Catalogue of Works

I. Keyboard Works
A. Printed Sources
B. Manuscript Sources

II. Other Instrumental Works

III. Vocal Works
A. Works with Italian Text
B. Works with Latin Text

IV. Lost, Doubtful, and Spurious Works

Volumes of printed instrumental music are catalogued by their numbers in Claudio Sartori, Bibliografia della musica strumentale italiana. Collections of vocal and instrumental music by a single composer are also identified according to the RISM volume A/I/3, Einzeldrücke vor 1800. Miscellaneous collections are identified according to RISM/B/I/1, Recueils imprimés 16e-17e siècles. Both of these sources have been corrected by reference to Darbellay 1988. Secular vocal collections are identified according to Emil Vogel, Bibliothek der gedruckten weltlichen Vocalmusik Italiens, other works according to the revised edition, Bibliografia della musica italiana vocale profana. Works published in Rome are also identified according to Saverio Franchi, Annali della stampa musicale romana dei secoli XVI-XVIII, Vol. I/1, Edizioni di musica pratica dal 1601 al 1650 (Franchi 2006). Alexander Silbiger’s Frescobaldi Thematic Catalogue Online (FTCO, frescobaldi.music.duke. edu) is cited by F numbers. This online catalogue provides in a consistent numbering (volume number, place in volume, further identifying sigla) Frescobaldi’s entire output based on the Complete Works. Compositions are indexed by search and browse with thematic incipits. Sources are indexed by search and browse, including 183 manuscript entries. Canonic collections with related sources are indexed (although holdings of printed collections are not indexed by place, which the present catalogue lists alphabetically according to the most recent enumerations), and short titles of relevant literature are given.

In every case where I have been able to examine a source personally, these indications have been verified and amplified. Manuscripts are listed alphabetically according to the city of their present location.

I. KEYBOARD WORKS

A. Printed Sources

1. 1608i: IL PRIMO LIBRO / DELLE FANTASIE / A QVATTRO. / DI GERONIMO FRESCOBALDI / Ferrarese, / Organista. NOVAMENTE DATE IN LVCE. [printer’s mark] / IN MILANO, per l’herede di Simon Tini, & Filippo Lomazzo. 1608.

Oblong quarto, 75 pp. 4-voice keyboard partitura across opening (libro aperto). On the verso of the title page the dedication to Francesco Borghese, Duca di Regnano, dated Ferrara, 8 November 1608. Index on p. 75:

Tauola di questo Libro.

Fantasia prima, sopra vn soggietto. à nu.
Fantasia seconda, sopra vn soggietto solo.
Fantasia terza, sopra vn soggietto solo.
Fantasia quarta, sopra due soggietti.
Fantasia quinta, sopra due soggietti.
Fantasia sesta, sopra due soggietti.
Fantasia settima, sopra tre soggietti.
Fantasia ottaua, sopra tre soggietti.
Fantasia nona, sopra tre soggietti.
Fantasia decima, sopra quattro soggietti.
Fantasia vndecima, sopra quattro soggietti.
Fantasia duodecima, sopra quattro soggietti.
3
8
14
19
24
32
39
45
50
57
62
69
F 6.01
F 6.02
F 6.03
F 6.04
F 6.05
F 6.06
F 6.07
F 6.08
F 6.09
F 6.10
F 6.11
F 6.12

IL FINE.

RISM F 1855.

Bologna, Museo internazionale e Biblioteca della Musica [formerly Civico Museo Bibliografico Musicale], Z 167.

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. / PRIMO LIBRO / DELLE FANTASIE / A’ QVATTRO / DI GERONIMO FRESCOBALDI / FERRARESE, ORGANISTA” (Berlin, Deutsche Staatsbibliothek, Mus. ms. L 121: see Deffner 1927). 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. Rés. Vma. ms. 965, ff. 67v-70v, 77v-79v, “PARTITVRE DI GEROLAMO FRESCOBALDI [stemma]. 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. de Chambure. Cf. below Kraków [olim Berlin, Staatsbibliothek], Biblioteka Jagiellonska, Mus ms. 40316], containing Fantasies 7-[10]. Fantasies 6-9 were copied in Vienna, Minoritenkonvent, Musikarchiv XIV, 714 (facsimile in Silbiger 1989, 24: on two five-line staves). Fantasia 9 is copied with excerpts from Recercari, Toccate I, and Capricci in the manuscript Munich, Bayerische Staatsbibliothek, Mus. Ms. 1581 (see FTCO for online copy). The Architectonice musices universalis of Wolfgang Schönsleder (Ingolstadt, 1631) contains fifteen musical examples ascribed to Frescobaldi, which have been identified as excerpts from fantasies 1, 2, 3, 6, 8, 9, and 10: so far the earliest disseminations of Frescobaldi’s music beyond the Alps (see Kraków ms.).

Modern editions: Bellasich 1995; Girolamo Frescobaldi, Fantasies, ed. Norbert Dufourcq (Paris: Schola Cantorum, 1956-57, 2 fascicles); Pidoux 1957, 1.
Literature: FTCO, “What’s New”; Annibaldi 20011; Bellasich 1995.

Tocate e Partite: Darbellay 1988, 87 categorizes the earliest versions as: 1st edition: 1615 title page, dedication dated XXII. Decembre 1614 (= 1615a); second edition: 1615 title page, 1614 dedication, 1616 “Avvertimenti” ( = 1615-1616b); third edition: 1615-1616b with new title page ( = 1616f); fourth edition: 1628 title page, 1616 Avvertimenti, no dedication ( = 1628k)

2. 1615a: TOCCATE E PARTITE / D’INTAVOLATVRA DI CIMBALO / DI GIROLAMO FRESCOBALDI / ORGANISTA / DI. S. PIETRO DI ROMA / [ornament] / Nuouamente da lui date in luce, & / con ogni diligenza corrette / [ornament] / LIBRO PRIMO / [arms of Cardinal-duke Ferdinando Gonzaga] / In Roma da Nicoló Borboni. / 16i5. / Con licenza deSu – periori.

Small folio engraved on copper, 4 unnumbered folios + 58 pp., keyboard intavolatura. On p (iii) the dedication to Ferdinando Gonzaga, “Di Roma. XXII. Decembre. M.D.C.XIV”; p. (v) “AL LETTORE.” No index. Contents:

TOCCATA PRIMA
TOCCATA SECONDA
TOCCATA TERZA
TOCCATA QVARTA
TOCCATA QVINTA
TOCCATA SESTA
TOCCATA SETTIMA
TOCCATA OTAVA [!]
TOCCATA NONA
TOCCATA DECIMA
TOCCATA VNDECIMA
TOCCATA DVODECIMA
PARTITE SOPRA RVGIERO
PARTITE SOPRA LA ROMANESCA
Parte sopra lamonicha
1
4
7
10
14
17
22
25
28
31
35
38
41
46
56
F 2.01
F 2.02
F 2.03
F 2.04
F 2.05
F 2.06
F 2.07
F 2.08
F 2.09
F 2.10
F 2.11
F 2.12
F 2.35.01-08
F 2.36.01-12
F2.37.01-06

RISM F 1856.

Bologna, Museo internazionale e Biblioteca della Musica, Z 168: Darbellay 1988, 87: blank page [7-8] with a pen-sketch of Orsola del Pino, probably by a Hungarian (Darbellay gives no documentation for either of these assertions); Rome, BAV, Cappella Giulia XV. 45 (bound with the Recercari: cf. 4.); Rome, Biblioteca Casanatense, Mus. 611/1 (title page signed “Al’vso Di sor Maria Gratia in S.ta Cat.na di Siena”: opening unnumbered folios and the first 6 folios of 1615a, the rest from 1637.

Sartori 1952 and RISM notwithstanding, neither the Deutsche Staatsbibliothek of Berlin, the Bibliothèque Nationale of Paris, nor the Library of Congress, Washington, D. C., possesses this edition (see Riedel 1968, 23, n. 31).
Modern editions: Stembridge 2010; Darbellay 1977, with the various versions of 2-3.
Literature: Franchi 2006, 1615/1; Darbellay 1988.

[1615a bis: Paris, Bibliothèque Nationale Vm7 1809 (1), the only source of this item, has been reassigned to 1616f.]

3. 1615-1616b: TOCCATE E PARTITE / D’INTAVOLATVRA DI CIMBALO / DI GIROLAMO FRESCOBALDI / ORGANISTA / DI. S. PIETRO DI ROMA / [ornament] / Nuouamente da lui date in luce, & / con ogni diligenza corrette / [ornament] / LIBRO PRIMO / [arms of Cardinal-duke Ferdinando Gonzaga] / Con licenza delli Superiori 1615. / In Roma da Nicoló Borboni.

Small folio engraved on copper, 4 unnumbered folios + 68 pp., keyboard score. On p. (iii) the dedication, “Di Roma xxij December M.D.C.xiiij”; on p. (v) the enlarged version “AL LETTORE,” at the end “Christophorus Blancus scu[l]psit. 1616” No index. Contains Toccatas I-XII+1615a, with the addition of:

PARTITE SOPRA L’ARIA / DELLA ROMANESCA
Parte sopra lamonicha
PARTITE SOPRA RVGGIERO
PARTITE SOPRA FOLIA.
Corrente Prima
Corrente Seconda
Corrente Terza
Corrente Quarta
41
51
56
63
66
66
67
68
F 2.13. 01-14
F 2.14.01-11
F 2.15.01-12
F 2.16.01-06
F 2.17
F 2.18
F 2.19
F 2.20

RISM F 1857 (see Darbellay 1988, 81).

Berlin, Deutsche Staatsbibliothek, Mus. ant. pract. F 750 (1), provenance Landsberg; Paris, Bibliothèque Nationale, Rés. F 108; Pistoia, Biblioteca Civica Forteguerriana, olim T.II.I. 484; Washington, D. C., Library of Congress, M 22.F 9 T 61 Case (the principal bass notes of the two opening toccatas have been added in ink an octave lower).

Literature: Franchi 2006, 1615/12.

Franchi 2006, 1616/1: the title page has been elaborated in the details of the frame. The dedication and the address to the reader have been re-engraved more elaborately. 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. The engraving of the prefatory material is the work of Cristoforo Bianchi, an engraver working in Milan and Rome ca. 1610-12 (Thieme-Becker 1907, III, 581). Franchi 2006, 1616/1: the variation-sets are reworked, and the four correnti are a new addition.

3a. 1616f: TOCCATE E PARTITE / D’INTAVOLATVRA / DI CIMBALO / DI GIROLAMO FRESCOBALDI / ORGANISTA / IN S. PIETRO DI ROMA / LIBRO PRIMO / [Gonzaga arms] / Con licenza de Superiori / In Roma appresso Nicolo Borboni.

Dedication dated 1614, preface dated 1616.

Franchi 2006, 1616/1: a reprint of 2c: completely new title page, date removed; the remaining front matter = 3.

RISM F 1857 (see Darbellay 1988, 88).

Ferrara, Biblioteca Comunale Ariostea, M 5. 9. 6; London, British Library, K. 7. i. 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. 39.

The Venice copy, dated in ink “Adi 14 Giugno 1682 In Venetia,” formed part of the Contarini collection; on the inside cover is written a list of 31 “originali di opere Cantate” acquired for the collection 1681-83 (see Jane Glover, Cavalli, New York: St. Martin’s Press, 1978, 67-68, 117). A “Toccata Prima” and the first page of a “Toccata Seconda” from the Apparatus Musico-Organisticus of Georg Muffat (1690) are bound in at the end of the volume.

Literature: Franchi 2006, 1616/1.

3b. 1628k: IL PRIMO LIBRO / D’INTAVOLATVRA / DI TOCCATE / DI CIMBALO / ET ORGANO / PARTITE SOPRA L’ARIE / DI ROMANESCA / RVGGIERO / MONICA / FOLLIE / E CORRENTI / DI GIROLAMO / FRESCOBALDI / ORGANISTA IN / S. PIETRO DI ROMA / RISTAMPATO L’ANNO M.D.C. XXVIII / Per Nicolo Borbone in Roma Con licenza de Superiori.

Small folio engraved on copper, 2 unnumbered folios + 68 pp. Dedication omitted, preface = 3; on p (iv) the portrait and sonnet from 1627b. New title page (not = 1616f).

RISM F 1858.

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. 9; Oxford, Bodleian Library, Mus. 137 c. 137 (1); Wolfenbüttel, Herzog-August-Bibliothek (doubtful): “Ioannes Iacobus Merckh,” “I. I.M. 1629”on binding. Franchi hypothesizes that the edition was run up for presentation to the Grand Duke in March 1628.

Modern editions: the various versions of 3. in Darbellay 1975.
Literature: Franchi 2006, 1628/7.

John Blow quotes two excerpts from Toccate I: mm. 1-9 of Blow’s Voluntary II are an ornamented version of Frescobaldi’s Toccata XII, mm. 1-9 (Br. Mus. Add. MSS. 31468, fol. 9v; 31466, fol. 41; 34695, fol. 53v). Blow’s Voluntary XXIX, Add. Ms. 34695, fol. 10v, “A Double Vers.,” in mm. 45-57 quotes mm. 18-24 of Toccata VIII (see John Blow: Complete Organ Works, ed. Watkins Shaw, London, 1958).

4. 1615g: RECERCARI, / ET CANZONI / FRANZESE / FATTE SOPRA DIVERSI OBLIGHI / IN PARTITVRA / DA GIROLAMO / FRESCOBALDI / Organista di San Pietro / di Roma. / LIBRO PRIMO / [arms of Cardinal Pietro Aldobrandini] / IN ROMA, / Appresso Bartolomeo Zannetti. MDCXV. / CON LICENZA DESVPERIORI.

Small folio, 59 pp. (pp. 17-20 numbered 5-8), keyboard partitura. On p (3) dedication to Cardinal [Pietro] Aldobrandino, Chamberlain of the Church, undated. Index on the verso of p. 59:

TAVOLA DE’ RECERCARI
DEL SIGNOR GIROLAMO
FRESCOBALDI.

Recerca Primo. pag. 4 F 9.01
Recercar Secondo. pag. 7 F 9.02
Recercar Terzo. pag. 12 F 9.03
Recercar Quarto, Obligo, mi, re, fa, mi. 15 F 9.04
Recercar Quinto. 20 F 9.05
Recercar Sesto. Obligo fa, fa, sol, la fa. 25 F 9.06
Recercar Settimo, Obligo sol, mi, fa, la, sol. 28 F 9.07
Recercar Ottauo, Obligo di non [uscir] mai di grado. 32 F 9.08
Recercar Nono. Obligo di quattro soggetti. 35 F 9.09
Recercar Decimo, Obligo la, fa, sol, la, fa, re. 38 F 9.10
Canzon Prima, Primo Tono. 42 F 9.11
Canzon Seconda, Primo Tono. 45 F 9.12
Canzon Terza. Secondo Tono. 50 F 9.13
Canzon Quarta. Sesto Tono. 53 F 9.14
Canzon Quinta. Nono Tono. 57 F 9.15

[printer’s mark] / IN ROMA, / Appresso Bartolomeo Zannetti. MDCXV. / CON LICENZA DESVPERIORI.

RISM F 1860.

Berlin, Deutsche Staatsbibliothek, Musikabteilung, Mus. Ant. pract F. 740; Cambridge, King’s College, Rowe Music Library; Paris, Bibliothèque Nationale (ancien fonds de la Bibliothèque du Conservatoire), Rés. F. 106 (incomplete); Rome, BAV, Cappella Giulia, XV 45 (on the flyleaf the note by Giuseppe Ottavio Pitoni “Comprato adi 29 Ottobre 1732 b[aiocchi] 10 da Matteo Rigattiere”); Pistoia, Biblioteca Comunale Forteguerriana, T. II. I. 484; Washington, D. C., Library of Congress.

All the exemplars contain handwritten corrections. The first 48 measures of the eighth recercar appear in Paris, Bibliothèque Nationale, Rés. 819-2, a manuscript copied in Germany after 1661 (Gustafson 1979, I, 22). 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).

Facsimile edition by Gregg International Publishers, Westmead, 1967.
Modern editions: Stembridge 2010; Leonhardt 2004; Pidoux 1957.
Literature: Stembridge 2010; Franchi 2006, 1615/10; Felici 2005; Ladewig 1978.

4a. 1618g: RECERCARI, / ET CANZONI / FRANZESE / FATTE SOPRA DIVERSI OBLIGHI / IN PARTITVRA / DA GIROLAMO / FRESCOBALDI / Organista di San Pietro / di Roma. / LIBRO PRIMO / [arms of Cardinal Pietro Aldobrandini] / IN ROMA, / Appresso Bartolomeo Zannetti. M. DC. XVIII. / Con Licenza deSuperiori.

Dedication = 4, without signature. Index on verso of p. 59 = 4

RISM F 1861.

London, British Library, K. 7. i. 7.

Literature: Franchi 2006, 1618/20.

5. 1624b: IL PRIMO LIBRO / DI CAPRICCI / FATTI SOPRA / DIVERSI SOGGETTI, ET / ARIE IN PARTITVRA DI / GIROLAMO / FRESCOBALDI / ORGANISTA S. PIETRO DI ROMA / [Este arms] / IN ROMA. / Appresso Luca Antonio Soldi M D. C. XX. IIII. / CON LICENTIA DE SVPERIORI

Small folio. 95 pp. numbered regularly to 56, then 52-61, then without numeration; keyboard partitura. 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). On p. (96) the index:

TAVOLA.
DELLI CAPRICCI.

PRimo vt, re, mi, fa, sol, la.
Secondo la, sol, fa; mi, re, vt.
Terzo sopra il Cucho
Quarto la, sol, fa, re mi.
Quinto sopra la bassa fiammenga.
Sesto sopra la Spagnoletta,
Settimo sopra or che noi rimena.
Ottauo Cromatico di ligature al contrario.
Nono di durezze.
Decimo Obligo di ca[n]tare la quinta parte senza toccarla, sempre di Obligo del soggetto scritto.*
Vndecimo sopra vn sogetto.
Duodecimo sopra l’Aria di Rugiero.
4
14
23
31
40
47
50 [recte 56]
57 [63]
61 [67]
63 [78]
72 [69]
80 [86]
F 4.01
F 4.02
F 4.03
F 4.04
F 4.05
F 4.06
F 4.07
F 4.08
F 4.09
F 4.10
F 4.11
F 4.12

IL FINE.

* The tenth and eleventh capriccios are printed in reverse order in the text.

RISM F 1862.

Bergamo, Biblioteca dell’Istituto Musicale Gaetano Donizetti, no. 8654, Palchetto G 1; Berlin, Deutsche Staatsbibliothek, Mus. ant. pract. F 755; Bologna, Museo internazionale e Biblioteca della Musica, Z 170; London, British Library (two copies: Hirsch III 204, K. 7. i. 8); Paris, Bibliothèque Nationale (fonds Conservatoire), F 107; Rome, Biblioteca Casanatense, Mus. 225 (manuscript corrections in ink, perhaps by Baini, the donor of the volume); Washington, D. C., Library of Congress, M 7. F 88 C4 Case (the entrances of the ostinato in Capriccio Decimo have been supplemented by the indication “re” in ink on pp. 79 [mm. 1, 6] and 80 [second system, m. 4]). Corrections added in all known copies.

Modern editions: Frescobaldi 2015; Darbellay 1984; Pidoux 1957.
Literature: Frescobaldi 2015; Franchi 2006, 1624/5; Darbellay 1988.

5a. 1626i: IL PRIMO LIBRO / DI CAPRICCI / CANZON FRANCESE, / E RECERCARI / FATTI SOPRA DIVERSI SOGGETTI, ET ARIE / IN PARTITVRA. / DI GIROLAMO FRESCOBALDI / ORGANISTA IN SAN PIETRO / DI ROMA, / NOVAMENTE RISTAMPATI / CON PRIVILEGIO / [printer’s mark] / IN VENETIA, / APPRESSO ALESSANDRO VINCENTI. / MDCXXVI.

Large folio, no dedication, 169 pp. (86-87 numbered 88-89, 136 numbered 138), keyboard partitura. On the verso of the title page the advice to the reader = 5, beginning BErche… instead of PER che. On the verso of p. 169 the index:

TAVOLA
DELLI CAPRICCI
CANZON FRANCESE, RECERCARI
DI GIROLAMO FRESCOBALDI
ORGANISTA IN SAN PIETRO DI ROMA.

PRimo Vt, re, mi, fa, sol, la,
Secondo La, sol, fa, mi re, vt.
Terzo sopra il Cucho.
Quarto La, sol, fa, re, mi.
Quinto sopra la Bassa Fiamenga.
Sesto Sopra la Spagnoletta
Settimo Cromatico con ligature al contrario.
Ottauo Di Durezze
Nono Sopra vn Soggetto
Decimo Obligo di Cantare la Quinta parte senza toccarla / sempre di Obligo del Soggetto scritto Si placet
Vndecimo Sopra l’Aria di Ruggiero
1
14
25
34
44
52
62
65
68
77
88
Recercar Primo.
Recercar Secondo.
Recercar Terzo.
Recercar quarto Sopra Mi, re, fa, mi,
Recercar Quinto.
Recercar Sesto Sopra Fa, fa, sol, la, fa.
Recercar Settimo Sopra Sol, mi, fa, la, sol,
Recercar Ottauo, Obligo di non vscir mai di grado
Recercar Nono Con quattro soggetti
Recercar Decimo Sopra. La, fa, Sol la, re.
98
103
109
112
122
125
129
134
137
141
Canzon Prima
Canzon Seconda.
Canzon Terza.
Canzon Quarta.
Canzon Quinta.
Primo Tuono.
Primo Tuono.
Secondo Tuono.
Sesto Tuono.
Nono Tuono.
146
150
155
160
166

IL FINE.

FTCO 4.01-4.12; FTCO 9.01-9.15
RISM F 1863.

Assisi, Biblioteca Municipale; Berlin, Deutsche Staatsbibliothek, Mus. ant. pract. F 760; Bologna, Museo internazionale e Biblioteca della Musica, Z 171; The Hague, Gemeentemuseum, 28 C. 24 (incomplete); London, British Library, K. 7. 1. 9; Wolfenbüttel, Herzog August Bibliothek, 1.1.1.1. Mus. 20. A volume of ricercari by Frescobaldi appears in an entry ca. 1620 of a manuscript inventory ca. 1614 of the books of duke Giovanni Angelo Altæmps (Rome Biblioteca Casanatense, ms. 3219, Couchman 1985, 181).

Material related to the Capricci appears in the manuscripts Paris, Bibliothèque Nationale, Mus. D 4065 and Rés. Vma, ms. 965, ff. 29-67v; Ravenna, Biblioteca Comunale Classense, Ms. Classense 545; Rome, BAV, Chigi Q. IV. 25 (see Cat. I. A. 1 and Darbellay 1988, 165).

Modern edition: Pidoux 1957, II.

5b. 1628l: IL PRIMO LIBRO / DI CAPRICCI / CANZON FRANCESE / E RECERCARI / FATTI SOPRA DIVERSI SOGGETTI, ET ARIE / IN PARTITVRA. / DI GIROLAMO FRESCOBALDI / ORGANISTA IN SAN PIETRO / DI ROMA. / NOVAMENTE RISTAMPATI. / CON PRIVILEGIO, / [printer’s mark] / IN VENETIA, / APPRESSO ALESSANDRO VINCENTI. / MDCXXVIII.

Small folio, 169 numbered pp., without dedication = 5.

RISM F 1864.

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. 3; Venice, Biblioteca del Conservatorio (Fondo Giustiniani), O. busta 15 n. 20; Vienna, Minoritenkonvent, Catalogus musicus I, n. 681.; Wroclaw, University Library.

5c. 1642h: IL PRIMO LIBRO / DI CAPRICCI / CANZON FRANCESE / E RECERCARI / FATTI SOPRA DIVERSI SOGGETTI, ET ARIE / IN PARTITVRA / DI GIROLAMO FRESCOBALDI / ORGANISTA IN SAN PIETRO / DI ROMA. / NOVAMENTE RISTAMPATI / CON PRIVILEGIO. / [printer’s mark] / IN VENETIA, / APPRESSO ALESSANDRO VINCENTI. / MDCXXXXII.

Small folio, 1 unnumbered folio + 169 pp., p. 46 numbered 50. Without dedication = 5a; advice on verso of title page = 5.

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. 60; Vienna, Österreichische Nationalbibliothek, Musiksammlung, S. A. 76 A 44.

6. 1627b: IL SECONDO LIBRO / DI TOCCATE, CANZONE / VERSI D’HINNI MAGNIFICAT / GAGLIARDE, CORRENTI / ET ALTRE PARTITE / D’INTAVOLATVRA / DI CIMBALO ET ORGANO / DI GIROLAMO FRESCOBALDI / ORGANISTA / IN S. PIETRO DI ROMA / [arms of Mons. Luigi Gallo, Bishop of Ancona]

Folio engraved on copper, 2 unnumbered folios + 90 pp. On p. (iii) the dedication to Mons. Gallo, dated Rome, 15 January 1627; on p. (iv) a portrait of Frescobaldi with the legend: “HIERONYM’ FRESCOBALDVS FERRARIEN. ORGANISTA ECCLESIÆ D. PETRI IN VATICANO ÆT. SVÆ 36.” and underneath, “F. Io. Salianus Augustinianus deliniabat + Christian’ Sas sculpsit.” (see fig. 8.2). The richly decorated page also includes a laudatory sonnet by Pier Francesco Paoli of Pesaro. No avvertimenti.

Keyboard intavolatura. The musical text begins on p. 1. No index. Contents of the volume

Toccata Prima
Toccata Secôda
Toccata Terza / Per l’organo da sonarsi alla leuatione
Toccata Quarta Per l’organo da sonarsi alla leuatione
Quinta Toccata sopra i pedali per l’organo, e senza
Toccata Sesta Per l’organo sopra i pedali, e senza
Toccata Settima
VIII Toccata di durezze, e Ligature
Toccata Nona (Non senza fatiga si giunge al / fine)
Toccata Decima
Toccata Vndecima
Ancidetemi pur d’Archadelt / passaggiato
Canzona Prima.
Canzona Seconda
Canzona Terza.
Canzona Quarta
Canzona Quinta
Canzona Sesta
Hinno Della Domenica.
Hinno Dell’Apostoli
Hinno iste confessor.
Hinno Aue Maris stella
Magnificat Primi Toni
Magnificat Secundi Toni
Magnificat Sesti Toni
Aria detto Balletto
Gagliarda Prima.
Gagliarda Seconda
Gagliarda Terza
Gagliarda Qvarta
Gagliarda Qvinta
Aria detta la frescobalda. [5 parti]
Corrente Prima
Corrente Seconda
Corrente 2.a alio modo
Corrente Quarta
Corrente Quinta
Corrente Sesta
Partite Sopra Ciaccona.
Partite Sopra Passacagli.
1
4
6
10
13
16
20
24
26
30
33
37
41
46
49
53
56
58
60
61
63
65
67
69
71
73
77
77
78
79
79
80
83
83
84
85
85
86
87
88
F 3.01
F 3.02
F 3.03
F 3.04
F 3.05
F 3.06
F 3.07
F 3.08
F 3.09
F 3.10
F 3.11
F 3.12
F 3.13
F 3.14
F 3.15
F 3.16
F 3.17
F 3.18
F 3.19
F 3.20
F 3.21
F 3.22
F 3.23
F 3.24
F 3.25
F 3.26
F 3.27
F 3.28
F 3.29
F 3.30
F 3.31
F 3.32
F 3.33
F 3.34
F 3.35
F 3.36
F 3.37
F 3.38
F 3.39
F 3.40

RISM F 1866.

Berlin, Deutsche Staatsbibliothek, Mus ant. pract F 750 (2); Chicago, Newberry Library (not the 1637 edition: the date of the dedication has been corrected in 1628 in ink), Case VM3, F 88, vol. 2; Oxford, Bodleian Library Mus. 137c. 137 (2); Paris, Bibliothèque Nationale, Rés. F 111 (Capponi arms on binding); Paris, ex-coll. André Meyer [this is in fact a copy of the 1637 edition with the date on the title page clearly altered to 1627: sold at Sotheby’s, Fall 2012]; Turin, private collection (2 copies, one ex-Borghese / Giazotto: now Fratta Polesine, Giorgio Fanan: Rostirolla 2003, 688); Wolfenbüttel, Herzog August Bibliothek, 1.1.1.1. Part of the Canzona seconda appears in the in Ms. Yale University, Reinecke Library, Osborn Music Ms. 533, ca. 1650-1700, an early appearance of material from Toccate II in northwestern Europe..

Verse I of the Hinno Della Domenica and verse IV of Iste confessor appear, with some ornamentation and unattributed, in the MS. British Library Add. 31403 (ca. 1700), fol. 65 (see Hodge 1981).

Modern edition: Darbellay 1979: Partite on Ciaccona, Passacagli from 1627b in Appendix.
Literature: Franchi 2006, 1627/1; Darbellay 1988 (cantus firmi of the hymns from Asola, Canto fermo sopra Messe … [Venice, 1596] on p. 115).

6a. 1637g: IL SECONDO LIBRO / DI TOCCATE, CANZONE / VERSI D’HINNI MAGNIFICAT / GAGLIARDE, CORRENTI / ET ALTRE PARTITE /D’INTAVOLATVRA / DI CIMBALO ET ORGANO / DI GIROLAMO FRESCOBALDI / ORGANISTA / IN S. PIETRO DI ROMA / Con priuilegio. / [arms of Mons. Gallo] / In Roma con licenza de Superiori 1637 Da Nicolò Borbone.

Folio, 2 unnumbered folios + 86 pp. verso of title page blank or containing preface of 3. On recto of second folio the dedication (= 6), on verso the portrait of Frescobaldi and Paoli’s sonnet. Avvertimenti as in 1616f. The volume is a reprint of 6 without the last 4 pages, the variations on Ciaccona and Passacagli. No index. Book I is often found bound with Book II.

RISM F 1867.

Stembridge 2010, I.2. 166, 2, 1637, second edition: slight corrections, variations in front matter, Avvertimenti as in 1616: Bergamo, Biblioteca dell’Istituto (I + II); Bologna, Museo internazionale e Biblioteca della Musica, Z 169 (I + II); Brussels, Bibliothèque Royale (Fonds Fétis) (I + II); Ferrara, Biblioteca Comunale Ariostea (I + II); Glasgow, Euing Music Library; The Hague, Gemeentemuseum (I + II); Haslemere, Carl Dolmetsch Music Library (I + II); Karlsruhe [lost]; London, Trinity College; Montecassino, abbey library (I + II); Munich, Bayerische Staatsbibliothek (I + II); New Haven, Library of the Yale School of Music: “Ex libris mon[aste]rij S. Bernardi de Vrbe ad Thermas Anno 1668”; Paris, Bibliothèque Nationale (I, I + II); Paris, Collection André Meyer (I + II); Rochester, Eastman School of Music, Sibley Music Library (I + II); Rostock, Universitätsbibliothek (I + II); Venice, Biblioteca Nazionale Marciana (II, I + II); Vienna, Oesterreichische Nationalbibliothek from Convent of S. Francesco at Perugia (I + II)

Modern edition: Pidoux 1957, IV.
Literature: Franchi 2006, 1637/4; Vartolo 1994; Silbiger 19801.

Stembridge 2010, I.2. 166, 3, 1637 or later: reprint of 2 without avvertimenti; “2” added at foot of every page. “FINIS” at end of final page:

3a: dedication followed by portrait/sonnet

Ann Arbor, Mich., General Library; Berkeley, University of California; Berlin, Deutsche Staatsbibliothek; Brno, Moravské Múzeum (I + II); Cambridge, Mass., Harvard University Music Library (I + II); Einsiedeln, abbey library (I + II); Naples, Biblioteca del Conservatorio (I + II); Perugia, Biblioteca Dominicini (I + II); Rome, Biblioteca Casanatense (I, II, I); Rome, Biblioteca Corsiniana; Washington, D. C., Library of Congress (I + II)

3b: portrait/sonnet followed by dedication

London, British Library; Rome, Biblioteca del Conservatorio di Santa Cecilia (I + II); Vicenza, Biblioteca Comunale (I + II); Vienna, Österreicher Nationalbibliothek, incomplete

3c: without portrait or dedication

Florence, Biblioteca del Conservatorio (damaged) (I + II); London, British Library (1 [I], I + II [2]); London, Royal College of Music (I + II); Siena, Accademia Chigiana (I + II); Toronto, University Faculty of Music (I + II)

7. 1635a: FIORI MVSICALI / DI/ DIVERSE COMPOSITIONI / TOCCATE, KYRIE, CANZONI / CAPRICCI, E RECERCARI /IN PARTITVRA A QVATTRO / VTILI PER SONATORI / AVTORE / GIROLAMO FRESCOBALDI / ORGANISTA DI SAN PIETRO / DI ROMA. / OPERA DVODECIMA. / CON PRIVILEGIO. / [arms of Cardinal Antonio Barberini the younger] / IN VENETIA, / Appresso Alessandro Vincenti. M D C XXXV.

Folio, 2 unnumbered folios + 103 pp. On the recto of the second folio the dedication to Cardinal Antonio Barberini, Venice, 20 August 1635, on the verso “AL LETTORE”; in partitura. On the verso of p. 103:

TAVOLA DELLI FIORI MVSICALI / DI GIROLAMO FRESCOBALDI

Toccata Auanti la Messa Della Domenica
Kirie Della Domenica
kirie
Christe
Christe Alio modo
Christe Alio modo
Christe Alio modo
Kirie
kirie Alio modo
kyrie Alio modo
kirie Vltimo
kirie Alio modo
kirie Alio modo
Canzon Dopo la Pistola.
Recercar Dopo il Credo
Tocata Cromaticha per le leuatione.
Canzon post il Comune
Tocata Auanti la Messa Delli Apostoli
Kyrie delli Apostoli
Kyrie.
Kirie
Christe
Christe
Kirie
kirie
kirie
Canzon Dopo la pistola
Tocata Auanti il Recercar.
Recercar Cromaticho post il Credo.
Altro Recercar
Tocata per le leuatione
Recercar Con obligo del Basso come appare
Canzon quarti Toni Dopo il post Comune
Tocata Auanti la Messa della Madonna
Kyrie della Madonna
kirie
Christe
Christe
kirie
kirie
Canzon Dopo la pistola
Recercar Dopo il Credo
Tocata Auanti il Recercar
Recercar Con obligo di Cantare la Quinta parte senza Toccarla / Intendomi chi può che m’intend’io.
Tocata per le leuatione
Bergamasca [“Chi questa Bergamasca sonara non pocho Imparerà” in text]
Capricio sopra la Girolmeta
1
2
3
4
5
6
7
8
9
10
11
13
14
15
19
23
26
32
34
35
36
37
38
39
40
41
43
48
49
53
58
61
66
71
72
72
73
74
75
76
77
80
83
84
87
89
96
F 12.01
F 12.02
F 12.03
F 12.04
F 12.05
F 12.06
F 12.07
F 12.08
F 12.09
F 12.10
F 12.11
F 12.12
F 12.13
F 12.14
F 12.15
F 12.16
F 12.17
F 12.18
F 12.19
F 12.20
F 12.21
F 12.22
F 12.23
F 12.24
F 12.25
F 12.26
F 12.27
F 12.28
F 12.29
F 12.30
F 12.31
F 12.32
F 12.33
F 12.34
F 12.35
F 12.36
F 12.37
F 12.38
F 12.39
F 12.40
F 12.41
F 12.42
F 12.43
F 12.44
F 12.45
F 12.46
F 12.47

IL FINE.

RISM F 1871.

Berkeley, University of California; Berlin, Deutsche Staatsbibliothek, F. 765 / Musik; Bologna, Museo internazionale e Biblioteca della Musica, Z 178; Ferrara, Biblioteca Comunale Ariostea, M.5.9.1 [Tagliavini 2000]; Glasgow, Euing Music Library, No R. x. 10. 1875; The Hague, Gemeentemuseum; London, British Library R. M. 15. C. 4 (King’s Music Library: incomplete); Montecassino, abbey library; Munich, Bayerische Staatsbibliothek, 2 Mus. pr. 98 (“Monasterij B. V. Mariae in Diessen. 1653”); New Haven, Yale University Music Library, Rare M7 F884 [olim Urbana, Illinois, coll. Plamenac]; Paris, Bibliothèque Nationale, Vm7. 1810; Reggio Emilia, Biblioteca Municipale, Musica Profana 3 (3); Vienna, Minoritenkonvent, XIV. 682; Vienna, Oesterreichische Nationalbibliothek, S II. 76. A. 43; Wolfenbüttel, Herzog August Bibliothek, Musikabteilung, 3.2 Musica fol.; Wroclaw, University Library, Mf 4068 – 50062 Muz. Mus. 326o. On the titlepage of the Paris copy the arms of Antonio Barberini are replaced by the pine-cone emblem of the publisher Vincenti (facsimile in Tagliavini 2010).

Manuscript copies of the Fiori are listed in Tagliavini 2010, xxix-xxxiii.

Facsimile edition of Ferrara copy by L. F. Tagliavini, Bologna: Forni, 2000.
Modern edition: Tagliavini 2010, Pidoux 1957, V.
Literature: Tagliavini 2010.

The designation “Opera duodecima” can be obtained by counting all of Frescobaldi’s published collections from the 1608 madrigals on, considering reprints as duplications of the originals, the 1634 Canzoni as a new publication, and including both volumes of Diversarum modulationum. A manuscript copy of the Fiori (Dresden, Sächische Landesbibliothek, Mus. 1/B/98) was made in 1718 by Jan Dismas Zelenka (Schierning 1961, 55, n. 66). A nineteenth-century copy, once the property of J. 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. Material from the Fiori appears in Paris, Bibliothèque Nationale, Mus., Rés. Vma ms 965, fols. 1-28v, 71-77v (see I. A. 1).

8. 1637f: TOCCATE D’INTAVOLATVRA / DI CIMBALO ET ORGANO / PARTITE DI DIVERSE ARIE ‘E COR-/ RENTE, BALLETTI, CIAC- / CONE, PASSACHAGLI. / DI / GIROLAMO FRESCOBALDI / ORGANISTA IN S. PIETRO DI ROMA. / Libro P.o / [arms of Cardinal Francesco Barberini] / STAMPATO l’ANNO MDCXXXVII / Per Nicolo Borbone in Roma Con licenza de Superiori .

Folio, engraved on copper, 2 unnumbered folios + 95 pp. Without dedication; on the recto of the second folio the portrait of Frescobaldi and the sonnet; “AL LETTORE” (= 3) on the verso with the addition of “Li Passachagli … Ciaccone.” Signed “Christophorus Blancus sculpsit 1616” or in the order 1r: title, 2r: “AL LETTORE”; 2v: portrait; intavolatura. After p. 94:

TAVOLA

Toccate dodeci.
Partite i4. sopra l’Aria di Romanesca.
Partite ij. sopra l’Aria di Monicha.
Partite i2. sopra l’Aria di Ruggiero.
Partite 6. sopra l’Aria di Follia.
Côrente quattro.
a. cart. 4i.
a. cart. 5i.
a. cart. 56.
a. cart. 63.
a. cart. 66.
[At the end of p. 68: FINIS.; p. 69: AGGIUNTA]
Balletto e Corrente.
Passachagli e Balletto.
Balletto e Corrente
Passachagli
Partite cento sopra il Passachagli
Corrente e Passachagli.
Ciaccone e Passachagli.
Capriccio Fra Iacopino sopra l’Aria di Ruggiero.
Capriccio sopra la Battaglia.
Balletto e Ciaccone.
Corrente e Ciaccone.
Capriccio fatto sopra la Pastorale.
a. cart. 67. [recte 69]
a. cart. 70.
a. cart. 7i
a. cart. 72.
a. cart. 74.
a. cart. 76.
a. cart. 79.
85. partite 6
a. cart. 89.
a. cart. 9i.
a. cart. 92.
a. cart. 93.
F 2.21-22
F 2.23-24
F 2.25-26
F 2.28
F 2.29
F 2.27
F 2.28 ?
F 2.30
F 2.31
F 2.32
F 2.33
F 2.34

FINIS.

RISM F 1859.

Bergamo, Biblioteca dell’Istituto Musicale (I + II); Berlin, Deutsche Staatsbibliothek (I + II); Bologna, Museo internazionale e Biblioteca della Musica, Z 169a (I + II); Brno, Moravské Múzeum (I + II); Brussels, Musée Royale, Fonds Fétis (I + II); Cambridge, Mass., Houghton Library, Harvard University (I + II); Chicago, Newberry Library; Einsiedeln, Stiftsbibliothek (I + II); Ferrara, Biblioteca Comunale Ariostea (I + II); Florence, Biblioteca del Conservatorio (damaged) (I + II); The Hague, Gemeentemuseum (I + II); Haslemere, Carl Dolmetsch Library (I + II); London, British Library (3 copies, 2 I + II); London, Royal College of Music (I + II); Munich, Bayerische Staatsbibliothek (I + II); Montecassino, abbey library (I + II); Naples, Biblioteca del Conservatorio (I + II); Paris, Bibliothèque Nationale (2 copies, 1 I + II); Paris, Collection André Meyer (I + II); Perugia, Biblioteca Dominincini (I + II); Reggio Emilia, Biblioteca Muncipale; Rochester, Eastman School of Music (I + II); Rome, Biblioteca Casanatense (2: 611: on p. 89 the word “Nauale” has been added to the Capriccio sopra la Battaglia); Rome, Biblioteca del Conservatorio di S. Cecilia (I + II); Rostock, Universitätsbibliothek (I + II); Siena, Accademia Chigiana (I + II); Toronto, University Library (I + II); Venice, Biblioteca Nazionale Marciana (I + II); Vicenza, Biblioteca Comunale (I + II); Vienna, Oesterreichische Nationalbibliothek (I + II); Washington, D. C., Library of Congress (I + II).

A copy of 1637f without the Aggiunta (ex-coll. Chambure, not a mutilation but a different printing), bound with 1637g, is in the collection of Alexander Silbiger.

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). Dinko Fabris, in a review of Hammond 1983 (Nuova rivista musicale italiana 19, 1986, 269-71) cites two otherwise unidentified correnti of Frescobaldi transcribed for guitar in two books (1640, 1643) published in Florence by Antonio Carbonchi. See Lunelli 1978 for the balli and partite of Toccate I-II copied in Trent, Biblioteca Comunale M 1092.

Facsimile ed. Laura Alvini, Archivum Musicum: Collana di testi rari, 3 (Florence: SPES, 1978).
Modern editions: Gilbert 1978; Darbellay 1977 (cf. I. A. 2); Pidoux 1957, III.
Literature: Franchi 2006, 1637/3.

9. 1645a: CANZONI / ALLA FRANCESE / IN PARTITVRA / DEL SIGNOR / GIROLAMO FRESCOBALDI / ORGANISTA DI S. PIETRO DI ROMA, / RACCOLTE / D’ALLESSANDRO VINCENTI / DEDICATE / Al Molto Illustre, & Reuerendissimo P. D. / GIOVANNI POZZO / ABBATE DIGNISSIMO DI S. SALVATORE / DI VENETIA / NVOVAMENTE POSTI IN LVCE / CON LICENZA DI SVPERIORI ET PRIVILEGIO. / LIBRO QVARTO./ [printer’s mark] / IN VENETIA, / Appresso Alessandro Vincenti. MDCXXXXV.

Folio, 55 pp., partitura. On p. [2] the dedication, dated Venice 15 December 1644. On p. [56]:

TAVOLA

Canzon Prima detta la Rouetta.
Canzon Seconda detta la Sabatina.
Canzon Terva detta la Criuelli.
Canzon Quarta detta la Scacchi.
Canzon Quinta detta la Bellerofonte.
Canzon Sesta detta la Pesenti.
Canzon Settima detta la Tarditi.
Canzon Ottaua detta la Vincenti.
Canzon Nona detta la Querina.
Canzon Decima detta la Paulini.
Canzon Vndecima detta la Gardana.
3
8
15
18
23
27
32
35
39
46
50
F 10.01
F 10.02
F 10.03
F 10.04
F 10.05
F 10.06
F 10.07
F 10.08
F 10.09
F 10.10
F 10.11

IL FINE.

RISM F 1872.

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. 1; Reggio Emilia, Biblioteca Municipale, Musica Profana 3 (4). A copy in Berlin, Deutsche Staatsbibliothek, cited by Johannes Wolf in 1919 (Handbuch, II, 277) is no longer there. Several copies (e.g. Yale, Montecassino, Reggio) are bound with the Fiori. A faithful manuscript copy of the print dated 1703 is found in Verona, Biblioteca Capitulare, Cod. MCXXIX. The statement in Darbellay 2006 that “no other concordances are known” is inaccurate: a manuscript copy in four fascicles is found in Oxford, Bodleian Library, Ms. Mus. Sch. d. 258. Each part bears the title “Canzoni alla Francese del Frescobaldi libro 4o.” with in addition “Violino p.mo,” “Violino 2.o” (“15 9bris 1677”), “Violetta” (“20 Novembris 1677”), “Basso” (“13 Januarij 1678”) (Mead 1982, 53, 223-27, n. 1).

Modern editions: Darbellay 2006; Pidoux 1957, I.
Literature: Darbellay 2006.

B. Manuscript Sources


“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].

Keyboard works are attributed to Frescobaldi in a large number of manuscript sources of both Italian and foreign provenance. These attributions were uncritically accepted before Alexander Silbiger’s exhaustive study of seventeenth-century Italian keyboard manuscripts (Silbiger 19801). Submitting such attributions to rigorous examination in terms of creditability of transmission and stylistic congruity, Silbiger came to the preliminary conclusion that few of these pieces are acceptable historically and that a certain number of those that might be considered authentic present significant divergences from documented works of Frescobaldi. His observations were expanded and sometimes modified in the introductions to his invaluable series of facsimiles of seventeenth-century Italian keyboard manuscripts (Silbiger 1989, SCKM).

However, manuscript pieces cannot be judged inauthentic solely for their quality or on the basis of an evident stylistic incompatibility. (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.)

Silbiger made an important distinction in observing that the manuscript tradition is not a continuation but a complement of the printed repertory. The printed collections present the productions of professional composers, works highly finished and intended for expert performers. Manuscripts, on the other hand, may comprise anthologies of works by the composer/scribe or by other composers, more or less worked out; collections of sketches and ideas; and works for student practice and emulation—functions which can combine and overlap in a single manuscript. The manuscript repertory also shows how written and oral musical cultures shade off into each other. 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]

More recent researches on the Italian manuscript keyboard repertory, conducted mainly by Claudio Annibaldi, Etienne Darbellay, and Christine Jeanneret, have refined the identification and comparison of the handwritings of Frescobaldi and the members of his circle, especially Nicolò Borbone and Leonardo Castellani, both for music and for text.

The final volume of the Frescobaldi collected works, under the supervision of Eugene Darbellay, is to comprise the manuscript works of credible authenticity. Their choice and verification have already generated a certain amount of controversy: see Annibaldi 2012 and Darbellay 2013.

The principal sources first proposed as autograph comprise two of the double-choir masses in a Lateran manuscript (see Catalogue IV) and material contained in the Chigi manuscripts in the Biblioteca Apostolica Vaticana. Disproving earlier conjectures that connected the Vatican manuscripts with the Chigi family, Annibaldi demonstrated that this material formed part of the library of Frescobaldi’s associate Leonardo Castellani, organist of the Lateran from 1641, and that the volumes passed into the hands of the Chigi only on Castellani’s death in 1667, by simple historical accident. In Chigi Q. IV. 29 Annibaldi discovered fourteen authentic Frescobaldi works plus other materials in the composer’s autograph. More recently, he has identified Frescobaldi’s hand in BAV, Chigi Q. IV. 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).

Since the manuscripts containing works attributed to Frescobaldi vary greatly in dating, contents, and credibility, it is possible to take into consideration here only a selection of the most important sources containing works considered surely or probably attributable to Frescobaldi by Silbiger in his Frescobaldi Thematic Catalogue Online (FTCO): those sources connected with Castellani, Borbone, and Frescobaldi himself. 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. Section 13 of the FTCO works catalogue comprises authentic Frescobaldi works in manuscript; sections 14-15 contain works probably or possibly by Frescobaldi; sections 16-17 contain doubtful attributions; works in sections 18-19 have been traced to other composers; section 20 lists works now lost cited in earlier sources. Only the most important references to the literature are given here: fuller citations may be found in FTCO.

Berlin, Deutsche Staatsbibliothek, Ms.40615
ff. 179-180: Fuga sopra Gu Gu [fragment]
ff. 181-182v: Can: 2. To: Aut: Girolam:
F 15.42b
F 15.44b
Modern edition: Shindle II, 46-49 (cf. Munich 5368); 75-77 (cf. Munich 1581).
Brindisi, private collection, Cosimo Prontera, Ms. Prontera 1
ff. 24-28: Partite sopra Follia (6 parti)
ff. 32v-34: Romanesca (4 parti)
f. 50: Corrente
ff. 59-60: Corrente seconda
ff. 60-61: Corrente terza
ff. 61v-62: Corrente quarta
F 2.16.01-06
F 15.02.01-04
F 15.01
F 2.18
F 2.19
F 2.20

The manuscript is in two hands: hand 1, the original possessor (perhaps a northern Italian); hand 2, probably Carlo Galoppio, Naples. Attributions: f. 16v: Padre Geronimo [hand 1]; ff. 24-28: Partite supra Follia (Frescobaldi, Toccate I, F 2.16); fols. 32v-34: Romanesca del Frescobaldi: four partitas, of which only the first resembles either version of Toccate I [hand 1: F 15.02]; f. 42: Gio Picchi [hand 1]; f. 47v: Sinphonia Dentice [hand 2]; f. 50: Corrente del Frescobaldi (unicum, probably authentic) [hand 1], F 15.01; fols. 50v-57: Correnti, Passe mezzo of Gio. Paolo Cima [hand 1]; f. 59v-62: 3 unattributed correnti = Frescobaldi Toccate I [hand 2]; f. 71v: Bassa fiamenga di Stella [hand 2]. All pieces with attributions are unica. Prontera 2: Consonanze stravaganti et legature.

Literature: Fabris 2013; Jeanneret 2009, 109-15.

Geneva (Cologny), Biblioteca Bodmeriana, Musik T.II.1
ff. 78-79: Prima Toccata
ff. 79v-80v: Seconda Toccata
ff. 81-83v: Terza Toccata odi Canzona
ff. 83v-85: Piva / Quarta Tocccata
F 15.22
F 15.23
F 15.24
F 15.25

An almost complete copy of Toccate II and two toccatas from Toccate I; on ff. 78-85 four unpublished toccatas whose manuscript ascription to Frescobaldi “… collected from the other books (“… raccolte dagl’altri libri”) has been erased.

Literarature: Darbellay 19752.

Kraków [olim Berlin, Staatsbibliothek], Biblioteka Jagiellonska, Mus ms. 40316:
ff. 1v-2: Partite sopra un’aria Romana detta la Manista Girolamo Frescobaldi [intavolatura] F 15.30, F 25.30. 01-06
f. 35v: Toccada Girolamo Frescobaldi (not in Schierning1961) [intavolatura] F 15.32
[from FTCO: ff. 58-59, Fantasia sopra 3 Soggetti di Girolamo Frescobaldi Organista di S. pietro in Roma 70 Toni] F 6.07
ff. 59-60: Fantasia sopra 3 Soggietti di G: F: 8 tono [concordance in Munich, Bayerische Staatsbibliothek, Musikabteilung, Mus. MS 1581, n. 53]. F 6.08
ff. 60v: Fantasia di Gironimo Frescobaldi: sopra 3 soggietti F 6.09
[ff. 61-62 missing] index: Fantasia del do. sopra 4 Sogetti F 6.10]
Original four-staff partitura of 1. 1608i reduced to two-staff intavolatura.
f. 71: Gironimo Frescobaldi Sopra ‘l Gu Gu. FTCO 15.42c [in partitura: concordances in Munich, MS 1581,
nos. 180-81: Fuga Frescobaldi gù gù; Altro modo; Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Musikabteilung, Mus. MS 40615: Fuga sopra GuGu].
F 15.42c

All the pieces attributed to Frescobaldi were written by the first of three hands. The Fantasie, apparently copied directly from the 1608 print, are reduced to keyboard intavolatura from the original partitura, whereas the Gu Gu is transcribed in four-staff partitura after an initial attempt at two-staff notation. Smith notes that nothing by the first scribe is necessarily later than 1612.

Modern edition: Shindle 1968.
Literature: Smith 2009; Silbiger 19801, 61, 190; Schierning 1961, 84-86.
Not in Jeanneret 2009.

ff. 9v-13v: Toccata di Roma sexti toni Di hieronimo ferabosco (probably by Frescobaldi:
if so, an early appearance of his music in a non-Italian manuscript: cf. Kraków 40316).F 15.50M

London, British Library, Add. Ms 23623
Copied Antwerp 1621-28/9

Facsimile edition: Silbiger 1989-18.
Literature: Jeanneret 2009, 178-81; Silbiger 1989-18, xiii.

London, British Library Add. Ms. 36661:
ff. 26-28: Del Sig. Freses Baldi. Canzona.
ff. 28v-31: Del Sig. Freses Baldi. Toccata.
ff. 31v-33v: Toccata
ff. 34-36v: Del Sig. Freses Baldi. Canzona.
ff. 37-39: Del Sig. Freses Baldi. Toccata
F 15.51
F 15.52
F 15.53
F 15.54
F 15.56

Probably or possibly by Frescobaldi.

Literature: Jeanneret 2009, 178-81; Silbiger 19801, 66-70, 157.

London, British Library, Add. Ms. 40080
f. [i]: Fioretti d[e]l Frescobaldi
ff. 2-4: Canzona Prima Cimbalo Solo
ff. 4v-6v: Canzona Seconda.
ff. 7-9: Canzona Terza.
ff. 9v-12: Canzona Quarta
ff. 12-14v: Canzona Quinta
ff. 14v-17v: Canzona Sesta
ff. 17v-21v: Canzona Settima.
ff. 22-25: Canzona Ottaua
ff. 25v-28v: Canzona Nona.
ff. 29-31v: Canzona
ff. 32-35: Canzona Undecima
ff. 35v-39: Toccata
F 14.15
F 14.16
F 14.17
F 14.18
F 14.19
F 14.20
F 14.21
F 14.22
F 14.23
F 14.24
F 14.25
F 14.26

A manuscript copied by Nicolò Borbone; music for “cimbalo solo.” Concordances with authentic Frescobaldi works discussed in Jeanneret 2009, 138-39. Further on this ms., see Chapter 18 above. Jeanneret 2010 considers the collection a survival of an attempt by Frescobaldi to fashion a second book of instrumental canzoni.

Facsimile edition: Silbiger 1989-2.
Modern edition: Marcon 1994.
Literature: Jeanneret 2010; Jeanneret 2009, 136-62; Darbellay 2008, 165-66; Silbiger 1989-2; Silbiger 19801, 92, 154-8.

London, private collection (Guy Oldham)
f. 77: Durezze. F 15.29

Literature: Gustafson 1979, II, 267-84; Pièces d’orgue de Louis Couperin, ed. Guy Oldham, Monaco: L’Oiseau-Lyre, 2003.

New York, former private collection Garofalo: present whereabouts unknown

In addition to excerpts from the 1626 Capricci and the 1645 Canzoni, this contains sixteen unique canzonas, of which six (FTCO 16.51, FTCO 16.62-16.66) might be by Frescobaldi.

Literature: FTCO, “Garofalo”; Hammond 1983, 293.

Paris, Bibliothèque Nationale, rés. Vmc. 64
ff. 1-1v: [Toccata]
f. 2: Corente
ff. 3-3v: [Balletto]
ff. 3v-4: La Monica
ff. 4v-5: Corente
ff. 5v-6r: Allamana [fragment]
f. 6v: Cieccona
ff. 7v-8: Balletto
ff. 8v: Sarabanda
f. 9: Aria detta la Frescobanna [“Frescatanna”?]
ff. 9v-10v: Toccatta
ff. 11: Corrente
f. 11v: Toccatta [fragment]
f. 12v: Toccata
f. 13: Toccata avanti la Romanesca
F 13.15
F 13.16
F 13.17
F 13.18
F 13.19
F 13.20
F 13.21
F 13.22
F 13.23
F 13.24
F 13.25
F 13.26
F 13.27
F 13.28
F 13.29

Recently identified as an autograph of Frescobaldi. None of the contents has complete concordances with any of the printed works; the “Aria detta la Frescatanna” is concordant with a balletto in the ms. Chigi Q. IV. 24. The binding displays the arms of an unidentified Prince Borghese. According to Darbellay, the importance of the manuscript lies in the fact that it contains preliminary versions of material that Frescobaldi would go on to publish later (2010, 24).

Literature: Annibaldi 2012, 246ff.; Darbellay 2010; Jeanneret 2009, 211-36.

Paris, Bibliothèque Nationale, rés. Vm7 675 (ms. Bauyn)
f. 95: Capriccio del Seignor Girolamo frescobaldi Pria.
ff. 95-95v: Capriccio del Seignor Girolamo frescobaldi—Pria.
ff. 96-98v: Trio de Frescobaldi
ff. 108-108v: Fantaisie du Seig.r Hierosme frescobaldi.
F 15.26.01.
F 15.26.02
F 15.27
F 15.28

Modern editions: Shindle (II, 28-31), who makes the two capricci into a single piece; Gustafson 2014, III, 54-59, 93-95, who gives the 1690s as most likely date for the manuscript.
Literature: Silbiger 19801, 194, n. 4, identifies the “Trio” as a quotation of Toccate I/12 with the second voice transcribed an octave higher; see Gustafson 1979, II, 314-428; Gustafson 2014, IV, 162 regards the two capricci as a single work; 168. Rampe in Froberger 1993, I, xxvii-xxviii postulates that these unica were taken from Froberger’s own copies.

Ravenna, Biblioteca Comunale Classense, Ms. Classense 545: “Libro di fra Gioseffo da Ravenna / Opere di diversi Autori, di / Girolamo Frescobaldi, d’Ercol Pasquino, / Cesare Argentini, Incert’Autore.”
ff. 1-2: Toccata
ff. 2v-3v: Toccata di H. P.
ff. 4-4v: Kirie Do[minicalis]
ff. 5-8v: Tocata
ff. 8v-11v: Tocata [Andrea Gabrieli]
ff. 12-12v: Ricercare [durezze]
ff. 13-14: Ricercare
ff. 14-14v: Ricercare
ff. 15-16: Ricercare
f. 16v: blank
ff. 17-18: Ricercare
ff. 18v-19: Ricercare
ff. 19v-20v: Ricercare
ff. 21-22: P[er] la leuatione del Santiss:mo
ff. 22v-26v: Capriccio sopra il Cucho del frescobaldi (= 1624 Capricci)
ff. 27-30v: Capriccio sopra un soggetto. f. (= 1624 Capricci)
F 4.03
F 4.10
ff. 30v-32v: Capriccio
ff. 33-34: Capriccio
ff. 34v-35v: Canzona
ff. 37-39: Capriccio di G. F.
ff. 39v-42: Capriccio di G. F.
F 15.17
F 15.18
ff. 42v-44v: Canzona di Cesare Argentino
ff. 45-47: Canzona
ff. 47v-49v: Canzon del Cifra (Ricercari, 1619)
ff. 49v-50: Canzon.
ff. 50v-57: blank
ff. 57-58v: D’Incerto
ff. 58v-60: Cappelina [?]
ff. 60v-64: Canzon di Girolamo freacobaldi
f. 64v: Verso di G.F.
F 15.19
F 15.20
ff. 65-66: Canzon [with da capo repeat indications]
ff. 66v-68v: Canzon
ff. 69-71:Canzon
ff. 71v-73v: Canzon di Tarquinio Merula
ff. 74-74v: Canzon
ff. 74v-76v: Canzon Di H. P.
ff. 77-78v: H. P.
ff. 78v-80: H. P.
ff. 80-81v: Tocata
ff. 82-84v: Romena
ff. 85-85v: B. D. H. P.
ff. 85v-86: Corrente
f. 86v: Corrente (Frescobaldi, Toccate I, 1616)
ff. 87-87v: Corrente (Frescobaldi, Toccate I, 1616)
?F 15.59
F 2.17
F 2.18
ff. 88-88v: Corrente
ff. 89-89v: Corrente d’Hercol Pasquino
ff. 89v-92v: Canzon fran. di Girolamo fres (Frescobaldi, Toccate II, 1627) F 3.14
ff. 93-96v: Aria di fiorenza p.o modo [5 parti]
ff. 96v-98: La Barriera
ff. 98v-100v: Passamezzo di Hercole Pasquino [3 parti]
ff. 101-107v: Romanescha di Hercol Pasquino [11 parti]
ff. 108-108v: Alemana
ff. 108v-109: Pauaniglia [3 parti]
ff. 109-110: Romanescha d’Hercol P.
ff. 110-110v: Romanesca di G. F. (Frescobaldi, Toccate I, 1615)
ff. 110v-111: [Gagliarda prima, Frescobaldi, Toccate II, 1627]
F 2.13
F 3.27
ff. 111v-112: blank
ff. 113-113v: Monica
ff. 114-114v: Gagliarda d’Hercol Pasquino
ff. 114v-115: Gagliarde
f. 114v: untitled
f. 116: Ciaccona

Facsimile edition: Silbiger 1987-12.
Modern edition: Rambaldi 1999.
Literature: Jeanneret 2009, 246-56; Silbiger 19801, 111-12.

Rome, Archivio Doria-Pamphilj Ms. 250B
f. 31v-32: Corrente del Si. Girolamo (=Chigi 205-206, f. 137v, Ravenna 545, f. 89,
“d’Hercol Pasquini”).
F 15.16a-c

Modern edition: ed. Armando Carideo, Latina: Levante, 2007.
Literature: Jeanneret 2009, 260-65; Silbiger 19801, 114, 154.

Barb. lat. 4181: ff. 2-2v: untitled
Barb. lat. 4182: ff. 2-2v: Avignon corrente
ff. 13.313v, 36v: three fragments
40v-41: Pri[m]o [tono]
20 [tono]F 13.30
F 13.31
F 13.32-13.34
F 13.35.01
F 13.35.02

Rome, Biblioteca Apostolica Vaticana, Ms. Barb. lat. 4181-4182

Two manuscripts bound with the arms of the Barberini family: the first bears the inscription “Nicolo Barberini” in Nicolo’s own hand (cf. Barb. lat. 4177-8), the second the initials “C. B.” (Carlo Barberini)—the third and first sons of Don Taddeo Barberini. Since Frescobaldi was paid for teaching the “signorini” in 1643, these notebooks may have been started by him for the two boys. This identification has been challenged by Annibaldi (letter to Early Music, 2012, 87-89).

Literature: Annibaldi 2012, 241-42; Jeanneret 2009, 266-71.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. IV. 19
1-6: In Natali Confessorum: Iste confessor
13v-18v: In Dominicha per Annum: Lucis creator optime
19-24v: In nativitate et cirumcisione Domini: Christe Redemptor
27-32: In Communi apostoli et evangelistae: Exultet celum laudibus
32v-36: In Festo Apostolorum et Evengelistarum tempore Paschali: Tristes erant
38-41v: In Communi unius martyris: Deus tuorum militum
43v-44: In Festo Beatae Virginis: Ave Maris Stella
58v-62: Iste Confessor
62v-67: Nova veniens
67v-76v: De nativitate Domini: Christe, redemptor omnium
77-80v: In Dominicis per Annum: Lucis creator optime
81-87: In Octava Paschae usque ad Ascensionem: Ad coenam Agni provididi
87v-91v: De Beata Virgine: Ave maris stella
F 13.41S
F 13.42S
F 13.34S
F 13.44S
F 13.45S
F 13.46S
F 13.47S
F 13.48S
F 13.49S
F 13.50S
F 13.51S
F 13.52S
F13.53S

Thirteen keyboard scores of polyphonic hymns, nos. 1-7 from Palestrina’s Hymni totius anni (1589) and nos. 8-13 from Victoria’s Hymni totius anni (1581). Part of no. 1 and nos. 2-13 were transcribed by Frescobaldi, probably in 1624-25 in preparation for the versets in Toccate II.

Literature: Annibaldi 19981.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. IV. 24
ff. 1-4: Toccata sopra li pedali; fuga “laus deo”
ff. 4-7: Ruggiero [3 parti]
ff. 7v-8: Recercare
ff. 8v-9: Balletto p[rimo=Aggiunta 1637]
ff. 9-9v: Corente del Baletto [=Aggiunta 1637]
ff. 10-10v: Pasacagli P [=Aggiunta 1637]
ff. 11-11v: Balletto 2.0 [=Aggiunta 1637]
ff. 11v-12: Corente del Baletto “laus deo” [=Aggiunta 1637]
ff. 12v-14v: Pasagagli Prima Parte [=Aggiunta 1637]
ff. 15-16: Recercare
ff. 16v-19: Canzona
ff. 19v-22: Canzona
ff. 22-23v: Recercare
ff. 23v-25v: Canzona Girolamo
ff. 26-28: [Toccata]
ff. 28v-30: Nelle feste della Madonna Ave maris stella
ff. 30v-31v: Nelle feste de’ Confessori Iste Confessor
ff. 32-35: [Aria di Fiorenza: 3 parti]
ff. 35-36v: Recercare
ff. 37-37v: Tocata p[er] la leuatione
f. 38: Kyrie delli Apostoli
f.f. 38: Christe
ff. 38v-39: [Corrente]
ff. 39v-40: [Recercar = FTCO 14.29, ff. 7v-8]
ff. 40v-42: [Toccata]
F 14.27
F 14.28.01-03
F 14.29
F 2.21
F 2.22
F 2.23
F 2.24
F 2.25
F 2.29
F 14.30
F 14.31
F 14.32
F 14.33
F 14.34
F 14.36
F 14.35
F 14.37
F 14.38.01-03
F 14.39
F 14.40
F 14.41
F 14.42
F 14.43
F 14.44
F 14.45
ff. 42v: Balletto
ff. 43-46v: Baletto P.P. [7 parti] F 14.46.01-07
ff. 47-47v: Corente di Monsu della Barre
ff. 48-49: Del Med[esi]mo
f. 49v: Sarabanda del m.mo
ff. 50-50v: Ciacona. F 14.47
ff. 51-52: Canzona D. Fr. F 17.20
ff. 52v-54: Fuga D. Fr. F 17.21
ff. 54v-55: Toccata di Gio. Batt[ist]a [Ferrini?: pace Jeanneret, the name is not erased]
f. 56: 2 mm. imitation

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. The ms. contains a toccata with pedal, dances, liturgical pieces, canzoni and ricercari, as well as a toccata probably by G. B. Ferrini (d. 1674).

The scribe copied the first and second balletti from the 1637 Aggiunta without attribution and some “Pasagagli” included in the Cento partite, a canzona, and a fuga (a designation never otherwise employed by Frescobaldi) attributed to “D. Fr”.

There are two opposing views of the manuscript. Annibaldi 1985 identified it as a Clavierbüchlein composed by Castellani on Frescobaldian models and compiled after 1637. Darbellay concluded that the “Pasagagli” and other pieces related to the 1637 Aggiunta to Toccate I were copied from sources previous to the publication and may have been studies for it. According to Jeanneret, the concordance of a balletto with Paris 64 is evidence that the unattributed pieces in Chigi Q. IV. 24 are also by Frescobaldi (Jeanneret 2009, 285-86), an argument developed further in Darbellay 2010).

Facsimile edition: Silbiger 1989, 15-1.
Modern edition: Lincoln 1968.
Literature: Darbellay 2010, 23-37; Jeanneret 2009, 274-87; Annibaldi 1985; Silbiger 19801, 164; Lincoln 1967; FTCO. This and Lincoln’s edition of works from the Chigi manuscripts are to be used with caution, as they contain errors and inconsistencies.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. IV. 25
ff. 1-5: Partite P.a Sopra l’aria di Fiorenza [3 parti]
ff. 5v-8v: Toccata Per organo
ff. 8v-12v: Canzona che segue alla Toccata
ff. 13-18v: Toccata p[er] organo Capriccio [canc.: Sopra vestiua i Colli.]
ff. 19-23v: Capriccio
ff. 24-30v: Capriccio Fatto sopra il Cucchù
ff. 31-34v: Toccata Per organo con Pedali. [f. 32: Canzona doppo la Toccata.]
ff. 35-36v: Toccata
ff. 37-40: Toccata Per organo.
ff. 40v-42v: Canzona.
ff. 42v-45: Recercare
ff. 45v-47v: Recercare cromatico. [incomplete]
ff. 48-50v: blank
F 14.01
F 14.02.01
F 14.02.02 (=F 13.62.1)
F 14.03.01-02
F 14.04
F 14.05
F 14.06.01-02
F 14.07
F 14.08
F 14.09
F 14.10
F 14.11
ff. 51-55v: Toccata P.
ff. 56-62v: Toccata 2.a
ff. 63-69: Toccata 3.a
f. 69v: note-names and clefs, I-IV-V-I progression in G, both in Frescobaldi’s hand
F 14.12
F 14.13
F 14.14

“Sonate d’Intauolatura del Sig. Girolamo Frescobaldi” in the hand of Domenico Frescobaldi on a label glued to the verso of the flyleaf. Annibaldi has established that the music and text of the manuscript were copied by Nicolo Borbone; on fol. 69v Frescobaldi added names of notes and a I-IV-V-I chord-progression. The ms. contains variations, toccatas, canzonas, and ricercari. The concluding three toccatas are are of notably higher quality and have raised questions of attribution (Michelangelo Rossi, Froberger?). The last toccata is written in doubly-transposed Dorian, with Bb in the signature and E-, A-, and D-flats, which never occur in the printed Frescobaldi repertory. Nonetheless, Silbiger FTCO indexes the contents of the ms. in category 14.27-14.47, “probably or possibly” by Frescobaldi. Chigi Q. IV. 25 displays no concordances either with printed works or with other ms. sources, with the possible exception of the manuscript Capriccio fatto sopra il Cucchu and the 1624 Capriccio terzo sopra il Cucho (Darbellay 2007, 136).

Facsimile edition: Silbiger 1989-1.
Modern edition: Shindle 1968, 1, 1-33; ii, 1-16; 111, 6-9; Santini 1940; works of other composers in Lincoln 1968.
Literature: Darbellay 2010, 25-26; Jeanneret 2009, 287-303; Darbellay 2007; Annibaldi 1990, 397-8; Silbiger 19801, 66, 123-25, 155, 160-64; FTCO.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi. Q. IV. 26: not in FTCO
ff. 1-7v: Aria di fiorenza [4 parti]
ff. 8-9v: Ciaccone [10 parti]
ff. 9v-10v: Corrente
ff. 11-13v: Corrente
ff. 14-14v: Galiarda; Galiarda [variation]
ff. 15-21: Pasagalli [26 parti]
ff. 21v-26: Pasagalli [20 parti]
ff. 26v-28v: Passagagli [10 parti]

Copied in the same unidentified hand as Ms. Chigi Q. IV. 28, which also contains a repertory limited to dances (galiarde and correnti) and variations (Aria di Fiorenza, Ciaccone, Pasagalli), and BAV Mus. 569, copied in part by Virginio Muzi and his nephew Bonaventura Mini and dated 1663.

Facsimile edition: Silbiger 1989, 15-1.
Literature: Jeanneret 2009, 303-8; Silbiger 19801, 125, 128-31.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. IV. 27
ff. 62v-63: Corrente
ff. 63v-64: Corrente (=Toccate II, Corrente Prima) F 14.72
f. 64v-65: Gagliarda del frescobaldi (=ibid., Gagliarda Seconda)
ff. 65v-66: Toc. breue
ff. 66v-70: Toc del Sig. Ercole Pasquini
ff. 70-74v: Toc. del Sig.r Gierolamo Frescobaldi.
ff. 75-76: Corrente del Sig.r Ger. F. B.
F 14.73
F 14.74
ff. 76v-77: Corrente (=Toccate II, Corrente Sesta)
ff. 77v-78: Corrente (=ibid., Corrente Quarta)
f. 78v-79: [Corrente] (=ibid., Corrente Prima)
ff. 79v-80: Corrente
ff. 80v-83v: [Toccata]
ff. 84-87: Toccata87v-89v:Tocchata del Sig.r Ercole Pasquini
ff. 90-92v: Tocchata del Sig.r Ercole Pasquini
ff. 93-98v: Introito della messa del Doppio ciouè solenne se ben li uersetti contengono poche battute; Kyrie [4 versers]; Gloria in excelsis [9 versets]; Credo [10 versets]
ff. 99-100: Canzon francese del 3. tuono

Folios 1-61 of this manuscript contain forty-four sets of variations in triple meter over a descending tetrachord (passacagli) or in duple meter over a scalar bass, both types with a strong presence of V 5/4 chords. The variations are written both in major and minor in all the keys, with the exception of F-sharp and G-sharp. The variations in triple meter are often related to passacagli in Chigi Q. IV. 26 and 28 and to passages in the Cento partite. A concordance with a Passacaille by D’Anglebert suggests an Italo-French influence, perhaps through Luigi Rossi or Froberger. Silbiger notes that the copies of printed works by Frescobaldi are not always exact. A detailed analysis of the genesis of this volume led Darbellay to conclude that the the parallels between Chigi Q. IV. 27 and the Cento partite suggest a date of 1627-37 for the manuscript.

Facsimile edition: Silbiger 1989, 15-2.
Modern edition: Shindle 1968, I, 34-38; III, 49-50.
Literature: Jeanneret 2009, 308-15; Hammond 1991; Darbellay 19861; Annibaldi 1990; Silbiger 19801, 65-66, 125-27, 155, 160-64.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. IV. 28
ff. 1-14v: Passagagli
ff. 15-16: Ciacone
ff. 16-17: Corrente
ff. 17v-19: Ciacona
ff. 19-36: five sets of Passacagli
ff. 36v-40v: Bergamasca [34 parti]
f. 41: Colascione
ff. 41v-43v: Ciaccona
ff. 44-45v: Balletto
ff. 45v-47: Corrente
ff. 47-49: Galiarda
ff. 49-55: Romanesca
ff. 55-57: Fauorita [3 parti]
ff. 57-58: Saltarello
ff. 58-59v: Corrente
ff. 59v-65v: Battaglia

Related to Chigi Q. IV. 26, likewise containing Passagalli (11), Ciaccone (4), dances (3 correnti), variations, and character pieces such as “Colascione” and “Battaglia,” and copied by the same hand; concordances with Rome, Biblioteca Apostolica Vaticana, Vat. mus. ms. 569 (Muzi ms.).

Facsimile edition: Silbiger 1989, 15-2.
Literature: Jeanneret 2009, 316-20; Silbiger 19801, 128-31

Not in FTCO.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. IV. 29
ff. 1-4v: fragment, 3 partite on Ruggiero, fragment
ff. 5-6v: Tocata
ff. 7-8v: Tocata
ff. 9-10v: Recercar
ff. 11-12v: Tocata per lauetione / M Paolucci Abbate
ff. 13-14v: Recercar
ff. 15-18: Canzo[n]
ff. 18v-21: Canzo[n]
ff. 21v-24: Tocata
ff. 24v-26: Recercar
ff. 26v-28v: Canzo[n]
ff. 29-30v: Tocata [incomplete]
F 13.01
F 13.02
F 13.03
F 13.04
F 13.05
F 13.06
F 13.07
F 13.08
F 13.09
F 13.10
F 13.11
ff. 31-38: blank
ff. 38v-42: Rugieri [3 parti]
ff. 42v-45: La monicha [3 parti]; fragment (= f. 42)
f. 46: Corente (incomplete)
f. 50v: the first five bars of Recercar III (1615)
ff. 46v-100: blank
ff. 100v-101: names and remunerations of performers
F 13.12.01-13.12.03; fragment
F 13.13.01-03
F 14.48
F 9.03
f. 101v: note-names, four-part exercise untitled, incomplete F 13.14

In the eighteen pieces contained in Chigi Q. IV. 29 Annibaldi discovered fourteen authentic works in Frescobaldi’s autograph (ff. 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. The manuscript is divided into two sections: toccatas, ricercari, canzonas; and variations. The works by Frescobaldi comprise five toccatas (one for the Elevation, one incomplete), four ricercars (one a copy of the first five bars of Recercar III from 1615); three canzonas; and incomplete variations on the Ruggiero and Monica.

The quality of the work is much rougher than that of the published collections, but Annibaldi supposes that the contents comprise compositional sketches jotted down in haste for the immediate use of students, a view contested by Jeanneret (2009, 327-28), who sees them as a preliminary ordering of material. By comparing the titles with the handwriting of Frescobaldi’s monthly payment receipts for the Cappella Giulia Annibaldi dates the ms. 1609-14. The didactic character of the material and the table of claves signatae may perhaps be related to Frescobaldi’s duties as a teacher during the same period in the household of Enzo Bentivoglio. Annibaldi has hypothesised that for about fifteen years after its copying the manuscript belonged to a Roman musician (perhaps Tomasso Luna); he relates a list of payments found at the end of the volume to performances at Santa Maria in Trastevere around 1629 and identifies the handwriting of the list as that of Castellani, the copyist of Q. IV. 24 and owner of the collection.

The payment list merits further study. Both Annibaldi and Jeanneret pass over in silence the presence of a “Sig.ra Lalla,” perhaps one of the notorious Lolli sisters—protégées of Cardinal Borghese, friends of Marc’Antonio Pasqualini, enemies of Leonora Baroni (Hammond 1994, 87). If this is indeed a bill for a Roman church performance the presence of a female singer is remarkable.

Facsimile edition: Silbiger 1989, 15-2.
Literature: Darbellay 2015, Jeanneret 2009, 320-28; Annibaldi 1990, 398-99; Annibaldi 1985, 27: in the fourth chord of Annibaldi’s transcription the bass note should be E; Silbiger 1989-1, vii-xii; Silbiger 19801, 131.

Rome, Biblioteca Apostolica Vaticana, Ms. Chigi Q. VIII. 205-06
ff. 32-34: Fantasia: hand of Leonardo Castellani
ff. 34-35v: Recercare: hand of Leonardo Castellani
F 14.56
F 14.57
ff. 54-58: Toccada Prima del 2d0 Libro di Intavolatura di Geronimo Frescobaldi
ff. 58v-61v: Quinta Toccata sopra i Pedali e senza del 2do Libro d’Intavolatura di G. F. (Toccate II)
ff. 62-67v: Toccata 6a per l’Organo sopra i Pedali e senza del 2do Libro d’Intavolatura di G. F. (Toccate II)
ff. 68-69v: Canzona [not in FTCO]
ff. 70-72v: Di Frescobaldi Toccata
ff. 73-73v: Ruggiero
ff. 74: ?toccata
ff. 75-78v: Ballo del gran Duca.
F 14.70
ff. 79-80: Corrente
ff. 80-82v: Capriccio
F 15.16b
ff. 83-84v: Rugier del Signor Frescobaldi
ff. 85-86v: Aria di Fiorenza
ff. 87-90v: Ruggiero
ff. 91-91v: Ruggiero
ff. 92-92v: Toccata [incomplete]: hand of Leonardo Castellani
F 14.64.01-14.64.03
ff. 93-93v: Baletto.
f. 93v: [Balletto] 2. Parte
ff. 94-94v: excerpt from Cento partite
ff. 95-98v: Pasagalli [incomplete] hand of Castellani
ff. 99-102: Romanesca
ff. 103-104v: m. 43 to the end of Toccate II/9
F 14.69
F 14.69.02
F 2.29
F 14.49
ff. 105-106: Hinno P[er] le Domeniche di tutto l’anno. Lucis creator optime G. F. B.
ff. 106-107: Hinno della Pentecoste. Veni Creator Spiritus. P.o Verso
ff. 107-108v: Hinno delli Apostoli. G. F B. Primo Verso.
ff. 108v-110: Hinno di Natale G. F. B. Venite Redemptor om[niu]m. Primo Verso
f. 110v: cancelled
ff. 111-113v: Toccata
F 14.65
F 14.66
F 14.67
F 14.68
ff. 114-114v: Corrente F 14.71
f. 115: conclusion of a toccata
f. 115v: right- and left-hand passage work against chords
ff. 118-122v: exercises in counterpoints to two-note intervals: stepwise, thirds and fourths in Frescobaldi’s hand [see Chapter 8]
f. 123r-v: species of thirds, fourths, tritones, fifths, sixths
f. 124: empty
ff. 124v-125: “Nel motetto Veni sponsa Christi del Mazzocchio” [C, A, bc: F 13.36S] from Virgilio Mazzocchi, Sacri flores, 1640, in Frescobaldi’s hand, as are the following two excerpts
ff. 124v-125: “Nel motetto Sacerdotes Dei del Mazzocchi” [A, T, bc: F 13.37S]
ff. 125v-127: “Omnes sancti” [C, C, B, bc: F 13.38S]
//f. 127v clefs, chords; a 4 mm. canzona beginning; a 3 mm. 3-v. exercise
[Ms. Chigi Q. VIII 206]
ff. 128-129v: Primo Verso p[er] la Gloria de Santi doppi: hand of Leonardo Castellani
ff. 130-131v: Kyrie Primo: hand of Leonardo Castellani [6 versi]
ff. 132-133: Kyrie
ff. 133v-135v: Romanesca
ff. 136-136v: Spagnioletta
ff. 136v-137: Pavaniglia
ff. 137-138v: Canzona d’Hercole
ff. 139-142: Toccata
ff. 145-146v: Toccata
F 14.59
F 14.60
f. 149: Brando: hand of Leonardo Castellani
f. 149v: [Corrente]: hand of Leonardo Castellani
ff. 150-150v: [Toccata]: hand of Leonardo Castellani
ff. 156-157v: Fantasia di Giaches
ff. 157v-160v: Altra fantas.a di Giaches
ff. 160v-162v: Altra fantasia di Giaches. á 4.
ff. 162v-167: Altra fantasia di Giaches. á 4.
ff. 172-173: Lucciasco a 4: “Era attaccato al preced[en]te e percio si crede esser del Lucciasco”
ff. 173v-175: Cinque versetti d’incerto autore
ff. 182-182v: four versets: hand of Leonardo Castellani
ff. 183-183v: contrapuntal piece: hand of Leonardo Castellani
f. 184-184v: 2.a Parte [Ruggiero]: hand of Leonardo Castellani
ff. 185-185v: Rotta de l’aria de firenze
ff. 186-186v: Tenor di Napoli
ff. 186v-187: Pauaniglia
ff. 192v: Corrente: hand of Leonardo Castellani
ff. 193-193v: Baletto: [FTCO has f. 193v incorrectly]: hand of Leonardo Castellani
F 14.62
ff. 194-194v: Baletto: hand of Leonardo Castellani F 14.61
f. 195: FTCO calls these chordal passages with suspensions “versets”: the first is marked “Arpeggiate”:
hand of Leonardo Castellani
F 13.39-40
f. 203: “Solo fra’ suoi più cari” etc., preceded and followed by toccata-like passages: hand of Leonardo Castellani
f. 203v: end of a Ruggiero
ff. 204-204v: untitled
ff. 205-206: [Canzona: Pasquini]
f. 207v: [Romanesca]
ff. 209-229v: contrapuntal exercises in one and two parts over a cantus firmus, in the hands of Frescobaldi and a student

The unbound fascicles and single folios of Chigi Q. IV. 205-06 comprise pieces that found no other placement in the Chigi manuscripts. 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). Two of the four sets of hymn-versets employ cantus firmi elaborated by Frescobaldi in Toccate II: Lucis Creator, the hymn for Sundays, and Exsultet Celum, the hymn for Apostles. 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.

Darbellay concluded that Chigi Q. VIII. 205-06 does not contain Frescobaldi autographs (but see below), but that a part of it was copied before 1637 by someone with access to genuine Frescobaldi materials; and that some unattributed compositions might be authentic works by Frescobaldi. In addition, he discovered that the hand that copied fascicles 13, 24, including the primitive “Pasagalli,” part of the compositional process of the Cento partite, and fascicles 30, 31, 37, 38, 39, 45, 47, 48, 50, 51, and 53, was the same one that copied Q. IV. 24, i.e. Leonardo Castellani. Fascicle 56 displays the handwriting of Frescobaldi and a student (see Darbellay 2015 and Chapter 8 above).

Fascicle 29 of Chigi Q. VIII. 205 has two numbering systems, f. 120=f. 118, of which Jeanneret follows the second. Jeanneret ff. 1-31 and 118-127 have been omitted from the Silbiger 1989 facsimile and ff. 118-23 are not indexed in FTCO, although, confusingly, ff. 16-30 are. 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). These are followed by excerpts from three motets by Frescobaldi’s colleague in the Cappellla Giulia and the Barberini household, Virgilio Mazzocchi, from his Sacri flores of 1640: “Veni sponsa Christi,” “Sacerdotes dei,” and “Omnes sancti” (partial reproductions in Jeanneret 2009, 228-29.)

Facsimile edition: Silbiger 1989, 15-3, with omissions as noted.
Literature: Darbellay 2015; Jeanneret 2009, 328-73; Annibaldi, 1990; Silbiger 19801, 132-34, 156.

Rome, Biblioteca Apostolica Vaticana, Vat. Mus. 569
f. 1: Virginius Mutius sonabat / Anno Dni / 1661
f. 2: Liber Virginij Mutij J. V. D. Discipulij D. Bonauentur[a]e Mini, et Fabritij Fontan[a]e respectiuè 1663
ff. 2-13: Toccata p[er] Organo / Gio. B.a Fer.ni
ff. 13v-15: Gagliarda
ff. 15-15v: Corrente
f. 16: Rotta
ff. 16v-17: Corrente / S. Fabritio Fontana
ff. 17v-18: Corrente Gio. Batta Ferrini / G. B. Fer.
ff. 18-19v: Balletto [primo from the 1637 Aggiunta ] with a double, “Balletto 2.o,” by Gio. Batta Ferrini (FTCO 19.01.01H-2H) “Gio. Batta ferrini”
ff. 19v-21: Toccata p[er] Cembalo /Gio Batta Ferrini
ff. 21-24: Ballo di Mantoua [3 parti], Gio: Batta Ferrini
ff. 24-25: Tastata arpeggiata longa/ Bernardo [Pasquini]
ff. 25-25v: Tastata 2.a / Bernardo
ff. 26-29v: Trombetta: trumpet-flourishes over a drone bass: Gio: Batta Ferrini
ff. 30-30v: Corrente
ff. 30v-31v: Aria di Fiorenze
ff. 31v-32v: La Rotta
ff. 33-34: Balletto
ff. 34-36: Balletto 2o
F 19.01.01H
F 19.01.02H
ff. 33-36: Tastata p[er]Cembalo / Gio. Batta Ferrini
ff. 36-37: Spagnoletta / Spagnoletta 2.a / Gio. Batta ferrini
ff. 37-39v: Toccata 2.a p[er] Organo
ff. 40-43v: Canzona
ff. 43v-44: Corrente
ff. 44v-45: Corrente / Adi 19 9bre 1663 dal Sig.r Pietro Arnò.
ff. 45v-49: Capriccio Toccata dal Sigr. Pietro Arnò dalli 19. 9bre 1663
ff. 49v-50: Courante Lauignone p.a part.[2 parti]: Vedi La Variatione à carte 18 p[er] t[u]tto 20
ff. 50v-51: Sarabanda [2 parti]
ff. 51v-52: Variation [2 parti]
ff. 51v-52v: Courante La Duchesse [2 parti; Variatione 2 parti]
ff. 54-55: Variation p.a parte della Corrente l’Auignone
f. 55: Verso in ffaut
ff. 55v-57: Arpeggiata
ff. 57v-58: branle
ff. 58v-60: Battaglia
ff. 60-60v: Pange lingua.
f. 61: [table of note-values]: Regole Per La Musica

A manuscript containing thirty-seven pieces, including keyboard music of Frescobaldi’s colleague G. B. Ferrini (ca. 1601-74, organist of Santa Maria in Vallicella [(Chiesa Nuova] 1628-53): fifteen pieces, including a double of a Balletto by Frescobaldi [Toccate I, 1637]); one by Fabrizio Fontana (ca. 1610-95); Pietro Arnò [Arnault?] and the earliest surviving pieces by Bernardo Pasquini (1637-1710). 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).

Facsimile edition: Silbiger 1989, 14.
Literature: Jeanneret 2009, 374-91; Morelli 1994; Tagliavini 1985; Silbiger 19801, 135-39.

Rome, Biblioteca Vallicelliana Ms. Z. 121

Contains toccate, dances, variations, versets.

Jeanneret proposes an identification of the main scribe as G. B. Ferrini, along with his nephew Bonaventura Mini as a second scribe. This little-studied manuscript is of interest for the relation between Frescobaldi and Ferrini, his colleague at St. Peter’s and the Oratorio del Crocifisso, and the Chiesa Nuova.

Literature: Jeanneret 2009, 392-99; Silbiger 19801, 139-40.

Turin, Biblioteca Nazionale, Raccolte Giordano, Foà: intavolature

These sixteen volumes of keyboard music were copied between 1637 and 1640.

Despite the inclusion of a large quantity of Italian music, the collection is transcribed in New German Tablature, the alphabetical notation employed in Germany from the mid-sixteenth century. Some of the printed Frescobaldi works are transposed and provided with light cadential ornamentation (see Stembridge in Frescobaldi 2010, Felici 2005, Tagliavini 2000). 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. In addition to a choice of published works of Girolamo the first volume includes nine unpublished toccatas attributed to Frescobaldi (FTCO 15.03-15.11) and the fourteenth codex contains three original correnti (FTCO 15.13-15.15). The items from Toccate I are taken from the editions 1616f or 1628k (Felici 2005, 87).

Volume 1 (Giordano 1)
ff. 33-34v: Toccata del Sig.r Frescobaldi
ff. 35-36v: Toccata del Frescobaldi
ff. 38v-39v: Toccata del Sig.r Frescobaldi
ff. 39v-41: Toccata F. Baldi
ff. 41-42v: Toccata del Sig.r Frescobaldi
ff. 42v-44: Toccata F. Baldi
ff. 44-46: Toccata di Frescobaldi
ff. 46-46v: Toccata del Sig.r Frescobaldi.
ff. 46v-47v: Toccata per l’Organo col contra basso overo Pedale. di Frescobaldi.
ff. 47v-128: the toccatas of the Fiori musicali and of Toccate I and II, with the note (f. 128),
“Finis del libro di Frescobal:”.
F 15.03
F 15.04
F 15.05
F 15.06
F 15.07
F 15.08
F 15.09
F 15.10
F 15.11
Volume III (Giordano III, 1639)
ff. 98v-114: the hymn and Magnificat versets of Toccate II and the masses for Sunday and the Apostles from the Fiori musicali.
Volume VI (Giordano VI, 1637)
ff. 132v-141v: the six ricercari from the Fiori.
Volume IX (Foà II, 1639)
ff. 104c-162v: the ricercari and capricci from the 1626 collection. Ricercari I, V, VII, and IX have been transposed down a fourth, as have been the Capricci I-III, VII, IX, and X.
Volume X (Foà I, 1639)
ff. 1-10: the five canzonas from the 1626 Recercari.
Volume XIV (Foà VI, 1640)
ff. 31-31v: Corrente di G. F.
ff. 31v-32: Corrente di G. F.
ff. 32-32v: Corrente di G. F.
ff. 34v-39 contain the correnti of Toccate I and II and the Corrente variation of La Frescobalda.
F 15.13
F 15.14
F 15.15
Volume XV (Foà VII, 1639)
ff. 77-79: copies of the five gagliarde of Toccate II.
Volume XVI (Foà VIII, 1640)
ff. 98-99v: Sonata prima [Romanesca]; Sonata prima, Prima-quinta parte. F 15.60-15.60.05
ff. 100-102v: Sonata seconda; Sonata seconda, Prima-nona parte.
ff. 102v-132 transmit variations from Toccate I and II (Romanesca, Monica [without the second variation], Ruggiero, Folia, Passacagli, and Ciaccona), Girolmeta and Bergamasca from the Fiori, and La Frescobalda from Toccate II.
F 15.61-15.61.01-15.61.09

From a stylistic point of view the Foà toccatas are closer to pieces in the Chigi collection than to printed works of Frescobaldi; with the exception of two short passages in 12/8 in the ninth toccata, they are all in binary meter, and many of them unfold continuously without any definite internal cadence for both hands. Although the Foà toccatas are characterised by a notable alternation of scale- and chord-passages between the hands in Venetian style, they also display a considerable and coherent variety of figuration, as well as figural writing more genuinely polyrhythmic than in the greater part of the Chigi toccatas. Dissonant ostinati recall the second book of toccatas, and the structure of toccata 9 with pedal (pedals on D, A, F, C, G, D) resembles the pedal cycle of fifths in Toccate II/6. On the other hand, the Foà correnti are insignificant and repetitive, completely lacking in the sense of shaping a dance-phrase which characterises Girolamo’s style.

Modern editions: the nine toccatas of volume I in Shindle 1968, I, 42-74, and the correnti of volume XIV ibid. III, 51-56; for the toccatas, Dalla Libera 1962.
Literature: Felice 2005; Mischiati 1963, complete catalogue.

Venice, Biblioteca Nazionale Marciana, Cod. It. IV 1299

The greatest number of previously unknown works attributed to Frescobaldi is contained in this volume. The collection is written in a nineteenth-century hand 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. This manuscript was brought to my attention and inventoried by James Moore.

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. The eight versets on the ecclesiastical modes represent the only appearance in an Italian manuscript of a category widespread in German sources. It would be interesting to clarify how and why in Germany and Austria the name of Frescobaldi was so constantly applied to such sets of versets, but since presently there is no documentation of their authenticity they cannot change significantly our understanding of Frescobaldi.

Literature: Jeanneret 2009, 426-32; Hammond 1983.

Vienna, Österreichische Nationalbibliothek, Ms. 18491
“Regina Clara Im Hoff anno 1649”
f. 23: “Couranta Frescobaldi. 57” (Toccate II, Corrente prima: F 2.17).

Literature: Gustafson 1979, I, 335; Schierning 1961, 111.

II. OTHER INSTRUMENTAL WORKS


I. 1608f: BASSO / CANZONI PER /SONARE CON OGNI / SORTE DI STROMENTI / A Quattro, Cinque & Otto, / Con il suo Basso generale per l’Organo, / Nouamente raccolte da diuersi Eccellentissimi / Musici, & date in luce. / LIBRO PRIMO. / CON PRIVILEGIO. / [printer’s mark] / IN VENETIA, / APPRESSO ALESSANDRO Rauerij. / M.D.CVIII.

Nine quarto part-books, C.A.T.B.5.6.7.8. Bc. On the verso of the title page dedication to Conte Scipio Nasica Fantagucci, dated Venice, 20 June 1608. Index on verso of fol. 35:

TAVOLA DELLE CANZONI
De diuersi Eccellentissimi Auttori.

A Quattro.
Canzon 1
Canzon 2
Canzon 3
Canzon 4
Canzon 5
Canzon 6
Canzon 7
Canzon 8
Canzon 9
Canzon 10
Canzon 11
Canzon 12
Canzon 13
Canzon 14
Canzon 15
Canzon 16
Canzon 17
Giouanni Gabrielli
Del ditto
Del ditto
Del ditto
Claudio Merulo da Correggio
Gioseppe Guami
Florentio Maschera
Del ditto
Constanzo Antegnati
Luzasco Luzaschi
Pietro Lappi
Del ditto
Girolamo Frescobaldo
Capriccio di Gio: Battista Grillo
Del ditto
Del ditto
Gioseppe Guami
1
2
3
4
5
6
7
8
9
10
11
12
13 F 8.52
14
15
16
17
A Cinque.
Canzon 18
Canzon 19
Canzon 20
Canzon 21
Canzon 22
Canzon 23
Claudio Merulo da Correggio
Gioseppe Guami
Costanzo Antegnati
Girolamo Frescobaldo
Bastiano Chilese
Claudio Merulo da Correggio
18
19
20
21 F 8.53
22
23
A Otto.
Canzon 24
Canzon 25
Canzon 26
Canzon 27
Canzon 28
Canzon 29
Canzon 30
Canzon 31
Canzon 32
Canzon 33
Canzon 34
Canzon 35
Canzon 36
Gioseppe Guami
Del ditto
Pietro Lappi
Giouanni Gabrielli
Del ditto
Girolamo Frescobaldo
Orindo Bartolini
Bastiano Chilese
Del ditto
Tiburtio Massaino
Del ditto
Del ditto à 16.
Claudio Merulo da Correggio à 5.
24
25
26
27
28
29 F 8.54
30
31
32
33
34
35
36

IL FINE.

RISM 1608 14.

Augsburg, Staats- und Stadtbibliothek (complete); Berlin, Öffentliche Wißenschaftliche Bibliothek (5., Bc); Bologna, Museo internazionale e Biblioteca della Musica, (6.7.8.); Cesena, Biblioteca Comunale (5); Frankfurt, Stadt- und Universitätsbibliothek (C.A.T.B.6.7.8.); Lausanne, Cortot Collection [?not in the Chambure collection: see Sartori 1952, II, 48] (Bc); Munich, Bayerische Staatsbibliothek (complete); Oxford, Bodleian Library (ex coll. Harding) (T); Rome, Biblioteca del Conservatorio di Santa Cecilia (5); Wolfenbüttel, Herzog August Bibliothek (C.T.).

Modern edition: complete in Bartholemew 1963, II; the three Frescobaldi canzonas in Darbellay 2002, II and Harper 1975, 924-67.
Literature: Darbellay 2002; Harper 1975; Bartholemew 1963.

2. 1628i: IN PARTITVRA / IL PRIMO LIBRO / DELLE CANZONI / A VNA, DVE, TRE, E QVATTRO VOCI. / Per sonare con ogni sorte di Stromenti. / Con dui Toccate in fine, vna per sonare con Spinettina / sola, ouero Liuto, l’altra Spinettina è Violino, ouero Liuto, è Violino. / DEL SIG. GIROLAMO / FRESCOBALDI. / ORGANISTA IN S. PIETRO DI ROMA. / DATE IN LVCE DA BARTOLOMEO GRASSI / Organista in S. Maria in Acquirio di Roma. / CON PRIVILEGIO. / [arms of Mons. Girolamo Bonvisi] / IN ROMA. / Appresso Paolo Masotti. M.DC.XXVIII. / CON LICENZA DE SVPERIORI.

Folio, 152 pp., 30-31 numbered 28-29. On p. (3) the dedication to Monsignor Girolamo Bonvisi, Rome 1628. On p. (151) “ALLI STVDIOSI DELL’OPERA.” and index:

CANTO SOLO.
CANZONA Prima. detta la Bonuisia.
Canzona, 2. detta la Bernardinia.
Canzona 3. detta la Lucchesina.
Canzona 4. detta la Donatina.
4
6
8
10
F 8.01a
F 8.02a
F 8.02a
F 8.05a
BASSO SOLO.
Canzona 5. detta la Tromboncina.
Canzona 6. detta l’Altera.
Canzona 7. detta la Tuccina [in text: Superba].
Canzona 8. detta l’Ambitiosa.
12
15
17
20
F 8.06a
F 8.07a
F 8.08a
F 8.09a
A DVE CANTI.
Canzona 9. detta la Gualterina.
Canzona 10. detta l’Henricuccia.
Canzona 11. detta la Plettenberger.
Canzona 12. detta la Todeschina.
Canzona 13. detta la Bianchina.
22
26
29
32
35
F 8.10a
F 8.11a
F 8.12a
F 8.13a
F 8.14a
A DVE BASSI.
Canzona 14. detta la Marina.
Canzona 15. detta la Lieuoratta.
Canzona 16. detta la Samminiata.
Canzona 17. detta la Diodata.
39
45
46
50
F 8.15a
F 8.16a
F 8.17a
F 8.18a
CANTO E BASSO.
Canzona 18. detta la MASOTTI.
Canzona 19. detta la Capriola.
Canzona 20. detta la Lipparella.
Canzona 21. detta la Tegrimuccia.
Canzona 22. detta la Nicolina.
Canzona 23. detta la Franciotta.
55
57
61
63
66
71
F 8.19a
F 8.20a
F 8.21a
F 8.22a
F 8.23a
F 8.24a
A TRE. DVE BASSI, E CANTO.
Canzona 25. detta la Garzoncina.
Canzona 24. detta la Nobile.
Canzona 26. detta la Moricona.
74
77
81
F 8.25a
F 8.26a
F 8.27a
DVE CANTI, E BASSO.
Canzona 27. detta la Lanciona.
Canzona 28. detta la Lanberta.
Canzona 29. detta la Boccellina.
86
90
94
F 8.31a
F 8.32a
F 8.35a
A Quattro. due CANTI, è due BASSI.
Canzona 30. detta la Cittadellia.
Canzona 31. detta l’Arnolfinia.
Canzona 32. detta l’Altogradina.
Canzona 33. detta la Rouellina.
Canzona 34. detta la Sandoninia.
83
100
106
111
117
F 8.30a
F 8.36a
F 8.37a
F 8.38a
F 8.39a
CANTO ALTO TENORE, E BASSO
Canzona 35. detta l’Alessandrina
Canzona 36. detta la Capponcina.
Canzona 37. detta la Sardina.
123
130
135
F 8.41a
F 8.42a
F 8.43a
Toccata per Spinettina, è Violino.
Toccata per Spinettina sola.
Canzona per Spinettina sola. detta la Vittoria.
140 F 8.49
F 8.50
F 8.51

[printer’s mark]

IN ROMA, Appresso Paolo Masotti. / MDCXXVIII.

RISM F 1869.

F8.01-8.51 [all three publications of canzonas are integrated into FTCO 8]

Berlin, Grauen Kloster (lost); Bologna, Museo internazionale e Biblioteca della Musica, Z 174; London, British Library (King’s Music Library), Music R.M.15 c 2, with portrait from Toccate II; Lüneberg, Ratsbucherei, with portrait; Rome, coll. Marchese Lionello Malvezzi [not found by Darbellay]; Wolfenbüttel, Herzog August Bibliothek, 1.1.1.1 Musica fol (3).

Modern edition: Facsimile ed. Lupo Bramanti, Florence, SPES, 1981; Darbellay 2002; Harper 1975.
Literature: Darbellay 2002; Mead 1982; Harper 1975.

2a. 1628j: CANTO PRIMO / IL PRIMO LIBRO / DELLE CANZONI / Ad vna, due, trè, e quattro voci. / Accomodate, per sonare ogni sorte / de stromenti. / DI GIROLAMO / FRESCOBALDI. / Organista in S. Pietro di Roma. / [Medici arms] / In Roma, Appresso Gio. Battista Robletti. 1628. / Con Licenza de’ Superiori.

Five quarto part-books: C I 55 pp., C II 31 pp., B I 39 pp., B II 39 pp., Basso generale 61 pp. On p. (3) the dedication to Ferdinando II, Grand Duke of Tuscany, undated. Index from the basso continuo (the first four items from C I):

TAVOLA, DELLE CANZONI,
della presente Opera.

VOCI SOLE
Canzon prima, violino solo; ouer, cornetto.
Canzon seconda. Violino solo, ouer Cornetto. / Come stà.
Canzon terza, violino solo, ouer cornetto. Come stà.
Canzon quarta, violino solo.
Canzon Prima, basso solo.
Canzon seconda, basso solo.
Canzon terza, basso solo.
Canzon quarta, basso solo.
4
6
8
10
12
14
16
18
F 8.02b
F 8.03b
F 8.04b
F 8.05b
F 8.06b
F 8. 09b
F 8.07b
F 8.08b
A DVE VOCI
Canzon Prima, à due canti.
Canzon seconda, à due canti.
Canzon terza, à due canti.
Canzon quarta, à due canti.
Canzon quinta, à due canti.
Canzon Prima, à due bassi.
Canzon seconda, à due bassi.
Canzon terza, à due bassi.
Canzon quarta, à due bassi.
19
20
21
22
23
24
26
28
30
F 8.10b
F 8.11b
F 8.12b
F 8.13b
F 8.14b
F 8.15b
F 8.16b
F 8.17b
F 8.18b
[second column]
Canzon Prima à due, canto, e basso.
Canzon seconda à due, canto, e basso.
Canzon terza à due, canto, e basso.
Canzona quarta à due, canto, e basso.
Canzona quinta à due, canto, e basso.
Canzona sesta à due, canto, e basso.
32
34
36
38
40
42
F 8.19b
F 8.20b
F 8.21b
F 8.22b
F 8.23b
F 8.24b
A TRE VOCI
Canzon Prima à 3, due bassi , e canto.
Canzon seconda à 3. due bassi, e canto.
Canzon terza à 3, due bassi, e canto.
Canzon quarta à 3. due bassi, e canto.
Canzon quinta à 3. due canti, e basso.
Canzon sesta à 3. due canti, e basso.
44
46
47
48
49
50
F 8.25b
F 8.26b
F 8.27b
F 8.30b
F 8.31b
F 8.32b
A QVATTRO VOCI
Canzon Prima, due canti, e due bassi.
Canzon seconda, due canti, e due bassi.
Canzon terza, canto, alto, ten. & basso.
Canzon quarta, due canti, e due bassi.
Canzon quinta, due canti, e due bassi.
Canzon sesta, à 4, canto, alto, ten. e basso.
52
54
56
58
59
60
F 8.35b
F 8.36b
F 8.41b
F 8.37b
F 8.38b
F 8.42b

RISM F 1868.

Berkeley, University of California (C I, C II); Bologna, Museo internazionale e Biblioteca della Musica, Z 173 (C I, C II, B I, B II); Lüneberg, Ratsbücherei (C I, C II, B I, Bc: doubtful); Pistoia, Archivio del Duomo (Bc, pp. 9-40); Washington, D. C., Library of Congress M 1490 F9C3 Case (C I, B I, BC); Wroclaw, University Library 50447 MUZ. (MUS 325) (C I, B I, B II, Bc)

Modern editions: The Canzoni are now available in Darbellay 2002. The Grassi edition and the 1634 Venice part-book edition are published in facsimile (Il primo libro delle canzoni, Rome: Masotti, 1628/ Venice: Vincenti, 1634/Florence: SPES, 1981, ed. Lupo Bramanti). 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. Vol. II of Darbellay 2002 contains the new or substantially reworked pieces from Vincenti. Bernard Thomas published an edition of the 1628 score integrated with the part-books of 1628 and 1634 (The Ensemble Canzonas of Frescobaldi, London: London Pro Musica Edition, 10 vols., 1975-77).

Literature: Darbellay 2002; Harper 1987; Harper 19781.

3. 1634: CANTO PRIMO / CANZONI / DA SONARE / A VNA DVE TRE, ET QVATTRO / Con il Basso Continuo / DI / GIROLAMO FRESCOBALDI / ORGANISTA IN SAN PIETRO DI ROMA / LIBRO PRIMO. / CON PRIVILEGIO. / [arms of Cardinal Desiderio Scaglia] / IN VENETIA, / Appresso Alessandro Vincenti. MDCXXXIV.

Five part-books in quarto: C I, 49 pp.; C II, 41 pp.; B I, 33. pp.; B II, 44 pp.; BASSO PER L’ORGANO, 61 pp. On the verso of the title page the dedication to Desiderio Scaglia, Cardinal of Cremona. On p. (50) of C I:

TAVOLA DELLE CANZONI

Canto solo.
Canzon prima.
Canzon seconda.
Canzon Terza.
Canzon quarta.
1
3
5
7
F 8.01c
F 8.04c
F 8.02c
F 8.05c
A 2 Canti.
Canzon prima.
Canzon seconda.
Canzon terza.
Canzon quarta.
9
11
12
14
F 8.10c
F 8.11c
F 8.14c
8.11c
A 3. due Bassi, e Canto.
Canzon prima.
Canzon seconda.
Canzon terza.
Canzon quarta.
16
18
20
22
F 8.25c
F 8.26c
F 8.28c
F 8.29c
Due Canti, e Basso.
Canzon prima.
Canzon seconda.
Canzon terza,
Canzon quarta
Canzon quinta.
24
25
27
29
31
F 8.33c
F 8.32c
[F 8.31c]
F 8.30c
F 8.34c
A 4. due Canti, e due Bassi.
Canzon prima.
Canzon seconda.
Canzon terza.
Canzon quarta.
33
34
36
38
F 8.39c
F 8.38c
F 8.40c
F 8.35c
Canto Alto Tenor, e Basso.
Canzon prima sopra Rugier.
Canzon seconda, sopra Romanesca.
Canzon terza.
Canzon quarta.
Canzon quinta.
Canzon sesta.
39
41
43
44
46
48
F 8.44c
F 8.45c
F 8.42c
F 8.46c
F 8.47c
F 8.48c

IL FINE.

Berlin, Deutsche Staatsbibliothek (lost); Berlin, Grauen Kloster (lost); Bologna, Museo internazionale e Biblioteca della Musica, Z 177 (complete); Kassel, Landesbibliothek (C I, Bc); London, Royal College of Music II. E.7 (complete, with Mellan portrait in Bc); Pistoia, Archivio Capitolare del Duomo (C I, incomplete); Wroclaw, University Library 50448 Muz. (C II, B I, B II, Bc).

Modern edition: Darbellay 2002.
Literature: Darbellay 2002; Harper 1987; Harper 19781.

III. VOCAL WORKS

A. Works with Italian Text

1. 1608: DI GIROLAMO / FRESCO-BALDI / IL PRIMO LIBRO DE / MADRIGALI / A CINQVE VOCI / Nuouamente Composti & dati luce. / CANTO. / IN ANVERSA / Appresso Pietro Phalesio / M. DC VIII.

Five part-books: Canto, Alto, Quinto, Tenore, Basso, (ii) plus 21 numbered pp. On the verso of the title page, the dedication to Mons. Guido Bentivoglio, dated Antwerp, 13 June 1608. On the verso of p. 21 the index:

TAVOLA.

AHi bella si
Amor ti chiama il mondo
Amor mio perche piangi
Cor mio chi mi t’inuola
Come perder poss’io
Da qual sfera
Fortunata per me felice aurora
Giunto e pur Lidia il mio
2
6
15
17
21
4
1
11
F 5.02
F 5.06
F 5.13
F 5.15
F 5.19
F 5.04
F 5.01
F 5.11
2. parte. Ecco l’hora
3. parte. Lidia ti lasso
12
13
Lasso io languisco e moro
Perche spesso a veder
Perche fuggi tra salci
Qui dunque oime
Se la doglia e’l martire
S’a la gelata mia timida lingua
S’io miro in te m’vccidi
So ch’aueste in lasciarmi
Se lontana
Tu pur mi fuggi ancora
Vessosissima Filli
16
5
10
19
3
8
14
18
20
7
9
F 5.12
F 5.05
F 5.10
F 5.17
F 5.03
F 5.08
F 5.12
F 5.16
F 5.18
F 5.07
F 5.09

IL FINE.

RISM F 1852, Vogel 1023.

Crayn bei Liegnitz (T, B, lost); Oxford, Bodleian Library (C, T, 5., B); Paris, Bibliothèque Nationale (formerly Collection Mme. De Chambure: complete).

Modern editions: Bianconi 1996; Sei madrigali, ed. F. Boghen (Florence: Casa Editrice Musicale Italiana [1920]); Jacobs 1983.

Literature: Bianconi 1996.

2. 1621 14: CANTO PRIMO / GHIRLANDETTA AMOROSA, / Arie, Madrigali, e Sonetti, / Di diuersi Eccellentissimi Autori, / A Vno, à Due, à Tre, & à Quattro, / Poste in luce / DA FABIO COSTANTINI ROMANO / Maestro di Cappella dell’Illustrissima Città d’Oruieto / OPERA SETTIMA. LIBRO PRIMO / [arms of Adriano Canali and Caterina Avveduti] / IN ORVIETO, Per Michel’Angelo Fei, & / Rinaldo Ruuli. 1621 / CON LICENZA DE’ SVPERIORI.

Four fascicles: CI, CII, B, Bc (“Basso steso per il Cimbalo, ouero altri Stromenti.”) On pp. 3-4 of CI, pp. 4-5 of Bc, “CANTO Solo, ouer Tenore. Alla Gloria alli honori di Girolamo Frescobaldi.”  F 7.45

Vogel Sammlung 1621.

Bologna, Museo internazionale e Biblioteca della Musica (complete); London, British Library (CI, CII, BC).

Modern edition: Gallico 1998.
Literature: Franchi 2006, 1621/15; Paquette-Abt 2003, 192ff.

3. 1621 15: GIARDINO / MVSICALE / DI VARII ECCELLENTI / AVTORI, / DOVE SI CONTENGONO SONETTI, / Arie, & Vilanelle, à vna, e due voci. Per cantare / con il Cimbalo, & altri stromenti simili, con / l’alfabeto per la Chitarra Spagnola, in / quelle più à proposito. / Dedicate Al Molt’Illustre, e Reuerendiss. Sig. Il Sig. / PAOLO QVAGLIATI / PRONOTARIO APOSTOLICO, &c. / [printer’s mark] / IN ROMA, / Appresso Gio. Battista Robletti. 1621. / Con Licenza de’ Superiori.

Rome, BAV, Cappella Giulia XV 59 (pp. 5-6, 19-20 missing).

On pp. 8-10 “O bell’occh[i] che guerrieri, I p. del Sig. Gironimo Frescobaldi”; “Lumi vaghi, ch’amorosi, 2 p”; “Stelle amate, alme pupille, 3 p.” F 7.44

Vogel Sammlung 1621 2.

Modern edition: Gallico 1998.
Literature: Franchi 2006, 1621/10.

4. 1622 10: L’AVRATA CINTIA / ARMONICA, / ARIE, MADRIGALI, DIALOGI, E VILLANELLE, / Di diuersi eccellentissimi Autori, à 1, à 2, à 3 & à 4. / Posta in luce / DA FABIO COSTANTINI ROMANO / Maestro di Cappella dellIllustrissima Città dOruieto. / All’Illustriss. e Reuerendiss. Sig. il Sig. CARD CRESCENTIO / VESCOVO D’ORVIETO / Opera Ottaua / Libro Secondo. / Con la Partitura. / [arms of Cardinal Crescentio] / IN ORVIETO, Per Michel’Angelo Fei, e Rinaldo Ruuli. 1622. / Con Licenza deSuperiori.

C I, CII, “Basso steso per il Cimbalo, o uero altri Stromenti.” On pp. 34 (C I), 27-28 (CII), 11 (Bc): “A 2. Canti. Era l’anima mia del Frescobaldi.” F 7.46

Bologna, Museo internazionale e Biblioteca della Musica, (C I, C II), V 142; London, British Library, D 62 C (complete).

Vogel Sammlung 1622 1.

Modern edition: Gallico 1998.
Literature: Franchi 2006, 1622/9; Paquette-Abt 2003, 194ff.

5. 1630: PRIMO LIBRO / D’ARIE MVSICALI / PER CANTARSI / Nel Grauicimbalo, e Tiorba. / A VNA, A DVA, E A TRE VOCI. / Di / GIROLAMO FRESCOBALDI / ORGANISTA / DEL SERENISSIMO / GRAN DVCA / DI TOSCANA. / [Medici arms] / IN FIRENZE Per Gio: Batista Landini. MDCXXX. / Con licenza de’ SS. Superiori.

Folio, 48 pp. On p. 3 the dedication to Ferdinando II, Grand Duke of Tuscany. Imprimatur 25, 27 September 1630. On p. 48:

TAVOLA
D’ARIE, E CANZONE DEL PRESENTE LIBRO.

SIgnor, c’hora frà gli ostri
[Sonetto in stile recitativo]
Canto solo 4 F 7.01
Degnati ò gran Fernando
[Canto in stile recitativo]
Canto solo 6 F 7.02
Ardo, e taccio il mio mal
[Canto in stile recitativo]
Canto solo 8 F 7.03
Doue, doue Signor quieto ricetto
[Sonetto spirituale in stile recitativo]
Canto solo 11 F 7.04
Dopo si lungo error
[Canto spirituale]
Canto solo 13 F 7.05
A piè della gran Croce
[Sonetto spirituale. Maddalena alla Croce]
Canto solo 15 F 7.06
Dunque dourò del puro seruir mio
[Aria di Romanesca]
Canto solo 17 F 7.07
[seconda parte: O Tradite speranze
Te, te, Amor, te odo hora (terza parte)
Te, te incolpar degg’io (quarta parte)
17
18
18]
Se l’onde, ohime, che da quest’occhi
[Aria]
Canto solo 19 F 7.08
[seconda parte: Cercherò col morir tornar
Se per amar chi tant’odia (terza parte)
20
21]
Donna siam rei di morte
[Sonetto]
Basso solo 22 F 7.09
Entro naue dorata
[Aria]
Canto solo 24 F 7.10
Troppo sotto due stelle
[Aria]
Basso solo 25 F 7.11
[Ciò ben prov’io, ch’invan sospiro (seconda parte)
Ed io piú l’amo, e mentre gli occhi (terza parte)
26
27]
Non me negate, ohime
[Aria]
Canto solo 28 F 7.12
Di Licori un guardo solo
[Canto]
Canto solo 29 F 7.13
Voi partite mio Sole
[Aria]
Tenor solo 30 F 7.14
Se l’aura spira tutta vezzosa
[Aria]
Canto solo 31 F 7.15
[A’balli, a’balli (seconda parte)
Suoi dolci versi (terza parte)
31
31]
Così mi disprezzate
[Aria di Passacaglia]
Canto solo 32 F 7.16
Se m’amate, io v’adoro
[Madrigale]
A due, Canto, e Tenore 36 F 7.17
Begli occhi io non prouo
[Canto]
A due canti, ò ver Tenore 38 F 7.18
Occhi che sete di voi pomposi
[Aria]
A due canti, ò ver Tenore 36 F 7.19
Doue, doue ne vai pensiero.
[Canzone]
A due, Canto, e Tenore 40 F 7.20
[Eri gia tutta mia. Canzona. 42] F 7.21
Corilla danzando.
[Canzona]
A tre, Canto, Alto, e Tenore 44 F 7.22
Con dolcezza, e pietate.
[Canzona]
A tre, Alto, Tenore, e Basso 46
F 7.23

RISM F 1854, Vogel 1021.

FTCO 7.01-7.23. [Opere complete omits “discordia concors”]

Bologna, Museo internazionale e Biblioteca della Musica (lacking pp. 13-16); Florence, Biblioteca Nazionale Centrale (presentation copy).

f. 1630: SECONDO LIBRO / D’ARIE MVSICALI / Nel Grauicimbalo, e Tiorba. / A VNA, A DVA, E A TRE VOCI. / DI / GIROLAMO FRESCOBALDI / ORGANISTA / DEL SERENISSIMO / GRAN DVCA / DI TOSCANA. / [arms of Roberto Obizi] / IN FIRENZE, /Per Gio: Batista Landini. M.DC XXX. / Con licenza de’Superiori.

Folio, 40 pp. On p. 3 the dedication to Marchese Roberto Obizi, Master of the Horse to the Grand Duke of Tuscany. On p. 40 Imprimatur 25, 29 September and the index:

TAVOLA
D’ARIE, E CANZONE DEL PRESENTE LIBRO.

VAnne ò carta amorosa, Canto solo. 4 F 7.24
Ben veggio donna homai,
[Canto in stile recitativo]
Canto solo. 6 F 7.25
Oscure selve,
[Canto in stile recitativo]
Canto solo. 10 F 7.26
Ohime, che fur, che sono,
[Sonetto spirituale in stile recitativo]
Canto solo. 12 F 7.27
Doue, doue sparir,
[Sonetto spirituale]
Canto solo. 14 F 7.28
Ti lascio anima mia,
[Io parto, ohime convien ch’io mora (seconda parte)
Ah pur troppo è’l dolor ch’entro (terza parte)
Deh non languir, cor mio (quarta parte)
Ruggieri, canto solo, 16
16
17
17]
F 7.29
Voi partite mio sole,
[Aria]
Canto solo. 19 F 7.30
La mia pallida faccia,
[Aria]
Canto solo. 20 F 7.31
A miei pianti al fine un dì,
[Aria]
Tenor solo. 21 F 7.32
O mio cor, dolce mia vita.
[Aria]
Canto solo. 22 F 7.33
Tu sai pur dolce mia vita,
[seconda parte]
Canto solo. 23
Son ferito, son morto,
[Aria]
Canto solo. 24 F 7.34
Voi partite, [Non vi partite]
[Aria]
A due, Canto, e Tenore. 25 F 7.35
Gioite o selue,
[Canzona]
A due, Canto, e Tenore. 26 F 7.36
Bella tiranna,
[Madrigale]
A due Tenori. 27 F 7.37
Soffrir non posso,
[Canzona]
A due Tenori. 29 F 7.38
Deh volate oh mie voci dolenti,
[Canzona]
A tre, Alto, Tenore, e Basso. 30 F 7.39
Quanto più sorda sete,
[Madrigale]
A tre, Alto, Tenore, e Basso. 31 F 7.40
Deh vien da me,
[Ceccona]
A due, Tenori 33 F 7.41
Doloroso mio core,
[Canzona]
A tre, Alto Tenore, e Basso. 36 F 7.42
O dolore,
[Canzona]
A tre, Alto, Tenore, e Basso 38 F 7.43

RISM F 1854, Vogel 1022.

Bologna, Museo internazionale e Biblioteca della Musica.

Modern edition: Bianconi 1996.
Literature: Hill 1987, Hill 1997.

B. WORKS WITH LATIN TEXT


1616 1: BASSVS AD ORGANVM. / SELECTÆ CANTIONES / EXCELLENTISSIMORVM / AVCTORVM, / Binis, Ternis, Quaternisq; Vocibus concinendæ. / A FABIO CONSTANTINO ROMANO / insignis Basilicæ S. Mariæ TransTyberino / Musices moderatore, simul collectæ. / Liber Primus. Opus Tertium. / [arms of Cardinal Pietro Aldobrandini] / ROMÆ, Apud Bartholomeum Zannettum. MDCXVI. / SVPERIORVM PERMISSV.

C I, C II, B, B ad organum. 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. Doi Soprani, e Tenore. Peccaui” of Frescobaldi. F 11.40

Bologna, Museo internazionale e Biblioteca della Musica (complete); Brussels,Bibliothèque Royale (C I, B, Bc); London, British Library (complete); Lucca, Biblioteca del Seminario (complete); Regensberg, Bischöfliche Zentralbibliothek (C I); Rome, Conservatorio di Santa Cecilia (2 copies, G.CS.1.A.11.1-2, 7-8, complete; C I in G.CS.3.A.28.2).

Modern editions: Stembridge 1987; E. Maggini, Musica Sacra 9 (1964), n. 1., pt. 1.; Julius Bas (Düsseldorf: Schwann, 1908); Il nuovo Frescobaldi, ed. Van Den Eerenbeem (Rome, 1907).

Literature: Franchi 2006, 1616/10. 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.

2. 1618 3: SCELTA DI MOTETTI / Di diuersi Eccellentissimi Autori / à 2. à 3. à 4. & à POSTI IN LVCE / DA FABIO CONSTANTINI ROMANO / Maestro di Cappella dell’Illustrissima Città / d’Oruieto. / Libro Secondo, Opera Quarta. / [Zannetti printer’s mark] / IN ROMA, Appresso Bartolomeo Zannetti. M. DC. XVIII. / CON LICENZA DE’ SVPERIORI.

Quarto, 4 fascicles: C I, C II, B, Bc. On the verso of the title page the dedication to Count Cesare Bentivogli, Orvieto, 1 July 1618. On p. 8 of C II “Angelus ad pastores, a 2 Canto e Tenore di Girolamo Frescobaldi.” F 11.41

Lucca, Biblioteca del Seminario (complete); Regensburg, Bischöfliche Zentralbibliothek (C I); Rome, Conservatorio di Santa Cecilia G. CS.1.A.11.3-6 (complete), G. GS.3.A.28.3 (C I), G.CS.3.A.29.2 (C II), G.CS.A.30 (B), G.CS.3.A.31 (B) (complete).

Modern edition: Stembridge 1987.
Literature: index in Maggini, Biblioteca … Lucca, 18-19; Franchi 2006, 1618/6; Paquette-Abt 2003, 180-11; see Testi 1972, II, 203.

3. 1621 3: CANTVS I. / LILIA CAMPI / BINIS, TERNIS, / Quaternisq; vocibus concinnata. / A IO. BAPTISTA ROBLETTO / excerta atque luce donata. / CVM BASSO AD ORGANVM. / [arms of Cardinal Ludovisi] / ROMAE. / Apud Io. Baptistam Roblettum. M. DC. XXI. / SVPERIORVM PERMISSV.

Quarto, three fascicles: C I, C II, Bc. On p. 21 of C I, pp. 20-21 of C II, p. 14 of Bc, “Ego sum panis vivus” “a 3. Due Soprani, & vn Tenore.” F 11.42

Bologna, Museo internazionale e Biblioteca della Musica, V 140 (complete); Regensburg, Bischöfliche Zentralbibliothek (C II).

Modern edition: Stembridge 1987.
Literature: Franchi 2006, 1621/16.

4. 1625 1: SACRI AFFETTI, / CON TESTI DA / DI VEERSI [!] ECCELEN- / TISSIMI AVTORI. RACCOLTI / DA FRANCESCO SAMMARVCO / ROMANO A 2. A 3. A 4 / è Aggiuntui [!] nel fine le letanie della B. V. / AL[arms of Cardinal Madruzzo]TO / Apud Lucam Antonium Soldum. / SVPERIORVM PERMISV. / IN Adibus [!] sancti Spiritus in Saxia. Anno. Iubilei. 1625.

Quarto, five fascicles: C, A, T, B, organo. On p. 15 (C), 13 (A), 12 (T), 20 (bc) “A 3. due Canti e Tenore Iesu rex admirabilis Gironimo Frescobaldi.” F 11.24

Ancona, Biblioteca Comunale “Benincasa” (B); Bologna, Museo internazionale e Biblioteca della Musica (complete).

Modern edition: Stembridge 1987.
Literature: Franchi 2006, 1625/2.

5. 1627: CANTVS / Primus. / LIBER SECVNDVS / DIVERSARVM MODVLATIONVM / Singulis, Binis, Ternis, Quaternisque vocibus. / AVCTORE / HIERONYMO FRESCOBALDO / In Vaticana Principis Apostolorum Basilica / Organista. / [arms of Cardinal Scipione Borghese] / ROMÆ, Apud Andream Phæum. 1627. Superiorum permissu.

Five fascicles: C I (27 pp.), C II (lost), T (26 pp.), B (24 pp.), BASSVS ad Organum (31 pp.). 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. BVRGHESIO / Vaticanæ Basilicæ Archipresbytero. / HIERONYMVS FRESCOBALDVS F. / SACRAS modulationes, ad Ecclesiæ concen-/tum, & vsum pietatis, à me nuper expressas vul-/gò editurus, non vulgari patrocinio indigebam, / Cardinalis Amplis. imò veriùs, quæsituro illis / lucem, non alius mihi sese obtulit splendor, / quàm tuæ amplitudinis clientela. Ergo, vt vel / isto nomine, mihi, rerumque mearum tenuitati / consulerem, ipse fortuna exiguus, & Psaltes iam-/diu Vaticanus, Musici porrò laboris iugiter ama[n]-/tissimus, opus meum nulli alij inscribere debui, / quàm tibi; qui & magnitudine inter Principes / Romanos præcellis, & Templi Præsul es Vaticani / & liberalium artium (Musices olim tu quidem imprimis) liberalissimus propaga-/tor. Iàm, quod mihi præstandum erat, id exequor, vt oculis, vt auribus tuis / mea subijciantur obsequia, tantæ (quod possum) altitudini consonantia. 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. Vale. Calen. Iunij M D CM X X V II. / Imprimatur si videbitur Reuerendiss. P. M. Sac. Pal. Apostolici. / A. Episcopus Hieracen. Vicesgeren. / Imprimatur. Fr. Paulus Palumbara Socius Reuerendiss. P. F. Nicolai Rodulfij Sac. / Pal. Apost. Magist. Ord. Præd.

On p. (32) of the basso continuo (+ = incomplete):

TAVOLA.

Aspice Domine, pag. 3 Canto solo. F 11.01
Ipsi sum desponsata. 4 Canto solo. F 11.02
Deus noster refugium, & virtus. 5 Canto solo. F 11.03
Exaltauit cor meum. 6 Tenore solo. F 11.04
O Iesu mi dulcissime. 7 Tenore solo. F 11.05
+Vidi speciosam sicut columbam. 8 a due Canti. F 11.06
+De ore prudentis procedit mel. 9 a due Canti F 11.07
+Sicut mater consolatur filios. 10 a due Canti. F 11.08
Beatus vir qui suffert tentationem. 11 a due Canto, e Basso. F 11.09
O mors illa quam amara. 12 a due Canto, e Basso. F 11.10
Benedicta tu Mater sanctissima. 13 a due Canto, e Basso F 11.11
Viri sancti. 14 a due Tenori. F 11.12
Tempus est. 15 a due Alto, e Tenore. F 11.13
Benedicite Deum. 16 a due Tenori. F 11.14
+Tota pulchra es amica mea. 17 a due Canto, e Tenore. F 11.15
Decantabat populus Israel. 18 a due Canto, e Tenore. F 11.16
Exurge Domine. 19 a due Bassi. F 11.17
Reminiscere 20 a due Bassi. F 11.18
+O bone Iesu 21 a due Canto, e Tenore. F 11.19
+O sacrum Conuiuium. 22 a tre due Canti, e Tenore. F 11.20
+Vox dilecti mei pulsantis. 23 a tre, due Canti, e Tenore. F 11.21
Quam pulchra es, & speciosa Virgo. [2a] 24 a tre, due Canti, e Tenore.
+Sic amantem diligite 26 a tre Alto, e due Tenori. F 11.22
+Ego flos Campi. 25 a tre due Canti, e Basso. F 11.23
+Iesu Rex admirabilis. 26 a tre due Canti, e Tenore. F 11.24
+Exaudi nos Deus 25 a tre Alto, Tenore e Basso. F11.25
+Ego clamaui. 27 a quattro Canto, Alto, Tenore, e Basso. F 11.26
+Ciuitas Hierusalem noli flere. 28 a quattro Canto, Alto, Tenore, e Basso. F 11.27
+Ego sum qui sum. 29 a quattro Canto, Alto, Tenore, e Basso. F 11.28
+Corona aurea super caput eius. 29 a quattro Canto, Alto, Tenore, e Basso. F 11.39
+Iesu flos mater Virginis. 30 a quattro Canto, Alto, Tenore, e Basso. F11.30
+Aue Virgo gloriosa. 30 a quattro Canto, Alto, Tenore, e Basso. F 11.31

RISM F 1853.

London, British Library (C I, T, B, Bassus ad organum) (ex-coll. Henry Prunières).

Modern edition: Frescobaldi 2014, which ignores the authorship of the dedication; Stembridge 1987.
Literature: Morelli 2013, who reveals that the dedication was ghost-written by Lelio Guidiccioni; Franchi 2006, 1627/8; Roche 1986.

6. Bologna, Museo internazionale e Biblioteca della Musica, Ms. Q 43,

ff. 7-10: “Feriæ. V. in Coena D[omi]ni Lectio iii. S.r Frescobaldi. Jod Manum suam” for C, Bc. The manuscript also contains 13 anonymous lamentations and settings by Carissimi, “I. 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. Kendrick 2014, 126 suggests a Florentine influence in the omission of “iræ” in 1:12 (“in die furoris sui”). The paper has been identified as Roman, after 1650. F 15.57

Literature: Kendrick 2014; Marx 1971; Marx 1969.

7. Bologna, Museo internazionale e Biblioteca della Musica, Ms. Z 259

Ps. 30, vs. 1-6: “In Te Domine Speravi” for two four-part choirs. A modern copy of a manuscript belonging to Haberl and considered autograph by him, a judgment not shared by Benvenuti. F 16.73

Modern edition: ed. Ettore Ravegnani (Padua: Zanibon, 1938).
Literature: G. Benvenuti, “Frescobaldiana,” Bollettino Bibliografico Musicale 6 (1931), n. 2, pp. 16-36, n. 3, pp. 15-34; Haberl 1908.

IV. LOST, DOUBTFUL, AND SPURIOUS WORKS

The “many Madrigals and innumerable works for the Church, which circulate in manuscript” already mentioned by Superbi in 1620 have disappeared. 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. Frescobaldi’s first book of Diversarum modulationum, probably published shortly before the second volume of 1627, is his only known lost printed collection. A double-choir setting of In te Domine speravi attributed to Frescobaldi is found in Bologna Z 259, a modern copy supposedly of a lost Frescobaldi manuscript [F 16.73]. A letter to Martini from Girolamo Chiti (2 December 1746) mentions a collection of solfeggi including examples by Frescobaldi, and a letter from Mauro Magnani (22 January 1782) announces the dispatch of a manuscript containing psalms and hymns with Girolamo’s name on the first blank page (Schnoebelen 1979, items 1277 and 2837). François Roberday claimed to have included a work by “l’illustre Frescobaldy,” so far unidentified, in his Fugues, et caprices of 1660, perhaps transmitted by Froberger, who sojourned in Paris 1650-52. Girolamo is credited in Bennati 1908 with the unlikely authorship of Trattati sulla tonalità.

In his reconstruction of the inventory of the Roman bookseller Federico Franzini (1676), Othmar Wesseley lists prints of the 1624 Capricci, the part-book edition of the 1628 Canzoni, Toccate II (1627), the Liber secundus diversarum modulationum (1627), the 1615 Recercari, Toccate I (1615), the 1634 Canzoni, the 1626 Capricci et recercari, the Fiori musicali, and two unknown volumes, identified as “Sonate da Camera” and “Arie, Toccate, Ricercarj per l’organo” (Wesseley 1975, 467-68). The catalogue by C. Gotwald of the Staats- und Stadtbibliothek in Augsburg mentions an exemplum by Frescobaldi in a mathematical/musical manuscript of 1649 (in 4o cod. 185).

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. Given Frescobaldi’s relationship with his Venetian publisher, the motet “Di G. F. O vere digna Hostia. Canto, e Basso [and Bc]” on p. 31 might be a work of Frescobaldi (not in FTCO ).

The most celebrated question of attribution concerns the following manuscript:

Rome, Basilica of San Giovanni in Laterano, archivio musicale (Archivio Generale del Vicariato), Mazzo XI n. 8. Nine manuscript part-books: C, A, T, B, P.o Choro; C, A, T, B, 2.0 Choro, Organo. On p. (2):

Diversorum Autorum
Missae Quinque
a 8.

Missa sopra l’aria della Monaca car. 1. F 1.01
Missa sopra l’aria di Fiorenza car. 5. F 1.02
Missa primi Toni car. 9.
Missa Portæ nitent margaritis car. 13.
Missa a 8. car. 18.

The attribution of the first two masses to Frescobaldi on the basis of the initials “G. F.di” on the continuo part was proposed by Casimiri 1933 and has been vigorously supported by Mischiati and Tagliavini, who published the two masses as the first volume of the Opere complete. (While their edition was in preparation access to the manuscript was obstructed to other scholars, including the present writer.) Annibaldi reached the conclusion that the double-chorus masses on La Monaca and the Aria di Fiorenza in the Lateran collection were neither composed nor copied by Frescobaldi. He considered as Frescobaldi autographs only the annotations “Organo” and “G. F.di” on the Bassus ad Organum part, plus some other annotations and a line of music copied to avoid a page turn. Frescobaldi’s relation to the manuscript is therefore limited to the performance at the organ of the continuo. The fact that the mass for the consecration of the cathedral of Colle d’Elsa was composed by Marco da Gagliano removes one occasion for a Florentine origin for the mass on the Aria di Fiorenza.
Omnes vulnerant, ultima necat.

Modern edition: Mischiati 1975 (the first two masses of the ms.).
Literature: Witzenmann 2002; Annibaldi 1990; Annibaldi 1986; Mischiati 1975; Casimiri 1933.

The Nova Instructio pro pulsandis organis spinettis manuchordiis etc. (Part I Bamberg, 1669/70, Part II 1671, Parts III-IV, Würzburg, ca. 1675-77) of Spiridion a Monte Carmelo (1615-85, organist in Rome 1643-55), contains in Part I the Balletto primo and Balletto terzo from the Aggiunta to Toccate I; Part II contains Gagliarda terza and Gagliarda quinta, and the Correnti quinta, sexta, quarta, and seconda also modo from Toccate II (Spiridion 1670-71). Part III contains an Adjunctum Frescobaldum quoting works from both books of toccatas including the Aggiunta, quotations of the Cento partite, and a “Balletto 3,” not further identified [F 16.71]: Darbellay 1988, 95-96.

In the index of his Mormorio dElicona … terza impressione (Venice: Sarzina, 1630) the poet Giovanni Andrea Rovetti noted: “Ecco l’alba rugiadosa. It describes a happy day, in which he saw his lady restored to health. Set to music by Sig. 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. Descrive un lieto giorno, nel quale vide la S[ua] D[onna] risanata. Messo in musica dal Sign. Girolamo Frescobaldi, sí come ha fatto di molt’altre Compositioni dell’Autore, essendo perfettissimo nella Professione, come il mondo sa”) [F 20.04L].

The manuscript Kremsmünster (Austria), Benediktinerstift, Musikarchiv B 10/293 contains ten manuscript partbooks, datable 1750-1775, comprising a “Messa / Senza Gloria e Credo / in contrapunto / a / 4 Voci / Violetta al piac[ere]. / 3 Tromboni al piac. / Organo e Violone / Del Sign. Girolamo Frescobaldi” [F 17.40]. The mass consists of Kyrie (opening with the Orbis Factor melody in long notes), Sanctus, Benedictus, and Agnus Dei.

The organ versets attributed to Frescobaldi in South German manuscripts are probably spurious. See Vienna, Minoritenkonvent, Musikarchiv XIV, 717-22, a collection of versets in various tonalities, the property of P. Alexander Giessel (1694-1766) but not copied by him [F 16.01a-b, 16.07b, 16.03-16.09]. This contains pieces attributed to Frescobaldi similar to those published in Orgelstücke in den alten Kirchentonarten, ed. B. Kothe (Cincinnati, 1870, Dr. 444 of the Santini Collection in Münster) and Organon: Sammlung von Fughetten und Versetten in alten und neuen Tonarten, ed. Karl Wustefeld (Augsburg, n.d.). Also probably spurious is a vocal work ascribed to Frescobaldi in the manuscript BAV, Barb. lat. 4156, fols. 355-362v, 4156, “Deh lasciatemi” [F 17.30]. 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.

A four-part Chasnaya Fuga dlya Klavesina attributed to Frescobaldi and published in Russia is a Froberger-like variation-capriccio in four sections.

Ironically, Frescobaldi has often been represented to the general public by two blatantly inauthentic works, a toccata for violoncello and piano (also arranged for orchestra and for band), probably concocted by Gaspar Cassadó [F 18.05S], and a keyboard fugue in g minor [F 18.07S]. In the second volume of his Practical Harmony (1802) Muzio Clementi published eight pieces “by the celebrated GIROLAMO FRESCOBALDI” (pp. 138-57). Nos. 1 (Toccate II, Canzona I); 2 (Toccate II, Canzona III); 6 (Toccate II, Canzona IV); 7 (Toccate I, Corrente II); and 8 (Toccate II/8) are all authentic. As nos. 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. 1733 (Vienna, Minoritenkonvent XIC, 172), although Clementi’s immediate source seems to have been a later copy, Minoritenkonvent B 15780, where the three canzonas are interspersed among other works of Muffat. (See Benvenuti 1920; Mischiati/Tagliavini 1975; Wollenberg 1975).

Frescobaldi’s music appeared in Sir John Hawkins’ General History of the Science and Practice of Music (1776), Clementi’s Practical Harmony (1802), and from then on in a variety of collections: for a list of these see Basso 1971.

Footnotes

[1] “Frescobaldi è il solo autore di musiche per strumenti a tastiera operante nella Roma seicentesca la cui produzione abbia attinto livelli qualitativi e quantitativi tali da porre il problema di una valutazione acconcia delle opere inedite rispetto a quelle edite.”

[2] : Fabris 1987, 35: “….da Lei inteso, come il marito era solito di registrare su’ libri le compositioni, e poi mandar’a male, et straciare le minute, et abbozzature …”