organ Encyclopedia Series. Wolfgang Rübsam is in great demand as concert organist and jury member for international competitions.
Wolfgang Rübsam is also working as composer for the publishing houses Augsburg Fortress in Minneapolis, Minnesota and Schott Music in Mainz, Germany.

Gordon Young (October 15, 1919 - October 2, 1998) was an American organist and composer of both organ and choral works.
Young was born in McPherson, Kansas. His undergraduate degree in music was earned at Southwestern College, Winfield, Kansas. Following that he was a scholarship pupil at Curtis Institute of Music in Philadelphia and received his Doctor of Sacred Music from Southwestern in 1964.

Young received 18 consecutive composition annual awards from ASCAP. His published works total over 800, and a number of his church anthems such as his Now Sing We Joyfully unto God, and his organ compositions such as his Prelude in Classic Style, have become standard repertoire.

Young died October 2, 1998 in St. Clair Shores, Michigan.
Audio extraido de la pagina web del Organo Mascioni de Castellanza - S.Giulio
(2007) - II/28 Imagen: Libro de La suite y Organo Wanamaker de la tienda departamental de Jhonn Wanamaker en Philadelphia, Estados Unidos.

Brienno (CO), Chiesa parrocchiale. Organo Vittore Ermolli (1887) con materiale fonico Serassi (1782). Restauro.

Scheda dello strumento

Altre foto

♫ V. A. Petrali, Versetto per il Gloria - Organista: Roberto Mucci

Registrazione amatoriale -- Diffusione vietata