A slow, expressive number, with some good chord changes.
This toccata comes from Giovanni Cavaccio’s Sudori musicali of 1626, a collection consisting essentially of keyboard music written in score, mostly in four parts, apart from the rather wonderful double-choir Canzon francese (see EML160 ↣) (EML160 scored for viols ↣). In fact the present toccata seems less suitable for a single keyboard instrument than an ensemble of wind or stringed instruments: with its frequent suspensions, and rich harmonic language, it seems to call for a more expressive delivery than is possible on an organ or harpsichord.
(Bernard Thomas)
