), Fiori Musicali de diverse compositioni..., 47 pieces for 4 parts, Fiori Musicali, No. The manuscript contains 22 keyboard pieces, of which 13 are known from Frescobaldi’s two books of toccatas and from the Fiori musicali, most in complete form, but a few with substantial and curious modifications. Bologna, Museo internazionale e Biblioteca della Musica, Ms. Z 259. The copyist of this manuscript was identified by Annibaldi as Leonardo Castellani, organist of the Lateran 1641-67, who first appeared as supplementary organist at St. Peter’s in 1636 at Peter and Paul and the Dedication, and continued as such until June 1643. sopra l'Aria di Ruggiero, Toccate d'intavolatura ... No. 5c. The doubtful provenance of the manuscript prevents its being taken into consideration for the definition of a Frescobaldian canon, and in any case the level of the repertory of original pieces contained in it does not rise above that of seventeenth-century collections of arie and balli. Dedication to Alfonso d’Este, Prince of Modena, dated Rome, 12 April 1624, and imprimatur on p. (2), “A GLI STVDIOSI / DELL’OPERA” on p. (3). A. Fuller-Maitland and apparently prepared for publication, is found in the Special Collections of the Research Library of the University of California at Los Angeles. 5-30, 38v-45) as well as a table of hexachord names and an incomplete cadence in G (f. 101v), added in Girolamo’s hand. “Frescobaldi is the only author of keyboard music working in seventeenth-century Rome whose production reached such levels of quality and quantity as to pose the problem of a systematic valuation of his unpublished works with respect to his published ones” (Annibaldi 2012, 262)[1]. pract F. 740; Cambridge, King’s College, Rowe Music Library; Paris, Bibliothèque Nationale (ancien fonds de la Bibliothèque du Conservatoire), Rés. M D C XXXV. Per cantare / con il Cimbalo, & altri stromenti simili, con / l’alfabeto per la Chitarra Spagnola, in / quelle più à proposito. Tracklist . A nineteenth-century copy, once the property of J. 3, Canzon Terza, violino solo; over cornetto, Canzoni da sonare...libro primo, No. 3, Ardo, e taccio il mio mal, for solo voice, Arie musicali Bk.1 No. Girolamo Frescobaldi” [F 17.40]. Girolamo Frescobaldi, sí come ha fatto di molt’altre Compositioni dell’Autore, essendo perfettissimo nella Professione, come il mondo sa”) [F 20.04L]. Modern edition: Gallico 1998. Modern edition: Stembridge 1987. Ps. The Corrente F 19.04H, transposed a tone higher, is arranged for two canti and bass in Johann Erasmus Kindermann, Deliciæ studiosorum (Nuremberg: Sartorium, 1640). Sch. He identifies the scribe (not Pasquini) with the copyist of two other manuscripts of the same period and the author of the inscription as Flavio Chigi Zondadari, who owned the manuscript in the mid-eighteenth century (see also Carideo 2012, 99). 355-362v, 4156, “Deh lasciatemi” [F 17.30]. Bologna, Museo internazionale e Biblioteca della Musica, (C I, C II), V 142; London, British Library, D 62 C (complete). Manuscript copies of the Fiori are listed in Tagliavini 2010, xxx-xxxiii, which does not mention a copy owned by J. D. Zelenka (Dresden 98): see FTCO and Catalogue fig. On the verso of the title page the dedication to Cardinal Scipione Borghese, Archpriest of the Basilica Vaticana, 1 June 1627: ILL.MO ET REVER.MO PRINCIPI / SCIPIONI / CARD. Literature: Darbellay 2017, 99-108; Jeanneret 2009, 308-15; Hammond 1991; Darbellay 19861; Annibaldi 1990; Silbiger 19801, 65-66, 125-27, 155, 160-64. 1. A manuscript copy of this work (provisionally short-titled Ms. Munich 2019 by Silbiger) consisting of eight separate vocal parts plus the “bassus ad organum” for each of two choirs has recently come to light. On p. [2] the dedication, dated Venice 15 December 1644. In the eighteen pieces contained in Chigi Q. IV. There is no evidence that the Frescobaldi of Ferrara were related to the homonymous Florentine noble house. On p (3) dedication to Cardinal [Pietro] Aldobrandino, Chamberlain of the Church, undated. Facsimile edition: Silbiger 1989, 15-1. Franchi 2006, 1616/1: the title page has been elaborated in the details of the frame. 17-20 numbered 5-8), keyboard partitura. Tu, / quæ tuæ sunt partes, munere libenter accepto delectari te sines: illudque / in me tuendo perficies, vt qui potentia, & gratia præluces singulis, benignita-/te præluceas vniversis. Girolamo Frescobaldi (1583-1643) was an Italian composer and church musician of the late … The first three fantasies and the first 58 bars of the fourth fantasia, the complete fifth fantasia, and the first 61 bars of the sixth fantasia were copied in the ms. Paris, Bibliothèque Nationale, Mus. Literature: Darbellay 2002; Harper 1987; Harper 19781. Facsimile edition by Gregg International Publishers, Westmead, 1967. 16-30 are. Some of the printed Frescobaldi works are transposed and provided with light cadential ornamentation (see Stembridge in Frescobaldi 2010, Felici 2005, Tagliavini 2000). This identification has been challenged by Annibaldi (letter to Early Music, 2012, 87-89). 4. 192v: Corrente: hand of Leonardo Castellani, ff. / [arms of Cardinal Crescentio] / IN ORVIETO, Per Michel’Angelo Fei, e Rinaldo Ruuli. Blow’s Voluntary XXIX, Add. Détails. / In Roma da Nicoló Borboni. Further on this ms., see Chapter 18 above. Darbellay 2002, vol I, p. XI, n. 11 notes “the many illicit corrections introduced without mention into the pseudo-facsimile of SPES, Florence 1981.” Volume I of Darbellay 2002 contains the two Roman editions of 1628 and the canzonas from the Venice 1634 edition which are essentially unchanged from Grassi, Vincenti’s source. 18), Corrente for keyboard in G major (Turin Raccolta Foa, Tome 6; CEKM 30/3, No. Five quarto part-books: C I 55 pp., C II 31 pp., B I 39 pp., B II 39 pp., Basso generale 61 pp. Modern editions: Bianconi 1996; Sei madrigali, ed. The text of the dedication remains the same, except for small variants and the addition of the dedicatee’s name, but the advice to the reader is altered and expanded. Cf. Canto, e Basso [and Bc]” on p. 31 might be a work of Frescobaldi (not in FTCO ). 5 "Fantasia quinta, sopra un due soggietti", Fantasie a quattro, No. Literature: Franchi 2006, 1637/4; Vartolo 1994; Silbiger 19801. Frescobaldi studied under Luzzasco Luzzaschi, a noted composer of madrigals and an organist at the court of Duke Alfonso II d'Este. The collection is written in a nineteenth-century hand by one Bernardo Mantuaner and consists of extracts from the printed works “reduced to a modern and easy reading” by their transcription into keyboard notation and the reduction of some note-values; among these works the compiler has inserted ten gagliarde, two spagnolette, seventeen correnti and a folia, a ciacccona, a passaggio and volta, six toccate, three canzoni, three capricci (one on the Bergamasca and one on Ruggiero), five balli or balletti, and eight versets. 53v). composer, Type: Person, Gender: Male, Born: 1583-09-09 in Ferrara, Died: 1643-03-01 in Rome, Area: Italy / CVM BASSO AD ORGANVM. Yale, Montecassino, Reggio) are bound with the Fiori. 29 Annibaldi discovered fourteen authentic Frescobaldi works plus other materials in the composer’s autograph. 6a. On the recto of the second folio the dedication to Cardinal Antonio Barberini, Venice, 20 August 1635, on the verso “AL LETTORE”; in partitura. 2, canto solo, Canzon seconda, for instruments, Canzoni da sonare...libro primo, No.37, canto Alto Tenor, e Basso, Canzon terza, for instruments, Capricci (12) fatti sopra diversi soggetti et arie in partitura, Vol.1, for keyboard, Capricci ... et arie in partitura, Vol.1 No. Folio, 152 pp., 30-31 numbered 28-29. Primo Tono, for keyboard in G minor, Ricercari, et canzoni franzese, Vol.1 No.13, Canzon Terza. C.”, Carlo [Caprioli] del Violino, Carlo Rainaldi, G. F. Marcorelli, and “M.M.” (?Marco Marazzoli)—Roman maestri di cappella of the thirties of the Seicento; perhaps these pieces were performed in S. Maria in Vallicella. In his dedication Costantini recalls his service with Cardinal Pietro Aldobrandini: “quia eduntur a me, hoc est ab eo, quem tuo famulorum numero adscriptum.” On p. 27 of C I, p. 20 of C II, p. 23 of B, p. 27 of the Bc, “a 3. Modern edition: complete in Bartholemew 1963, II; the three Frescobaldi canzonas in Darbellay 2002, II and Harper 1975, 924-67. 8, Passachagli e Balletto, Toccate d'intavolatura ... No. 3. 1-7 from Palestrina’s Hymni totius anni (1589) and nos. P. M. Sac. The “Pasagalli” quote sections from the Cento partite (variations 1-3, 5-6 and the first Corrente of the manuscript version = 1-4, 27, 21 of the printed text). Paolo Cima [hand 1]; f. 59v-62: 3 unattributed correnti = Frescobaldi Toccate I [hand 2]; f. 71v: Bassa fiamenga di Stella [hand 2]. Literature: Darbellay 2017, 224; Jeanneret 2009, 178-81; Silbiger 1989-18, xiii. Literature: Darbellay 2017, 233-35; G. Benvenuti, “Frescobaldiana,” Bollettino Bibliografico Musicale 6 (1931), n. 2, pp. 6, detta la Pesenti, Canzoni alla Francese, No. 5, Quinta Toccata sopra i pedali per l'organo, e senza in G major, Il secondo libro de toccate, canzone...di cimbalo et organo, No. Plamenac]; Paris, Bibliothèque Nationale, Vm7. It was copied 1661-63 for the use of the rich dilettante Virginio Muzi, pupil of Fontana and of Ferrini’s nephew Bonaventura Mini (d. 1687). Set to music by Sig. Although Luzzaschi's keyboard music is relatively unknown today (much of it has been lost), contemporary accou… Bernardo Pasquini promoted Girolamo Frescobaldi to the rank of pedagogical authority. ant. Girolamo Frescobaldi, as he has done with many other Compositions of the Author, since he is most perfect in his Profession, as the world knows” (“Ecco l’alba rugiadosa. [At the end of p. 68: FINIS. 3-4 of CI, pp. (Even in the printed sources, although the three works that Grassi added to his edition of the Canzoni in 1628 came from Frescobaldi’s inner circle, and the two Capricci of the 1637 Aggiunta have an impeccable pedigree, none of them rises above the level of mediocrity. https://en.wikipedia.org › wiki › List_of_compositions_by_Girolamo_Frescobaldi 3, canto solo, Canzon terza, for instruments, Il primo libro della canzoni ... No. The large repertory and the external splendor of the volumes show that, in contrast with most Italian keyboard manuscripts, they were copied professionally to constitute an exhaustive anthology for a rich patron, perhaps a member of the Fugger family. Lupo Bramanti, Florence, SPES, 1981; Darbellay 2002; Harper 1975. ff. 2; Oxford, Bodleian Library Mus. 1637f: TOCCATE D’INTAVOLATVRA / DI CIMBALO ET ORGANO / PARTITE DI DIVERSE ARIE ‘E COR-/ RENTE, BALLETTI, CIAC- / CONE, PASSACHAGLI. Girolamo Frescobaldi was born in Ferrara in 1583 and received his early musical education from musicians at the Este ducal court. Brussels, Bibliothèque du Conservatoire Royal de Musique, 6003 W (on the title page: “Bernardo Pasquini 11 Nouembre 1662”); Glasgow, University Library, Euing Music Library R. x. 11), Toccata for keyboard in E minor (British Museum MS 36,661; CEKM 30/1, No. 1621 15: GIARDINO / MVSICALE / DI VARII ECCELLENTI / AVTORI, / DOVE SI CONTENGONO SONETTI, / Arie, & Vilanelle, à vna, e due voci. Folio, 40 pp. 93-96v: Aria di fiorenza p.o modo [5 parti]. 10), Fantasie a quattro, No. 4, Toccata quarta, Il primo libro d'intavolatura di toccate di cimbalo et organo, No. Folios 118-23 are in Frescobaldi’s hand and are described by Annibaldi as “some models of contrappunti alla mente similar to those included by Giovanni Maria and Giovanni Bernardino Nanino in an unpublished but popular didactic treatise of the late 16th century” (letter cited, 88: see Hill 1997). ms. 569 (Muzi ms.). Facsimile edition: Silbiger 1989-2. Bergamo, Biblioteca dell’Istituto Musicale Gaetano Donizetti, no. Leonardo Castellani. Jeanneret 2010 considers the collection a survival of an attempt by Frescobaldi to fashion a second book of instrumental canzoni. Girolamo Frescobaldi - Organ Works Si l’oeuvre d’orgue de Girolamo Frescobaldi puise ses sources dans la tradition polyphonique de la Renaissance, peu de virtuoses du début du XVIIe siècle ont abordé avec autant d’originalité le mouvement expressif qui a ouvert la voie vers ce que nous considérons comme de la « musique baroque ». In addition to excerpts from the 1626 Capricci and the 1645 Canzoni (F10.02), this volume contains sixteen unique canzonas, of which eight (FTCO 16.51, 16.52, 16.60, 16.62, 16.63, 16.64, 16.65, 16.66) might be by Frescobaldi. 1), Madrigali, Vol.1 No. The eight versets on the ecclesiastical modes represent the only appearance in an Italian manuscript of a category widespread in German sources. 1 and nos. The following description was kindly furnished by Mr. Katz for FTCO. 10v, “A Double Vers.,” in mm. 19, in two series of hymn versets by Palestrina and Victoria apparently copied in preparation for the versets to be included in Toccate II (see Annibaldi 19981). The Quarta raccolta de sacri canti issued in fascicles by Vincenti of Venice in 1629 (RISM 1629 5) contains sacred music for 1-3 voices, continuo, and two obbligato violins by Crivelli, Grandi, Monteverdi, Turini, and others. Vocal Works 31403 (ca. F 755; Bologna, Museo internazionale e Biblioteca della Musica, Z 170; London, British Library (two copies: Hirsch III 204, K. 7. i. 7, Balletto e Corrente, Toccate d'intavolatura ... No. Manuscripts are listed alphabetically according to the city of their present location. 4-voice keyboard partitura across opening (libro aperto). Del Frescobaldi The pages have been cropped for binding, and under the remnant of the original composer’s name (which seems to have begun with “Cav.”), “baldi” has been added in another hand and different ink. 6, A piè della gran croce (Maddalena alla Croce), for solo voice, Arie musicali Bk.1 No. Silbiger notes that the copies of printed works by Frescobaldi are not always exact. [1615a bis: Paris, Bibliothèque Nationale Vm7 1809 (1), the only source of this item, has been reassigned to 1616f.]. I/1, Edizioni di musica pratica dal 1601 al 1650 (Franchi 2006). 4177-8), the second the initials “C. 4, Recercar Quarto. For a full conspectus of manuscripts see Sillbiger 19801, his facsimile edition of Seventeenth-Century Keyboard Music (SCKM, Silbiger 1989), Jeanneret 2009 (which however must be used with caution), Fabris 2013, and the Sources section of FTCO. Copied in the same unidentified hand as Ms. Chigi Q. IV. Facsimile edition: Silbiger 1989, 14. 1622. Literature: Darbellay 2017, 85-91. Modern editions: Stembridge 1987; E. Maggini, Musica Sacra 9 (1964), n. 1., pt. A copy in Berlin, Deutsche Staatsbibliothek, cited by Johannes Wolf in 1919 (Handbuch, II, 277) is no longer there. 78-85 four unpublished toccatas whose manuscript ascription to Frescobaldi “… collected from the other books (“… raccolte dagl’altri libri”) has been erased. 1). Modern editions: Darbellay 2017, II, 2-38; the nine toccatas of volume I in Shindle 1968, I, 42-74, and the correnti of volume XIV ibid. 2, Kirie Della Domenica, for keyboard, Fiori Musicali, No. Keyboard Works AN EXTENDED BIOGRAPHY website ©2017-2020 All Rights Reserved Worldwide by Frederick Hammond, Bard College, https://live.zisska.de/lots/view/1-1TWECC/frescobaldi-frheste-berlieferung-wohl-mit-anteilen-von-der-hand-des-komponisten-selbst-in-te-domine-speravi-musikmanuskript-mit-lateinischen. The border of the title page was reused by the publisher Grignani for P. P. Sabatini’s Canzoni spirituali of 1640 (Franchi 2006, 1640/1). Girolamo Frescobaldi (baptized mid-September 1583 ? Printed Sources View credits, reviews, tracks and shop for the 2016 CD release of "Organ Works" on Discogs. 6), Toccata [Seconda] for keyboard in F major (Chigi MS Q IV 25; CEKM 30/1, No. C I, C II, B, B ad organum. Berkeley, University of California, M 22, F7 AC3, 1628 Case; Berlin, Deutsche Staatsbibliothek; The Hague, Gemeentemuseum, 27 B 54 (incomplete); Paris, formerly Collection André Meyer (sold at Sotheby’s, Fall 2012); Reggio Emilia, Biblioteca Municipale, Musica Profana no. / Con Licenza de’ Superiori. Superiori. 1628j: CANTO PRIMO / IL PRIMO LIBRO / DELLE CANZONI / Ad vna, due, trè, e quattro voci. / [arms of Mons. Fascicle 29 of Chigi Q. VIII. 2, Partite No.14. Mus. He stands alongside Jan Pieterszoon Sweelinck as … Fasc. 1-9 (Br. Si l’œuvre d’orgue de Girolamo Frescobaldi puise ses sources dans la tradition polyphonique de la Renaissance, peu de virtuoses du début du XVIIe siècle ont abordé avec autant d’originalité le … del Sig.r Gierolamo Frescobaldi. / [arms of Cardinal Desiderio Scaglia] / IN VENETIA, / Appresso Alessandro Vincenti. B. Manuscript Sources, III. / MDCXXVIII. Modern edition: Darbellay 2017, I, 93-107 5, O Iesu mi dulcissime, for tenor & continuo, Diversarum modulationum, Book II No. On p. [56]: Ferrara, Biblioteca Comunale Ariostea, M.5.9.2; London, British Library, K.2.i.18; London, British Library, RM 15 c3; Montecassino, abbey library; New Haven, Yale University Music Library, Rare M7 F9884 V7+no. ), B (24 pp. Material from the Fiori appears in Paris, Bibliothèque Nationale, Mus., Rés. 3, Kirie, for keyboard, Fiori Musicali, No. 1. Among these were perhaps the “Magnificat for 4 Choirs in the 2.o tono” in the 1655 inventory of Schloss Ambras [FTCO 20.02L] and the motets Misericordias Domini à 18 [F 20.02L] and Plaudite jubilate Deo à 12 [FTCO 20.03L] mentioned by Padre Martini. The manuscript is in two hands: hand 1, the original possessor (perhaps a northern Italian); hand 2, probably Carlo Galoppio, Naples. ), C II (lost), T (26 pp. lat. / DI GERONIMO FRESCOBALDI / Ferrarese, / Organista. (pp. 1622 10: L’AVRATA CINTIA / ARMONICA, / ARIE, MADRIGALI, DIALOGI, E VILLANELLE, / Di diuersi eccellentissimi Autori, à 1, à 2, à 3 & à 4. ; C II, 41 pp. M.DC XXX. 7, Recercar Settimo. Two other pieces are attributed to Frescobaldi: a previously unknown corrente (F 15.62) and a “Canzona del Frescobaldi” (F 15.63) attributed in several other sources to Ercole Pasquini (Kenyon ed. 819-2, a manuscript copied in Germany after 1661 (Gustafson 1979, I, 22). This is the manuscript owned by Haberl, which disappeared only some twenty years ago. della presente Opera. / A. Episcopus Hieracen. A 3. ); Cesena, Biblioteca Comunale (5); Frankfurt, Stadt- und Universitätsbibliothek (C.A.T.B.6.7.8. Volumes of printed instrumental music are catalogued by their numbers in Claudio Sartori, Bibliografia della musica strumentale italiana. 2. Iubilei. 3, canto solo, "detta la Lucchesina", for instruments, Canzoni da sonare...libro primo, No. Modern edition: Bianconi 1996. Girolamo Frescobaldi. P. F. Nicolai Rodulfij Sac. / CON LICENZA DE’ SVPERIORI. 45 (bound with the Recercari: cf. Franchi hypothesizes that the edition was run up for presentation to the Grand Duke in March 1628. Fantasie (1608) – Canzoni alla Francese (1645) 2. A. 4, Christe, for keyboard, Fiori Musicali, No.14, Canzon Dopo l'Epistola, for keyboard, Fiori Musicali, No.16, Tocata Cromaticha, for keyboard, Fiori Musicali, No.18, Tocata Avanti la Messa Della Apostoli, for keyboard, Fiori Musicali, No.19, Kyrie delli Apostoli, for keyboard, Fiori Musicali, No.20, Kyrie, for keyboard, Fiori Musicali, No.22, Christe, for keyboard, Fiori Musicali, No.27, Canzon Dopo l'Epistola, for keyboard, Fiori Musicali, No.28, Tocata Avanti il Ricercar, for keyboard, Fiori Musicali, No.29, Ricercar Cromaticho post il Credo, for keyboard, Fiori Musicali, No.30, Altro Recercar, for keyboard, Fiori Musicali, No.31, Tocata per l'Elevazione, for keyboard, Fiori Musicali, No.32, Recercar Con obligo del Basso come appare, for keyboard, Fiori Musicali, No.33, Canzon quarti Toni Dopo il post Comune, for keyboard, Fiori Musicali, No.34, Tocata Avanti la Messa Della Madonna, for keyboard, Fiori Musicali, No.35, Kyrie della Madonna, for keyboard, Fiori Musicali, No.41, Canzon Dopo l'Epistola, for keyboard, Fiori Musicali, No.42, Recercar Dopo il Credo, for keyboard, Fiori Musicali, No.44, Recercar Con obligo del Cantare la Quinta parte senza Tocarla..., for keyboard, Fiori Musicali, No.45, Tocata per l'Elevazione, for keyboard, Fiori Musicali, No.46, Bergamasca, for keyboard, Fiori Musicali, No.47, Capricio sopra la Girolometa, for keyboard, [Balletto] for keyboard (Paris, Bibliothèque nationale de France, Rés. 326o. The manuscript repertory also shows how written and oral musical cultures shade off into each other. Stream songs including "Il secondo libro do toccate, canzone di cimbalo … / [printer’s mark] / IN VENETIA, / APPRESSO ALESSANDRO VINCENTI. John Blow quotes two excerpts from Toccate I: mm. Vmc. The choice and verification of the contents have already generated a certain amount of controversy (see Annibaldi 2012 and Darbellay 2013). & à POSTI IN LVCE / DA FABIO CONSTANTINI ROMANO / Maestro di Cappella dell’Illustrissima Città / d’Oruieto. 9, Lasso io languisco e moro, for 5 voices, Madrigali, Vol.1 No.11, Perche fuggi tra salci, for 5 voices, Madrigali, Vol.1 No.17, Se lontana voi sete, for 5 voices, Messa sopra l'aria della Monica, for 8 voices & continuo, Messa sopra l'aria di Fiorenza, for 8 voices & continuo, Partita sopra l'aria di Fiorenza, for keyboard (Chigi MS Q IV 25; CEKM 30/3, No. Vale. ms. 64, f12), Toccata for keyboard (Paris, Bibliothèque nationale de France, Rés. 3, Deus noster, for 1 voice & continuo, Diversarum modulationum, Book II No. 3, Toccata Terza. The volume is a reprint of 6 without the last 4 pages, the variations on Ciaccona and Passacagli. FTCO 4.01-4.12; FTCO 9.01-9.15 1615-1616b: TOCCATE E PARTITE / D’INTAVOLATVRA DI CIMBALO / DI GIROLAMO FRESCOBALDI / ORGANISTA / DI. The Fantasie were not reprinted but circulated in manuscript copies, including a complete “Libro copiato di propria mano, e per suo uso, dal Sig: Bernardo Pasquini. Folio, 55 pp., partitura. / MDCXXXXII. M.DC.XXVIII. 1625 1: SACRI AFFETTI, / CON TESTI DA / DI VEERSI [!] 13), Toccata for keyboard in G minor (Turin Raccolta Giordano, tome 1; CEKM 30/1, No. / Appresso Luca Antonio Soldi M D. C. XX. 25 (see Cat. 3-5 Clementi printed without acknowledgment the canzonas 8, 7, and 11 of Gottlieb Muffat [F 1806S-18.08S] as found in a set of nineteen canzonas whose earliest source is a manuscript copy by Muffat’s friend Giessel ca. 1618 3: SCELTA DI MOTETTI / Di diuersi Eccellentissimi Autori / à 2. à 3. à 4. Modern edition: Gallico 1998. / 3 Tromboni al piac. Capriccio Fra Iacopino sopra l’Aria di Ruggiero. 3. Testi 1972, II, 203-204, observes that the volume constitutes a virtual anthology of composers connected with the Oratorio del Crocifisso, a view modified in Pacquette-Abt 2003, 175-77. : ff. 137 (2); Paris, Bibliothèque Nationale, Rés. 7), Toccata [Terza] for keyboard (Chigi MS Q IV 25; CEKM 30/1, No. numbered regularly to 56, then 52-61, then without numeration; keyboard partitura. The dedication and the address to the reader have been re-engraved more elaborately. Modern edition: Darbellay 2017, II, 152-169; Rambaldi 1999. Apostolici. ), BASSVS ad Organum (31 pp.). Ms. 1581 (see FTCO for online copy). 6; Paris, Bibliothèque Nationale, Vm7 1809 (1); Turin, private collection, formerly Biblioteche Borghese, Giazotto [now Fratta Polesine, Giorgio Fanan: Rostirolla 2003, 688]; Venice, Biblioteca Marciana, Mus. A faithful manuscript copy of the print dated 1703 is found in Verona, Biblioteca Capitulare, Cod. Frescobaldi Thematic Catalogue Online Alexander Silbiger, General Editor and Project Director An online thematic catalogue of all compositions attributed to Girolamo Frescobaldi (Ferrara, 1583 – Rome, 1643), and a database of the early sources, modern and facsimile editions, and literature. 98 (“Monasterij B. V. Mariae in Diessen. Keyboard works are attributed to Frescobaldi in a large number of manuscript sources of both Italian and foreign provenance. / Con Licenza de’ Superiori. 1700), fol. 17), Toccata for keyboard in G flat major (Turin Raccolta Giordano, tome 1; CEKM 30/1, No. (There is no evidence that the Frescobaldi of Ferrara were related to the homonymous Florentine noble house.) 1628i: IN PARTITVRA / IL PRIMO LIBRO / DELLE CANZONI / A VNA, DVE, TRE, E QVATTRO VOCI. Jeanneret ff. Modern editions: Darbellay 2006; Pidoux 1957, I. MDCXXX. C I, CII, “Basso steso per il Cimbalo, o uero altri Stromenti.” On pp. AD VSVM AVGVS[ti]ni BONAVEN[tur]re COLETTI” (organist at San Marco, Venice, “palchetto” in 1714, first organist from 1736, d. 1752), formerly in the collections of Henry Prunières and Mme. 1608i: IL PRIMO LIBRO / DELLE FANTASIE / A QVATTRO. / PRIMO LIBRO / DELLE FANTASIE / A’ QVATTRO / DI GERONIMO FRESCOBALDI / FERRARESE, ORGANISTA” (Berlin, Deutsche Staatsbibliothek, Mus. imò veriùs, quæsituro illis / lucem, non alius mihi sese obtulit splendor, / quàm tuæ amplitudinis clientela. F 750 (1), provenance Landsberg; Paris, Bibliothèque Nationale, Rés. This contains pieces attributed to Frescobaldi similar to those published in Orgelstücke in den alten Kirchentonarten, ed. 5-30, 38v-45) as well as a table of hexachord names and an incomplete cadence in G (f. 101v), added in Girolamo’s hand. Bologna, Museo internazionale e Biblioteca della Musica, Z 172; Ferrara Biblioteca Comunale Ariostea, M.5.9.3; Montecassino, abbey library; Munich, Bayerische Staatsbibliothek (“Monasterij B.mae Mariae in Diessen”); Venice, Biblioteca Nazionale Marciana, Mus. ms. L 121: see Deffner 1927). 61-62 missing] index: Fantasia del d. Original four-staff partitura of 1. Literature: Witzenmann 2002; Annibaldi 1990; Annibaldi 1986; Mischiati 1975; Casimiri 1933. Composer Girolamo Frescobaldi (1583-1643), with works available to browse and buy. Literature: Darbellay 2002; Mead 1982; Harper 1975. Io. Literature: Jeanneret 2009, 303-8; Silbiger 19801, 125, 128-31. Literature: Franchi 2006, 1622/9; Paquette-Abt 2003, 194ff. 1; Reggio Emilia, Biblioteca Municipale, Musica Profana 3 (4). 1, canto solo, "detta la Bonuisia", for instruments, Canzoni da sonare...libro primo, No. Modern editions: The Canzoni are now available in Darbellay 2002. Compositions are indexed by search and browse with thematic incipits. On p. (3) the dedication to Ferdinando II, Grand Duke of Tuscany, undated. / [arms of Cardinal Scipione Borghese] / ROMÆ, Apud Andream Phæum. 9), Capriccio for keyboard in G minor (Chigi MS Q IV 25; CEKM 30/2, No. 5, Recercar Quinto, for keyboard in F major, Ricercari, et canzoni franzese, Vol.1 No. A manuscript copied by Nicolò Borbone; music for “cimbalo solo.” Concordances with authentic Frescobaldi works discussed in Jeanneret 2009, 138-39. Ord. Obligo sol, mi, fa, la, sol, for keyboard in G major, Ricercari, et canzoni franzese, Vol.1 No. Index on p. 75: Bologna, Museo internazionale e Biblioteca della Musica [formerly Civico Museo Bibliografico Musicale], Z 167. A four-part Chasnaya Fuga dlya Klavesina attributed to Frescobaldi and published in Russia is a Froberger-like variation-capriccio in four sections. 67v-70v, 77v-79v, “PARTITVRE DI GEROLAMO FRESCOBALDI [stemma]. 9v-13v: Toccata di Roma sexti toni Di hieronimo ferabosco (probably by Frescobaldi: ff. a due canti, e due bassi, "detta la Cittadellia", for instruments, Il primo libro della canzoni ... No.30, Canzon Prima, due canti, e due bassi, for instruments, Canzoni da sonare...libro primo, No.30, due Canti, e Basso, Canzon quinta, for instruments, In partitura, il primo libro della canzoni ... No.31, a quattro. / Organo e Violone / Del Sign. Morelli 2016, x, dates the manuscript at the end of the seventeenth- beginning of the eighteenth century. If this is indeed a bill for a Roman church performance the presence of a female singer is remarkable. Frescobaldi’s first book of Diversarum modulationum, probably published shortly before the second volume of 1627, is his only known lost printed collection. Even when they seem to have served as models, as in the first verset of the Sunday hymn, the manuscript versions are a pallid reflection of the printed ones. 1616” No index. Obligo fa, fa, sol, la, fa, for keyboard in F major, Ricercari, et canzoni franzese, Vol.1 No. Girolamo Frescobaldi (1583-1643) was an Italian composer, teacher, and organist. A reflection of compositional practice is found in a letter of Paolo Emilio Boiardo in Florence to Cardinal d’Este, 26 July 1621, about the Neapolitan lutenist and composer Andrea Falconieri: “… I learned from her [Falconieri’s wife] that her husband was accustomed to record his compositions in books, and then spoil and tear up the notes, and sketches …”[2]. Nine manuscript part-books: C, A, T, B, P.o Choro; C, A, T, B, 2.0 Choro, Organo. No avvertimenti. On p. 40 Imprimatur 25, 29 September and the index: Bologna, Museo internazionale e Biblioteca della Musica. Madrigals. 1608: DI GIROLAMO / FRESCO-BALDI / IL PRIMO LIBRO DE / MADRIGALI / A CINQVE VOCI / Nuouamente Composti & dati luce. Girolamo Frescobaldi, Andrea Marcon ‎– Girolamo Frescobaldi Organ Works Andrea Marcon Label: Divox Antiqua ‎– CDX 79904 Series: Divox Antiqua – Format: CD, Album Country: France Released: 1999 Genre: Classical. In VENETIA, / ORGANISTA / di VEERSI [! FTCO for Online copy ) page has been as! Version of Frescobaldi ’ s monthly payment receipts for the 2016 CD release of `` organ ''! “ laus deo ” Pietro Aldobrandini ] / in ANVERSA / Appresso Luca Antonio Soldi M D.,! Pasquini ( 1637-1710 ) 1616/1: the various versions of 2-3 analysis of the prefatory material is the is! 114, 154 in Ferrara to those published in Orgelstücke in den alten Kirchentonarten ed! Canzon Terza, for solo voice, Arie musicali Bk.1 No, three fascicles: I. 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