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EDITION NATIONALE
DE MUSIQUE CLASSIQUE
FRESCO BALDI
FIORI MUSICAU
Rm.ion et nota par
Jos. BONNET
Notice 6iograplaiqae Pill'
M. A. GUILMANT
Pour ORGUE
tMPRIMi EN FRANCE.
EDITIONS SALABERT - PARIS
COLLECTION MAURICE SENART
FIORI MVSICALI
D J
DIVERSE COMPOSITION!
TOCCATE KIRIE CANZONI
CAPRICCL E RECERCARI
IN PARTITVRA A QVATTRO
VTILI PER SONATORI
GIROLAMO FRESCOBALDI
ORGANIST A DI SAN PIETRO
DI ROMA
OPB!lA DVODECIMA
C 0 .M P R I V I L i C J O.
I N. V E N E T I .i\,
~ --------
A pprclfo Aleffandro Vin(enti. 1i D C X X X V
..:P a:rM 0 re .iVla.KJIIIUl/'241:
LE cde le cdte Ia,
TABLE DES MA TIERES
Titre du volurm de !'edition de 1635.
Portrait Ol' Frcscobaldi.
Nutlce bi bliographique.
Notes sur lcs Fiori 1\lusicali.
Pages.
III
v
VII
XXIII
21.
Les formes anciennes : Toccata, Ricercare, Can-
22.
23.
24.
2$.
26 . zona.
Dedicace ..
Al Lettore.
I. Toccata avanti la messa della domenica (Entree).
2.
3
4
5
6.
K yrie della domenica
Kyrie
Christe .
Christe alio modo
Christe alio modo
7. Christe alio modo
8. Kyrie ..
9 Kyrie alio modo.
10.
II.
12.
13.
14.
IS.
I b.
I].
18.
19.
20.
Kyrie alio modo.
K yrie ultimo .
Kyrie ultimo allo modo
Kyric ultimo alio modo
Canzona dopo l'Epistola (offcrtoire)
Ricercare dopo il Credo (offertoirc ou entr0e)
Toccata cromatica per l'Elevatione
Canzona post il Communio (sortie)
Toccata avanti la messa dclli apostoli (entree)
Kyrie delli apostoli .
Kyrie
. XXVIII
XXX 27.
XXXI 28.
29.
I . 30.
2 31.
3 32.
4 33
5
6 34
7
8
9
IO
II
12
13
14
18
22
26
35
36.
37
38.
39
40.
41.
42.
43
44
32
34 \46.
35 47
Kyric.
Christe.
Christe.
Kyrie.
Kyrie.
Kyric.
Canzona dopo l'Epistola (offertoire).
Toccata avanti il (offertoire ou sortie).
Ricercare cromatico post il Credo (offertoire).
Altro Ricer care ( offertoire).
Toccata per l'Elevatione. .
Riccrcare con obligo del basso come appare (sortie).
Canzona. in quarti toni dopo il Postcommunio
(sortie).
Toccata avanti la messa della Madona (entree).
Kyrie della Madona ..
Kyrie.
Christe ..
Christe ..
Kyrie.
Kyrie.
Canzona dopo l'Epistola (sortie breve).
Ricercare dopo il Credo ( offertoire ).
Toccata avanti il Ricercare.
Ricercare con obligo di cantare Ia quinta parte scnza
toccarla. .
Toccata per l'Elevatione.
Bergamasca . .
Girolmeta Capriccio .
Pages.
36
37
38
39
40
42
44
48
49
53
58
6o
64
68
64
70
71
72
73
74
75
78
81
82
86
88
96
FRESCO BALDI
GIROLAMO
Les documents relatifs a Ia vie de Girolamo
F rescobaldi ne sont pas fort nombreux et plusieurs
d'entre eux, d'une importance capitale, n'ont ete
retrouves qu'il y a une dizaine d'annees. C'est
quoi bien des dates et des details marquant les
principaux evenements de la carriere du grand
Maitre ont ete longtemps donnes avec une inexac-
titude tres regrettable dont la rectification s'im-
pose.
D'apres Fetis, par Frescobaldi aurait
vecu de 1587 (ou 1588), jusqu'en 1655. Le biographe
fixe I' annee 1655 et declare que (( Ia mort du
Maitre ltalien n 'eut cerlainernent pas lieu avant,
.puisque F roberger, qui s' etait rendu a Rome pour
suivre ses les;ons, ne retourna en Allemagne qu'a
Ia fin de 1654 >>! Malgre la faiblesse de l' argument,
les dates ci-dessus ont ete admises, propagees pen-
dant bien des annees, sans doute a cause de
l'autorite dont jouissait alors F etis au point de vue
documentaire.
Com me conclusion de ses recherches, Hugo
Riemann indique Ia naissance de F rescobaldi a
F err are, en 1583, et sa mort a Rome en 1644.
Haberl (Franz XaverY
2
) qui a beaucoup etudie Ia
vie et les reuvres de F rescobaldi, confirme en 1887
Notice biographique de Prescobaldi, par Fetis (2e vol.
du Tresor des pianistes de Farrenc, 1868).
(2) Collectio musices organicce ex operibus Hieronymi Pres-
FRESCO BALDI
There are but fe\v documents which relate to
the life of Girolamo F rescobaldi and several of the
most important were only discovered about ten
years ago. This accounts for the fact that many
dates and details regarding the chief events of the
great Master's career have been given vvith an In-
accuracy vvhich now requires correction.
F etis, for instance (I), states that F rescobaldi
lived from 1587 (or 1588) to 1655, and in expla-
nation of his reason for selecting the year 1655
states that " the death of thr-:: I tali an master cer-
tainly could not have taken place earlier, since
F roberger went to Rome to study under him and
returned to Germany only at the end of 1654! ''
In spite of the weakness of this argument the
foregoing dates have been accepted without ques-
tion for many years, probably because the F ctis
document was then considered authoritative.
The conclusion of Hugo Riemann, after consi-
derable research, vvas that F rescobaldi \Vas born at
F arrare in J 583 and died at Rome in 1644. Haberl
(Franz Xaver) C) a student of the \Vorks of Fresco-
baldi, corroborates the opinion of Riemann in 1887,
(I) Biographical notice on Frescobaldi, by Fetis (2d vol
of the Trcsor des Pianistc; de Farrcnc, 1868).
(2) Collectio musices organiac ex operibus fiieronymi Pres-
-.VIII -
les donnees de Riemann. Ayant eu connaissance
de I' acte de bapteme conserve dans -les archives
paroissiales de Ia cathedrale de F err are, il peut
fixer Ia naissance a peu de jours pres, puisque cet
acte est du 9 septembre 1583. Haberl fait erreur,
par contre, en ecrivant que le deces du Maitre eut
lieu le 2 mars 1644.
II resulte de documents etudies posterieurement
par M. A. Cametti(l), que Frescobaidi mourut le
Dimanche 1 .. mars 164 3. N ous aurons plus loin
I' occasion de revenir sur les preuves donnees par
ce biographe a qui nous empruntons l'interessant
tableau genealogique de la famille F rescobaldi de
F errare, reconstitue, autant qu'il a ete possible, avec
des donnees inedites du Docteur Bennati.
II y avait egalement, a cette epoque, a Florence,
une famille noble portant le nom de F rescobaldi, mais
elle n' a rien de commun avec celle des F rescobaldi
de F errare, et quelques confusions en sont resultees
a ce sujet dans certaines publications.
TABLEAU GENEALOGIQUE
DE LA FAMILLE FRESCOBALDI DE FERRARE
Girolamo F rescobaldi
secolo XVI
N
I
G. Battista
(vivente nel 1619).
con
N I N
I
Filippo
morto 1617 o 1 618
con con
Lucrezia N Caterina Bianchetti
l__l Cesare I
Girolamo Monaco
( 1583-1643) Giulia cistercense. Vittoria.
sposo nel [ 18 fcbbraio] 1613 con
Orsola del Pino F ranc:esco Rossetti
1590-3 oct. 1651. nel 1616.
I
Francesco Maddalena
n.[29maggio) 1612 n. 1613
m. a Firenze (?) m. pnma
trail 1628 e il 34. del 1623.
Domenico
n. 1614
m. 1688
(sacerdote).
Stefano Caterina
n. 1616 n. 1619
m. 1649 m. 1687
(celibe). (nubile).
cobaldi, par Haberl, Fr. X. Leipzig, Breitkopf und ~ i r t c l
(1889), et Kirchenmusikalisches ]ahrbuch, by Fr. X. Haberl,
Pustet, editeur, I887 (pp. 67 to 82).
(I) Girolamo Frescobaldi in Roma (1604-164J), par Alberto
Cametti, con appendice sugli organi, organari ed organisti
della basilica Vaticana nel sccolo decimosettimo. Tirage a
part de Ia Rivista Musicale Italiana, vol. XV, fasc. 4c, 1908,
Fratelli Bocca, editori, Torino.
Du meme auteur et a Ia meme librairie : La Morte di Giro-
having come across the certificate of baptism in the
parochial archives of the cathedral of-F errara. He
is therefore able to fix the- approximate date of
birth, as the baptismal certificate is dated Sep-
tember 9th, 1583. On the other hand Haberl
is in error when he statei that the master's death
took place on the 2nd of March 1644.
According to documents discovered later by
Mr. A. Cametti (l) it appears that F rescobaldi died
on Sunday, the 1st of March -1643. We shall have
further occasion to refer the proofs cited by that bio-
grapher but meanwhile, we reproduce his interesting
genealogical table of the F rescobaldi family of Fer-
rara, supplemented, as far as possible, by unpublished
data by Dr. Bennati.
There was a family of F rescobaldis, at that time,
among the nobility of Florence but they were not
related to the F rescobaldis of Ferrara although
certain publications have confused the two.
GENEALOGICAL LIST
OF THE FAMILY FRESCOBALDI OF FERRARE
N
. I
Girolamo F rescobaldi
16th century
with
N I N"
Filippo
G. Battista
(alive in 1619)
died in 1617 or 1618
with
Lucrezia N
I
Girolamo Giulia
( 1583-1643) with
married February 18, 1613 Francesco
Orsola del Pino Rossetti
(1590-oct. 3 1651). in 1616
with
Caterina Bianchetti.
Cesare
Cistercian
monk.
I
Vittoria.
Francesco Maddalena
bornMay29, 1612 born 1613
died at Florence (?) died before
Domenico
born 1614
died 1688
Stefani Caterina
born 1616 born 1619
died 1649 died 1687
(bachelor). (spinster)
between 1628and34. 1623.
(priest).
cobaldi, by Haberl, Fr. X. Leipzig, Breitkopf und Hartel
(1889) and Kirchen1nusikalisches Jalzrbuclz, by Fr. X. Haberl,
Pustct, publisher, 1887 (pp. 67 to 82). .
(I) Girolamo Frescoba!di in Roma (I6o4-I64J), by Alberto
Cametti con appcndice sugli organi, organari ed qrganisti
della basilica Vaticana nel sccolo decimosettimo. Separate
issue of the Ri1}l:sta Jtfusica!e Italiana, vol. XV, 4th set, 1908.
Fratelli Bocca, publ1shcrs, Turin.
By the same author and at the same publisher : La
-IX
Ce tableau nous apprend, entre autres choses., que
Girolamo, age de trente ans, epousa le 18 fe-
vrier 1613, Orsola del Pino, Romaine, mais fille
d
, M'l . L' . d . (I)
un 1 anais. acte e manage est conserve
a Ia paroisse Santa Maria in Via oit fut celebree
Ia ceremonie. Deux des cinq enfants de Fresco-
baldi moururent dans leur jeunesse et les autres
ne laisserent pas de posterite. . .
Filippo F rescobaldi, organiste d' une des Eglises
de F errare, d' a pres Haberl, commen<;a de bonne
heure !'education musicale de son fils Girolamo.
II lui donna ensuite pour maitres Francesco
Milleville et Luzzasco Luzzaschi, dont il convient
de dire quelques mots :
Francesco Milleville, ne a .F errare vers 1565,
etait eleve de son pere Alessandro ne a Paris
vers 1509, organiste et compositeur de Ia Cour
ducale de T oscane, et mort en 1559 a F errare,
oil il etait Maitre de Chapelle. Il fut le Maitre du
celebre Ercole Pasquini, organiste de Ia Basilique
V aticane ct predecesseur immediat de Girolamo
F rescobaldi a ce poste.
Francesco Milleville fut quelque temps au service
de Rudolf I I, roi de Pologne, puis rentra en ltalie
en 1614 pour y exercer les fonctions de Maitre de
chapelle a Milan, puis a Volterra et a Chioggia.
C' est bien evidemment avant de partir pour Ia
Cour de Pologne. que Milleville donna ses le<;ons
a F rescobaldi, car celui-ci, en 1614, avait trente et
L I
. d . . (2)
un ans. a Iste es compositions qui nous sont
parvenues de Francesco Milleville, montre dans
quelle voie il fut l'educateur de F rescobaldi.
Celui-ci avoir une grande affection pour
son maitre, car il alia le retrouver a Milan, en 1608,
et c'est ensemble qu'ils firent, la meme annee, le
voyage de Rome ou F rescobaldi venait concou-
lama Frescobaldi (1643), nell' Album Frescobaldiano, Ferrare,
1908. (Etant donne !'importance de ccs travaux, nous
aurons a nous y r6ferer a plusieurs reprises.)
(1) .M. A. Cametti, Zoe. cit., reproduit cet actc (p. 16).
(2) 6 Livres ac madrigaux a 3 voix (1614-1624).; 7 motets a
2 et 4 voix (1626); messe a 4 voix et 2 messes a 8 voix (161 7);
messes et psaumcs <:\ 3 voix (I6::>o); messc ::\ 8 voix, Dixit,
Magnificat et un motet <t <) voix ( 1026 ).
We learn from this genealogical table that on the
18th of February 1613, Girolamo, at the age of
. thirty, married Orsola del Pino, a Roman lady,
daughter of a citizen of Milan. The marriage cef
tificate O> is among the parish records of Santa
Maria in Via where the ceremony took place. Of
the five children born to F rescobaldi two died in
their youth while the others left no descendants.
According to Haberl, first teacher was
his own father, Filippo F rescobaldii who was orga-
nist at one of the Churches of Ferrara. He under-
took the musical education of his son at an early age.
Later he gave him as teachers Francesco Mil-
leville and Luzzasco Luzzaschi regarding whom a
few details may be of interest.
Francesco Milleville (born at Ferrara about the
year 1565) was a pupil of his father, Alessandro.
The latter was born in Paris about the year 1509
and was organist-composer to the Ducal Court of
Tuscany, having also been choirmaster at Ferrara
where he died. The famous Ercole Pasquini was
one of his pupils, the same Pasquini who was the
immediate predecessor of Girolamo F rescobaldi as
organist of the Vatican Basilica.
Francesco Milleville was in the service of
Rudolf II, king of Poland but in 1614 he retur-
ned to Italy and occupied the position of choir-
master at Milan, then at Volterra and Chioggia.
However it was probably . before the depar-
ture of Milleville for Poland that F rescobaldi stu-
died with him as in 1614, the date of Milleville's
return, F rescobaldi was already thirty-one years
of age.
The nature of his influence on F rescobaldi may
be' imagined by reading the .list wich has come
down to us of Francesco Milleville ':s con1positions (Zl.
F rescobaldi seems to have had a great affection
for his master for in 1608 he journeyed to Milan
to visit him and that same year they travel-
led together to Rome where F rescobaldi wished to
Jlforte di Giralanw Frescobaldi ( I6.J.J), nell' Album Fresco-
baldiano, Ferrar;t, 1908 (on account of the importance of
these works we shall refer to them again).
(I) .M.A. Cametti, lac. cit., reproducesthatccrtiticak(p. 16}
(2) 6 books of madrigals for 3 voices (I6I..t.-I624): 7
for 2 and 4 Yo ices ( r62b) : a mass for voices and 2 masses.
for S voices (1617); masses and psalms for 3 voices (162o;.,:
a mass for 8 voices, Dixit, Magnificat ;md a motet foi
9 voices (1626).
-X-
rir pour succeeder a Ercole Pasquini a Saint-
Pierre.
Luzzascho Luzzaschi, de F err are, vecut probable-
merrt de 1545 a 1607. Sa reputation etait tres
grande, aussi dans la Preface de son Primo Libro
di Capricci, F rescobaldi se comme eleve
de Luzzaschi. Claudio Merulo l) le declarait le
Premier Organiste de I' I talie et Girolamo
Diruta t, eleve de Merulo, publia quelques Pieces
de Luzzaschi dans son celebre ouvrage I l T ransil-
vano , ce qui n'etait certes pas un mince honneur.
L' education musicale de F rescobaldi fut done
placee en d'excellentes mains, tant pour r etude de
I' argue que pour la composition chorale et instru-
mentale. ll n'est des lors .pas etonnant que des sa
jeunesse, il temoignat d' une grande habilete sur
l'orgue et sur toutes sortes d'instruments, ainsi que
le fait remarquer I' abbe F Saverio Quadrio \
41
dans son excellent recueil de sur Les
hommes illusfres de Ferrare. Le Primo libro
delle Canzoni nous permet d'ailleurs de juger
com bien F rescobaldi connaissait les instruments les
plus divers et comment il savait ecrire pour eux en
toute connaissance de leur technique.
A peine age de vingt et un an", Frescobaldi
obtenait Ia faveur d'occuper le rang de Societaire
de la Congregation el Academie des maltres et
professeurs de Rome, fondee en 1584 par Palestrina
et placee sous le vocable de Sainte-Cecile.
Luigi Felice Rossi ( 1804-1863), compositeur et
redacteur de Ia Gazella Musicale de Milan, est
parvenu, apres de laborieuses recherches faites entre
1833 et 1837' a reconstituer la liste des 40 pre-
miers societaires de cette Congregation. M. Cametti
publie cette liste dans sa brochure de 1908, afin de
demontrer que F rescobaldi etait a Rome en I 604.
N ous Ia reproduisons pour fa ire remarquer qu' on
(I) Claudio Merulo, ne a Correggio le 8 avril 1533, mort a
Parme le 4 mai 1604.
(2) Girolamo Diruta, ne a Perugia vers IS60 (mort?)
(3) Il Transilvano.(imprime en 1609 et 1612, par Giacomo
Vincenti a Vcpise). Quarto tuorw,. par Luzzacho Luzzachi
(Piece no 7 du Ier Livre); Ricercare del Primo tuono a 4 voci
et Ricercare del Secondo tuono a 4 voci, par Luzzacho
Luzzachi (Pieces ll
0
s I et 2 du second Livre).
(4) Francesco Saverio Quadrio, ne le Ier decembre I69S a
Valtellina, Milanle I I novembre 1756.
enter the competition for the position of organist of
Saint Peter s to succeed Ercole Pasquini.
His other teacher, Luzzascho Luzzaschi was born
about the year 1545 and died about the year 1607.
He had a wide repulation and F rescobaldi, in his
Primo libro di Capricci refers to himself as a pupil of
Luzzaschi. Claudio Merulo <J> proclaimed Luzzaschi
" the foremost . organist of J taly " and several of
his compositions are included in the famous collection
II Transilvano <
2
> by Girolamo Diruta (3>, a pupil
of Merulo-a high honor indeed.
F rescobaldi' s musical education was therefore
entrusted . to excellent hands both as regards the
study of the organ and for choral and 'instrumental
composition. There is nothing surprising, there-
fore, in the fact that from his earliest youth he sho-
wed great ability, only for the organ but for
various other instruments-a fact which is noted by
h R F S
. Q d . (
4
) h' .
t e ev. rancesco avena ua no In Is tnt e ..
resting of notices on The Illustrious men
ofF errara. Moreover, the Primo Libro delle Can-
zoni enables us to judge ofF rescobaldi's familiarity
with the most diverse instruments and proves his
ability to write for them with a knowledge
of their technic.
A great honor was conferred upon F rescobaldi
when he was only twenty-one years old. He was
elected a member of the Congregation and Aca-
demy of the Masters and teachers of Rome, a
society founded in 1584 by Palestrina and dedica-
ted to Saint Cecilia.
Luigi Felice Rossi ( 1804-1863), composer and
writer for the Gazella Musicale of Milan, has
compiled a list of the first forty members of that
society a.fter elaborate researches undertaken bet-
ween 1833 and 1837. Mr. Cametti first published
the list in 1908 in a pamphlet in which he under-
took to prove that F rescobaldi was in Rome
the year 1604. Our own purpose in printing this
(I) Claudio Merulo, born at Correggio on the 8th of
April 1533, died at Parma on the 4th of lv!ay 1604.
(2) Il Transilva:no (printed in 1609 and 1612 by Giacomo
Vincenti at Venice). Toccata del Quarto tuono by Luzzacho
Luzzachi (Piece No 7 of the Ist Book) : Ricercare del Primo
tuono a 4 voci and Ricercare del Secondo tuono a 4 voci, by
Luzzacho Luzzachi (Pieces No I and 2 of the Second Book).
(3) Girolamo D iru ta, born at Perugia about I 560, died?
(4) Francesco Saverio Quadrio, born on the 1st of De-
cember 1695 at Valtellina, died at Nlil<w on I rth of No-
vember 1756.
-XI-
n' elisait en general qu' un ou deux societaires chaque
annee.
Cette fonction devait done etre recherchee et
seulement a des maitres deja reputes.
Liste des 40 premiers societaires de la Congre-
gation et Academie des maltres et professeurs de
Rome, fondee en 1584. Pierluigi Giovanni Pales-
trina
11
, G. F. Anerio, Giulio Caccini, Stefano
Fabbri, Orlando di Lasso, Curzio !v!ancini, Nicolo
Perve,- Francesco Soriano, Annibale Stabile, fon-
dateurs en 1584. G. A. Dragoni et Domenico
Pataloni en 1585. Felice A nerio et Padre Luigi
Zacconi en 1586. Costanzo Porta et Asprilio
Pacelli en 1587. Giacomo Benincasa en 1588.
Federico Donati et Cristo foro Guizzardi en 1589.
Ercole Bottrigari et Claudio Monteverde en 1590.
Vincenzo Mirabella et Giovanni Troiani en 1591.
Giovanni Bardi (conte del . Vernia) en 1593.
Vincenzo Ugolini en 1595. Giovanni Artusi en 1596.
Paolo T arditi en 1 597. Abbondio An lonelli en
1598. Antonio Cifra en 1599. Alberto l\1agno
en 1600. Roberto di Fiandra en 1602. Virgilio
Mazzocchi et Dionisio Cavallari en 1603. Girolamo
Frescobaldi (comme organiste) en 1604 et (comme
chanteur) en 1604. Don G. A . .. 5acchi en 1605.
(1) D'apres le Biograpldcal Dictionary of ilfusicians, par.
Theo Baker (Schirmer, New-York 1900 ). Picrluigi Giovanni
ne en ISI4 Oll ISIS, a mort a
Rome le 2 fevrier I 594 Giovanni FranCL'SCO A1te1"io, ne a
Rome vers IS 57, mort vers I62o. Ciulio Caccini ( dit lc
Romain), ne a Rome en I 550, mort a Florence en r6r8.
Stefano Fabbri; <.\ Home vers 1550, mort posterieuremcnt
a r6o7. Orlando di Lasso (Roland de Lattre), ne a 1\1ons en
IS20, mort a 1\lunich lc I f in in IS94 Francesco Sonano. n{'.
a Rome en I 549. mort {t Rome en r(>2o de Pa lc_.y
trina). Annibale .Stabile, mort {t l"{omc: ,et:-. r 595 ( C!1 ck
Palestrina). PadrL; Luigi Zacconi. nC ;\ }\:sarin en 1.)-fO. rnort
vers r6oo. Costanzo Porta. ne a Cn:Tnone en I530. .:
Padoue lc 2(l mai 1601. Ercok Rottrzgari, <l Bolognc f'l\
aout 1531, mort<'t San-Albl:rto k3n septcmbrc r(n2. CLn,,;,n
Jlfonteverde (qui -..;ig-nait I\lonicvcrdi), n0 it Cremnth.:, !:+.pi!'
le I 5 mai I 567 d morL"t V enise lc 29 nov em bre I ll4J. \'in cc-: /(1
Ugolini, ne PerugLt vers I)/O, mort l:n cdk \'ili;_ l
6 mai I63S. Giovanni Artusi, ne a BolognL' \"ers I,:.,:,;, 111\1
le I 8 aout r6r 3. Anton to ne a Rome \ l:I"S 1:; 7' . 1111 ' l ,\
Loreto vcrs 1636. P<1uln Agostini, n2 {t 1 ).
mort;\ Rome en 1629. Don AJriano Bmzcltieri, n,_ D1 ,!,.(IlL'
en IS67 (?),mort 16.34. Gregorio Domcnit'O
Rome en I5H4, mort !(orne le .I8 fevricr C.irulamo
Frescol,aldi, nl: ;:\ Ferran.: pcu de jours aY;IIH L.: n
brc rs8:;, mort {t Rnme le IH mars 164.) {:tabtie par
M. Cametti).
list is to sho\v that only one or t\vo members were
elected each year.
Election to membership was an honor \vhich \Va::,
greatly coverted and was conferred only on a mas-
ter who had already attained celebrity.
List of the first 40 members of the Congregation
and of the Masters and teachers of
Ron1e founded in 1584. Pierluigi Giovanni Pales-
trina
1
, G. F. A nerio, Giulio Caccini, Stefano
Fabbri, Orlando di Lasso, Curzio Mancini, Nicolo
Pervc, Francesco Soriano, Annibale .Stabile, the
founders in 1584. G. A. Dragon i and Domenico
Pataloni in 1585. Felice and Padre Luigi
Zacconi ;n 1586. . Costanzo Porta and Asprilio
Pacelli in 1587. Giacomo Benincasa in 1588.
Federico Donati and Cristo foro Guizzardi in 1589.
Ercole Bottrigari and Claudio Monteverde in 1590.
Vincenzo Mirabella and Giovanni Troiani in 1591.
Giovanni Bardi (conte del Veniio) in 1593. Vin-
cenzo Ugolini in 1595. Giovanni Artusi in 1596.
Paolo Tarditi in ) 597. Abbondio A nlonelli in
1598. 1\ntonio Cifra in 1599. Alberto Magno
in 1600. Roberto di Fiandra in .1602. Virgilio
Mazzocchi and Dionisio Cavallari in 1603.
Girolarno F rescobaldi (as an organist) in 1604
and (as a singer) in 1604. Don G. A. Sacchi
(I) Al'tUt'"ling to the Biographical Dictionary of Musicians)
by Thctllbk.1 (Schirmer, Ne\:v-York 1900), Pierluigi Giovanni
Palestrhra, born in 1SI4 or ISIS at Palestrina, died at
Rome on Fcbruary 2, 1594. Giovanni Francesco Anerio
born :it h'r)llll' about 1557, died about 1620. Giulio Caccini
(surn;m1Cd the Roman) born at Rome in ISSO) died at Florence
in r6r8. Stefano Fabbri, born at Rome about rsso died
}., kr than 1607. Orlando di Lasso (Roland de Lattre) born
:ll in 1520, died at !vlunich on the 14th of June IS94
! '; tllCP'-.co Soriano, born at Rome in 1549, died at Rome in
'y 1620 (a pupil of Palestrina). Annibale Stabile, died
d ;\nne about IS9S (a pupil of Palestrina). Padre Luigi
.. " crJJzi. born at Pesario in I 540, died about r6oo.
\
1
;tanzo Porta, born at Cre1110na in I S30, died at Padua
the 26th of l\lay r6o I. Ercoll Bottriga1'i) bc>nl at Bologna
111 August 153 r) died it San-A I herto on the 3oth of Sep':..
\ember I(H2. Claudio Jfonte7erde (who
lrn at Crcmone' h,tptized on the I sth of lv1ay I s67' died
at \.en ice nn the 29th of Non;mbcr 1643 Vincenzol.lgolini
born at Pcrugia about 1570, died in that to\vn on the 6th 9f
l\1ay 1638. Giovanni Artusi, born at Bolognrt about rssg
died on the of August I6I3. Antonio CtJra
1
born
Rome about I 57S, died at Loreto about I636. Paolo ...4g'osttnt,
born at Vallerano 'in 1593, died at Rome in. I 629.1- Adnano
Banchieri, born at Bologna in I5h7 (?) died in t634. 'Gre-
gorio Domenico A lle;;ri, born at Rome in died at Rome
on the I8th of February 1662. Girolamo Frescobald,: born
at Ferrara a few days'beforc the qth of September died
at- !},{)me on
1
the.rst oLMarch 1643 (a date fixed by Mr. C:amerti)
-XII -
Gennaro Sabatini, Paolo ,;1gpsiini et don Adriano
en 1606. Isidore Cerruti en 1607.
Domenico A llegri en 1608.
F rescobaldi, le plus membre de cette liste,
est compte deux fois, ayant ete societaire a deux
titres differents. pendant la meme annee.
veritable enfant prodige et doue . d'une voix
reputee magnifique, F rescobaldi partit pour les
Flandres vers l'age de vingt-deux ans. _On n'est pas
d'accord sur la date de son depart que certains
fixent a 1607' mais il est sur qu'il et,ait de retour
en ltalie en 1608, puisqu'il fut en cette annee orga-
niste a Milan, qu I1 y avait retrouve son maitre
Milleville et qu'il vint a Rome avec lui pour son
concours a Saint-Pierre.
Si l' on en croit F etis, F rescobaldi etait organiste
a Saint-Rombaut de en 1607, mais le fait
n'est pas demontre. En tout cas il publia son pre-
. m.ier ouvrage a Anvers en 1608 :
Di Girolamo F rescobaldi, il Primo Libro diM a-
drigali a cinque voci, novamente composti e dati in
luce, val. in-4, Peter Phalesio, Anversa 1608.
L' ouvrage est dedie au Cardinal Guido Bentivo-
glio, archeveque de Rhodes, legat du pape Paul V.
Ce cardinaL ne a Ferrare en 1577 et mort en
1644, a laisse d'interessantes compositions nour le
luth et Ia cithare. II fut envoye dans les Flandres
en 1607 pour y occuper sans aucun doute des
fonctions diplomatiques; il arriva en effet a Bruxelles
le 9 a out 1607. La dedicace de F rescobaldi, datee
du 13 juin 1608, exprime la reconnaissance du
jeune maitre a son protecteur.
On a pretendu que F rescobaldi fut appele a
Malines pour y remplacer Theodoric Gislesi, orga-
niste italien dont on etait mecontent, mais on n'a
pas retrouve de document autre que celui signa-
lant le renvoi de GiJesi. Le livre de madrigaux
a d' ailleurs ete compose a Bruxelles ainsi qu'il est
dit dans Ia dedicace.
Suivant !'opinion de M. j. Combarieu
11
), le sejour
de F rescobaldi dans les Flandres s' etendrait de
(1) J. Combarieu, Histoire de la Jrfusique, des Origines a !a
mort rlt?, Beethoven, Armanq Colin, cditcur, Paris, H) I 3
(vol. II. P- 14()).
in 1605. Gennaro .Sabatini, Paolo Agostini and
don Adriano Banchieri in 1606. Isidore Cerruti
in 1607. Domenico .}lllegri in 1608.
F rescobaldi, the youngest member of this list is
counted twice, having been an associate under two
different titles during the same year.
F rescobaldi was a truly precocious genius and
according to all reports was endowed with a remar-
kably beautiful voice. He set out for Flanders
during his twenty-second year. His biographers
differ regarding the date of this journey which some
of them attribute to the year 1607. All are agreed,
however, regard\ng the date of his return to Italy
in 1608 during year he was organist at Milan
and fell in once . more with his early teacher, Mil-
leville, and journeyed to Rome with him for the
competition at St. Peter's.
If we may believe F etis, F rescobaldi was organ-
ist at the Church of Saint Rombaut at Malines in
1607 but this is not fully proved. It is certain,
however, that he published his first work at Ant-
werp in 1608 :
'Di Girolamo F rescobaldi, il primo libro di M a-
drigale a cinque voci, novamente composti e dati in
luce vol. in-4o Peter Phalesio, Anversa /608.
The book is dedicated to - Cardinal Guido
Bentivoglio, the archbishop of Rhodes, a legate of
Pope PaulY.
This Cardinal, (born at Ferrara in 1577, died
1644) left a number of interesting compositions for
the lute and the either. He was sent to Flanders
in 1607 on what was probably a diplomatic mission
and reached Brussels on -the 9th of August 1607.
F rescobaldi in his dedication under date of June
13th, 1608, his gratitude for the Cardi-
nal's protection.
It has been asserted that F rescobaldi went to
Malines, to take the place of T eodorico Gislesi, an
I tali an organist who had not given satisfaction. There
is no evidence of this, the only document being one
which refers to the dismissal of Gislesi. On the other
hand, F rescobaldi' s book of madrigals was certainly
composed at Brussels as stated in the dedication.
F rescobaldi remained in Flanders from _1605 to
1608 according to the opinion of Mr. Combarieu (I),
(r) ]. Combaricu, History of .lJfusic, franz the origins ot
the death of Beetho7'eJZ. Armand Colin, puh]jshcr-, Paris, 191.)
(vol. II, p. 149).
- XIII -
1605 a 1608. Cette parait vraisemblable
quoique non prouvee, car, venu dans le pays pour
s'impregner d'un art qui devait exercer une influence
si importante sur son genie musical et sur ses com-
positions de jeunesse, on ne saurait croire que le
maitre ne passa qu'un an dans le pays neer-
landais.
Des son arrivee a Milan, a l:t fin de 1608,
F rescobaldi fit imprimer un nouvel ouvrage : //
primo libro delle F antasie a due, ire e quattro voci,
vol. in-4 . Milano, 1648. Cette meme annee il etait
nomme au concours, a deux voix de majorite, pour
succeder a Ercole P.asquini, comme organiste de
la Basilique V aticane, I' emportant sur le chevalier
Alessandro Costantini.
De 1608 a 1624, on ne sait jusqu'ici, en dehors de
son mariage, rien de positif sur Ia vie de F rescobaldi;
il n' a rien fait imprimer pendant cette period e. Ses
fonctions a Saint-Pierre devaient cependant lui laisser
des loisirs, tout au mains pendant I' Avant et le
Careme. On p.eut done admettre qu'il se produisit
alors, de temps a autre, comme virtuose, dans
diverses villes d'ltalie, oil sa reputation comme orga-
niste et comme chanteur devint tres grande. Un con-
temporain de F rescobaldi dit, en effet,que cc sa voix
etait si belle et qu'il chantait ave.c tant de gout,
que les amateurs de musique le suivaient de ville
en ville, pour ne pas etre prives du plaisir de
I' entendre >>. Le maitre devait egalement se pro-
duire sur le Cembalo ( clavecin) et peut-etre diri-
geait-il aussi des concerts de musique de chambre.
Son talent devait certainement etre bien grand.
pour qu'il ait pu obtenir a vingt-cinq ans le poste
d'organiste a Saint-Pierre, succedant au fameux
Ercole Pasquini qui, nomme en octobre 1597,
demissionna le 31 mars 1608 .
. La nomination de F rescobaldi par le Capitola di
San Pietro est datee du 1 er novembre 1608. Le
jour de sa premiere audition, trente mille personnes
vinrent l' entendre a _Ia Basilique V aticane, ainsi qu'il
. est -relate dans les Memoires de ]an[laConi(l),. con-
. suites par I' abbe Baini(z), rapporteu.r du fait.
(r) Giuseppe ]annaconi, un des derniers compositcurs dans
le style palestrinien, est ne a. Rome en 1741 ct y est mort le
16 mars 1816.
-(2-) ,L'abbe Giuseppe Baini, compositeur ct critique
musical, est ne a Rome '}e 21 octobre 1775 et en cette
ville le 2J mai 1844.
an opinion which, while unproved, is probably fairly
accurate, for the rv1aster's purpose in visiting Flan
ders was to steep himself in the art of that country,
an art which was destined to have such a profound
influence on his own musical development and on his
early composition that it would be hard to believe
that he passed only a year in the Netherlands.
As soon as he reached Milan (toward the end _,/'
of the year 1608) F rescobaldi published a new
work : // primo Libro delle Fantasie a due, ire
e qua tiro voci, vol. in-4'', Milano, 1648. It was
during the same year that he was elected successor
to Ercole Pasquini, organist of the Vatican Basilica,
after a competition which he won by a majority of
two votes over his competitor Cavaliere Alessandro
Costantini.
Nothing definite is known regarding Fresco
baldi' s life from 1608 to 1624 apart from the fact
of his marriage. He published nothing during those
years although his duties at Saint Peter's must have
left him considerable leisure, particularly during
Advent and Lent. Probably he appeared as a vir-
tuoso in various other towns of Italy where his
reputation became very great both as organist and
singer. A contemporary writes that " his voice was
so beautiful and he sang with so much taste that
music lovers f<;>llowed him from town to town rather
than be deprived of the pleasure of listening to him ".
There is reason to believe that the Master also
played on the Cembalo (harpsichord) and directed
concerts_ of chamber music.
His talent is sufficiently proved by the fact of his
election at the age of twenty-five years to the. post
of organist of St. Peter's as successor to the famous
Ercole Pasquini who had occupied the post from Octo-
her 1597 until his resignation on March 31st, 1608.
F rescobaldi' s appointement by the Capitola di
San Pietro is dated November lst, 1608. The first
time he played at the Vatican Basilica thirty thou-
sand persons came tQ hear him according to
Baini's O> account of the event quoted from the
Memoirs. of ]annaconi<
2
>
(1) The Rev. Giuseppe Baini, composer and musical critic
was born at Rome on the 21st of October 1775 and died in
that city on the 21st of IVlay 1844.
(2) Giuseppe ]annaconi, one of the last composers in the
Palestrinian style, was born at Rome in 1741 and died there
on the 16th of March
-XIV
Sans douter aucunement de cette assertion, on
peut se demander ce qu'un auditoire aussi nombrrux
a entendu des pieces jouees en la circonstance par
F rescobaldi. La Basilique de dont le
dome etait en possedait alors trois
orgues, ainsi qu'il resulte d'un traite passe par-
devant notaire, le 21 decembre 1611
1
, entre
Andrea Amico, receveur de la chapelle Giulia
Armodio fviaccioni, facteur, relativement a l'accord
semestriel des orgues. Les deux principaux instru-
ments etaient places l'un a la chapelle Gregorienne
et l' autre a la chapelle del Coro. Ils ne comportaient
que 14 jeux, un unique clavier a mains et un-peda-
lier d'une seule octave. Quant au troisieme instru-
mr>nt, c'etait un petit <c Positif >>.transportable.
L'ltalie ne manquait cependant pas de facteurs
d' orgues habiles et celebres vivant a cette epoque;
il suffit de ci ter, parmi ceux-ci, Bartolo1neo
Antegnati, qui construisit en 1580 r orgue de la
cathedrale de Brescia. N ous donnons plus loin la
composition de cet instrument, afin de montrer la
pauvrete des orgues d'ltalie., dans de grandes
eglises, alors que les organistes etaient arrives a
!'apogee de la celebrite tant comme virtuoses que
com1ne compositeurs. La Basi!ique de Saint-Pierre
de Rome, en particulier, n'a jamais ete dotee d'un
grand orgue dont l\mportance soit en rapport avec
les vastes proportions et la richesse decorative du
monument. On ignore si F rescobaldi a rencontre
dans son pays des instruments plus grands et micux
composes que ceux de Saint-Pierre ou de Brescia,
et sur lesquels il a pu mettre en pleine Yaleur les
prodigieuses ressources de son talent et de son
genie. S'il a du se contenter de jouer sur des argues
aussi modestes, son merite n' en a ete que plus grand.
Il faut cependant croire que cela ne l'empechait
pas d'exercer une veritable fascination sur ses audi-
teurs puisque, dans un Discours sur Ia A1 u.sique
de ce temps, Giovanni Battista Doni, noble
Florentin et critique musical=, ecrivait le 16 jan-
vier 1640, citant Pietro della Valle, que Frescobaldi
etait un Hercule )) place dans Pierre,
jouant sur le nom Ercole (Hercule) et faisant
. allusion a Erccle Pasquini.
(I) A. Camctti. lac. cit., p. 41.
(2) GioYanni Battista Doni, nc en I 593, rnnrt lc 1 ., d0cem-
bre 1647.
\Vithout wishing to question the truth of this
assertion vve cannot help \Vondering 'ho\v much this
immense audience \\'as able to hear of the pieces
played by F rescobaldi under existing conditions.
The Basilica of St. Peter, \\hose do1ne \Vas then in the
course of construction, possessed three organs, a fact
evidenced by a contract signed before a notary on
the 21st of December 1611 ';' bet\veen Andrea Amico,
accountant of the Giulia Chapel and Armodio lVlac-
cioni, an organ builder, regarding the periodic
tuning of organs. The t\\'O larger instruments
\Vere placed in the Gregorian chapel and the chapel
del Coro respectively. These instruments posses-
sed only fourteen stops on a single manual ;:1:1d a
pedal board of a single octave. The third organ
\Vas a small P.ortable " positive " organ.
There \\'ere, as a matter of fact, a number of
capable organ builders in Italy at that time, for ins-
tance, Bartolon1eo Antegnati vvho built the organ
at the Cathedral of Brescia in 1580. In another
place \Ve reproduce the composition of that instru-
ment to sho\V ho\V meagre were the resources of
organs even in the largest Churches at the very time
when the I tali an organists had reached the highest
pinacle of fame both as virtuosi and composers.
Indeed the Basilica of St. Peter at Rorne has never
possessed a great organ proportionate in po\ver
and qualitr to the imm.ense size of the building.
\\l e do not. kno\V \\hether Frescobaldi found larger
and better equipped organs than those of Rome and
of Brescia in other I tali an cities, instruments on
\vhich he could give full expression to his genius,
but. if had to be content \vith such mode$t
resources, his merit is but the greater.
That this handicap did not prevent him from
co1npletely fascinating his listeners is evident in a
[)iscourse on the 1\lusic of this tin1e by Giovanni
Battista Doni ( '\ a Florentine nobleman and musical
critic \vho. on the 6th of January 1640, quoted
Pietro della \/ alle as saying that Frescobaldi \\as
l
'' H
1
., f S P '
1
t 1e erculcs o t. eter s, a pun on tne
name Ercole (Hercules), alluding to Ercole .
( r ) A . C 1 rn L' tt i . h, ( . n! .. p . I .
(2) Gic;v;mni Dcmi. llnrn in .I 593. di,__:u on the
ISt of D12ccm bcr l(;_p.
- XV
Peut-etre F rescobaldi chantait-il en jouant? Sa
voix, belle et puissante, pouvait remplir une vaste
nef et completer .ce que de modestes instruments ne
pouvaient donner. On sait que le Maitre ne reculait
pas devant certaines innovations et qu'il introduisit
l'emploi du clavecin dans les grandes ceremonies
religieuses.
COMPOSITIO:\ DE L'ORGUE DE LA CATHEDRALE DE BRESCIA
COI\STRUIT Ei'\ 1 S80 PA '{ BARTOLOMEO Al:)lTEGt\ATl' I
Clavier a mains.
1 n Principale . . .
2" Principale Spezzato (divise entre le clavier et le
pedalier). . . . . .
3'' L'Ottava . . . . . .
4 La Quinta decima (Prbtant)
5" La Decima nona ( Quinte ou Nasard) .
6n La Vigesima seconda (Doublette) . . .
T La Vigesima sexta (Pet;t Nasard) . .
8'' La Vigesima nona (Picr:olo). . . .
9'j La Trigesima terza (jeu suraigu a l'octave du petit
Nasard) . . . . . . . . . . .
1 0<: La Vigesima seconda (utilisee avec les jeux 3 et 5 pour
realiser un Cornet u>) . . . . .
11 Flauto in quinta decima (Flute de 4 p.)
12o Flauto in ottava (Flute de 8 p.) .
Pedalier
16 p.
16 p.
8 p.
4 p.
2 p. 2/3
2 p.
I p. I /3
1 p.
2/3 p.
4 p.
8 p.
Agissant sur les Basses du 2" Principale, le clavier a mains faisant parler
le dessus du jeu.
Ritter n'indique pas l' etendue des claviers. II est
difficile d' accorder. plus de 48 notes ( 4 octaves) au
manuale a partir du 8 p. a cause du jeu no 9
de 2 3 p. dont le plus petit tuyau est a la limite de
ceux qu' on peut faire parler convenablement.
Quant au pedalier, sans jeu qui lui so it particu-
lier, il fonctionnait seulement comme tirasse sur un
unique jeu de 16 p. et ne devait comprendre que
!'octave du 16 p. au 8 p., soit 12 notes au maxi-
mum.
F rescobaldi a occupe son poste d' organiste a la
Basilique Vaticane de 1608 a 1643, mais avec une
interruption de service de 1628 a 1633. II prit en
effet un conge pendant ces cinq annees ahn de
pouvoir accepter !'invitation de Ferdinand II, Grand-
Due de T oscanc, qui le nomma organiste de la
(I) Geschichte des Oq;elspiels, par Ritter, p. 14.
(:?J H s,agit sans doute ici d'un registre tirant simultanement
jeux 5, 6, ct non d}un jeu de 2 p. reel, car Ritter
;,l;r:d1que pas 2 p. Vigesima seconda.
Perhaps F rescobaldi sang while he played. His
voice, beautiful and powerful, might have filled the
vast nave and have supplemented the meagre.
resources of his instrument. We. know that the
Master did not hesitate to make certain innova-
tions as when he introduced the harpsichord in
great religious ceremonies.
SPECIFICATION OF THE ORGAN OF THE CATHEDRAL OF BRESCIA
CONSTRUCTED IN 1580 BY BARTOLOMEO ANTEGNATI 'I
Manual.
, 1 n Principale . . . . . . . .
2" Principale Spezzato (divided between the i\I.1nual and
the Pedal) . . . . . . . .
3 L'Ottava. . . . . . . . .
4o The Quinta decima (Principal octave).
'5o The Decima nona (Fifth or " Nasard ")
... 6(; The Vigesima (Doublette). .
7 The Vigesima sexta (Little "Nasard ").
8 The Vigesima nona (Piccolo) . . . . . . . .
9o The T rigesima terza (an overshrill stop an octave higher
than the little Nasard). . . . . . . . . .
1 Oo The Vigesima seconda (utilised with the stops 3 and 5 to
make a '' Cornet ., (
2
)).
-11 Flauto in quinta decima (Flute 4 feet).
12 Flauto in ottava (Flute 8 feet) . . .
Pedal-board
16 f.
16 f.
8f.
4 f.
2 f. 2/3
2 f.
1 f. ]/3
lf.
2/3 f.
4 f.
. 8 f.
Working on the Bass of the 2nd Principale, the manual the
upper part of the stop.
Ritter does not indicate the range of the manuals
but it can hardly have exceeded forty-eight notes
(four octaves) above the eight foot stop as anything
higher would have been difficult to tune because of
stop No. 9 of 2
1
'3 ft., the smallest pipe of which
reaches the limit at which a pipe can sound.
As for the pedal-board, it possessed no special
stop of its own but worked only as a pedal coupler
on a single 16 ft. stop \:\ ich could hardly have
exceeded a range of t\velve notes, that is .the octave
from 16 to 8 ft.
F rescobaldi held the position of organist at the
Vatican Basilica from 1608 to J 643, with a fiye
years' leave of absence (from 1628-1633) during
which time he accepted an inritation from F erdi-
nand I I, Grand Duke of Tuscany to become orga-
nist of the Court at Florence. This position must
(r) Gesclziche des Orgelspiels, by Ritter, p. 14.
(2) This means undoubtedly, a registe:- simultaneously
pulling the 3,5 and !)th stops, . and not a real 2 feet stop,
for Ritter does r1ot indicate 2 feet for this Vigesima scconda.
-XVI-
Cour, a Florence. Cette situation etait sans doute
plus remuneratrice que Ia place tres honorifique de
Saint-Pierre et vraisemblablement F rescobaldi serait .
reste plus longtemps aupres du Grand-Due n'avait
du quitter la Cour, en 1633, a la suite de troubles
politiques et de revolution sociale. ll rentra a Rome
reprendre ses fonctions qu' on lui avait evidemment
conservees, car, pendant son absence, il n'eut que
des suppleants : Giacomo Guidi, du 1 er de-
cembre 1628 au 15 juin 1630, epoque de sa mort,
et Giovanni Giacomo Porro, du 28 aout 1630 au
1 er, decembre 1633; F rescobaldi n' ayant ete reins-
dille que le 1 er mai 1634, on ignore qui l'aurait
reQJplace pendant ces ci\nq mois. Comme il etait
rentre a Rome a la fin\ de 1633, on peut sup-
poser que, dans l'intervalle, l'orgue e.tait en repa-
ration.
Quoi qu'il en soit, F rescobaldi n'abandonna ensuite
sa situation d' organiste de la Basilique que peu
de jours avant sa mort survenue le I er mars 16 4 3.
Son successeur fut Alessandro Costantini, qui se
donna le titre de << chevalier )>. Celui-ci, a pres la
demission d'Ercole Pasquini, avait fait !'interim
pendant quelques mois. II s'etait presente au Con-
cours en meme temps que F rescobaldi, mais il
avai.t obtenu deux voix de moins (n et dut attendre
la succession pendant !rente-cinq ans.
Haberl a cru etablir que F rescobaldi etait mort
le 2 mars 1644, ayant quitte Saint-Pierre le
1 er mars 1643, pour des raisons de sante, et: qu'il
avait accepte le poste bien modeste d' organiste a
Saint-Laurent in Montibus. Ce sont la des inexacti-
tudes, importantes surtout en ce qui concerne la
date de la mort du Maitre; le but principal du travail
de M. Cametti a ete justement d' etablir cette date
avec toute la certitude desirable (l\. II demontre
qu'Haberl a mal interprete certains documents et
que d' autres sont restes ignores de lui. Vu l'impor-
rance de la question, nous devans mentionner les
raisons de M. Cametti; elles resultent de documents
parfaitement precis.
(I) A. Camctti, Zoe. cit., p. 47 ct p. 36-37
. (2J A. Cametti, loc. {:it., p. 47 et p. 36-37.
have been more than the dignified post
at St. Peter's and F rescolbadi might have remained
there still longer had he not been obliged to leave
the Court of the Grand Duke in 1633 as a result
of political. agitation and a social revolution. He
returned to Rome to resume his duties there, his
place having been kept open during his absence
and being filled meanwhile by the following substi-
tutes : Giacomo Guidi, from the 1st of Decem-
ber 1628 to the 15 th of June 1630 the time of
his death, and Giovanni Giacomo Porro, from the
28 th of August 1630 to the 1st of Decem-
ber 1633. As F rescobaldi was not reinstated until
the 1st of May 1634, another substitute whose
name is unknown must have filled his place during
those five months, yet as he returned to Rome
toward the . end of the year 163 3 one may assume
that the organ at St. Peter's may have been
under repair during those months.
In any event, we know that F rescobaldi did not
again desert his post as organist of the Basilica
until a few days before his death which took place
on the 1st of March 1643. His successor was the
same Alessandro Constantini who gave himself the
title of '' Cavaliere " and who had filled the
interim after the resignation of Ercole Pasquini,
and had presented himself for examination at the
same time as F rescobaldi but had been defeated
by two Votes
1
l. Thus he had waited thirty-five
years for the succession.
Haberl imagined he had established beyond dis-
pute the date of F rescobaldi's death as the 2nd of
March 1644, basing this on the fact that he had
left Peter's because of ill health on the 1st of
March 1643, after which, according to Haberl, he
accepted the modest post of organist at S. Lorenzo in
Montibus. These inaccuracies are important parti-
cularly as regards the date of the Master's death;
the purpose of M. Cametti' s work has been to fix
that date accurately ( . He shows that Haberl
has placed a wrong interpretation upon certain
documents and that others were unknown to him.
In view of the importance of the question at issue
we feel obliged to mention the arguments advanced
by M. Cametti which are based on thoroughly
reliable documents.
(I) A. Cametti, Zoe. cit., p. 47 ct p. 36-37 .
(2) A. Cametti, Zoe. cit., p. 47 ct P 36-37.
- XVII-
C' est bien du I er mars 164 3 que F rescobaldi J
est porte comme ayant cesse ses fonctions a Saint-
Pierre; le dernier rer;u signe par lui pour ses emo-
luments est de fevrier 1643 et M. Cametti le
reproduit en fac-simile. II donne ensuite des extraits
de l'acte de deces du Maitre. De cet acte conserve
a Ia Basilique des S.S. XI I Apotres, il ressort que
Saint-Laurent in Montibus etait Ia paroisse dont
dependait le domicile de F rescobaldi; que celui-ci
est mort ci'une fievre maligne, emporte dans sa
soixantieme annee, apres dix jours de maladie, le
Dimanche I er Mars 16 4 3; que le plus celebre
des organistes de Saint-Pierre ayant rer;u les derniers
Sacrements, est decede dans la communion des
Fideles et que le Corps, ayant ete extrait de Ia
paroisse de Saint-Laurent in Montibus, fut enseveli
avec les plus grands honneurs dans la Basilique des
S.S. XII Apotres.
Le resident de Modene a Rome ecrit a son
<< Signore >> le 4 mars 164 3 : << Le sieur Girolamo
F rescobaldi, un des plus fameux organistes de notre
temps, a ete enseveli le lundi matin 2 mars 1643, en
l'Eglise des S.S. Apotres; Ia messe funebre y
fut chantee par les principaux musiciens de Ia
Cite. >>
Enfin, un journal de l'epoque ecrit le
7 mars 1643 : Dimanche dernier est passe
en I' autre vie F rescobaldi, organiste de Ia Basilique
de Saint-Pierre, fameux compositeur pour les
instruments a toucher (a clavier). ))
Les preuves accumulees par M. Cametti, appuyees
sur les documents dont il indique Ia en
mentionnant les bibliotheques oil I' on peut les con-
sulter, sont irrefutables et fixent done definitivement
Ia date de la mort de F rescobaldi. Celui-ci n' a
jamais ete organiste a Saint-Laurent in Montibus
et, apres sa mort a son domicile de Ia Montee
de Magnanapoli, sa famille alia s' etablir a Bargo
Vecchio (l).
(I) Camctti, foe. cit., p. 46, donne les notices
des organistes de pendant le xvrre siecle avec fac-
similes de leurs signatLires. A titre documentaire nous resu-
mons tres brievement ces notices :
En octobl'C I 567, Ercole Pasquini, eleve d' Alessand_ro Mil-
leville, succede a G. B. Zucchelli; il demissicfnne le
31 mai 1608. Alessandro Costantini fait quelques mois
d'interim et Frcscobaldi est nomme 1e rer llOVcmbre r6o8.
Rcmplace du r)r decemb:re 1628 au IS juin r63o par Giacomo
Guidi, puis du 26 aout J630 au. 11' decembrc !633 par Giovanni
Gickomo Porro, Frcscobaldi reprend son poste le yer mai 1634
It is indeed true that on the 1st of March 1643
Frescobaldi resignPd his post at St. Peter's. The
last receipt which he signed for his salary is dated
February 1643, and this Mr. Cametti reproduces
in fac-simile. He then gives extracts from the
Master's death certificate. This certificate, kept at
the Basilica of the SS. XI I Apostles makes it plain
that S. Lorenzo in was the parish to which
F rescobaldi' s dwelling belonged, and that the latter
died of a malignant fever after an illness of ten
day's duration, on Sunday, the I sf O)t March 1643,
at the age of sixty; that he received the last sacra-
ments, and died as a faithful. member of the Catholic
Church, and that his body, having been removed
from the parish of S. Lorenzo in Montibus, was buried
with great honour in the Basilica of the XII Holy
Apostles.
A resident of Modena at Rome writes to his
" Signore " on the 4th of March 1643 that " The
sieur Girolamo F rescobaldi, one of the most famous
organists of our time, was buried on Monday mor-
ning, the 2nd of March 1643 in the Church of the
XII Holy Apostles; the funeral Mass having been
sung by the leading musicians of the city. "
Again, a contemporary review contains the follo-
wing notice under date of March 7th, 1643 :
" Last Sunday, F rescobaldi passed into the other
life. He had been organist of St. Peter's Basilica
and a famous composer for key-board instruments ".
The proofs advanced by Mr. Cametti are irre-
futable being based on documents of which he indi-
cates the origin and the libraries where these may
be consulted. Thus the date of F rescobaldi's
death can definitely be placed; as can the fact that
he never occupied the position of organist of
S. Lorenzo in Montibus. After his death at his own
house on the Ascent of Magnanapoli his family
d V h
I}
move to ecc io ( .
(I) Cametti, foe. cit., p. 46, gives the biographica
notices of the organists of St. Peter's during the I 7th century
with the fac-similes of their signatures. For the pq.rpose of
reference we summarize those notices :
In October I597, Ercole Pasquini, pupil of Alessandro
Millevillc succeeded G. B. Zucchelli; he resigned office on
the 3 rst of I6o8. Alessarlllro Costantini filled the interim
during a few months and Frescobaldi was appointed on the 1st
of November 1608. Having as substitutes Giacomo Gui
from the 1st ofDecember 1628 to the 15th of June 1630; the!
Giovann1 Giacomo Porro from the 26th of August 1630
.__ XVIII -
Frescobaldi a etc sans contredit le plus habile, le
p1us savant et lc. plus celebre de:, organistes italiens,
Jont il eleva l'Ecole au plus haut rang. Ccllc-ci
declina presque aussitot apres lui. Froberger, orga-
niste de Ia Cour de Vienne, ct deja celebre,
demanda un conge pour aller etudier avec Fresco-
baldi de 1637 a 1641.
Le Maitre des Organistes, dont !'influence sur
l' Art de son temps a ete si marquee, a vecu a une
epoque de transition. Des le XIII" siecle, en effet,
les compositeurs commencerent a se desinteresser
peu a peu des melodies gregoriennes en faveur de
l' art polyphonique et de Ia musique tonale telle
qu'elle existe encore de nos jours.
Les compositions de jeunesse de F rescobaldi se
ressentent, comme il est nature!, de l'art Aamand et
meme du venitien. L'art fran<;ais exer<;a egalement
sur lui une grande influence, ainsi qu' en temoignent
ses Ricercari e Canzoni /rancesi (Rome, 1615)
et ses Canzoni alia /rancese publiees in partilura
(Venise 1645), en quatre volumes, dont le premier
et le quatrieme nous sont seuls parvenus.
Ccs influences n'empecherent pas que, dans ses
reuvres de maturite, F rescobaldi deployat sa per-
sonnalite complete, ainsi qu'i1 arrive d' ordinaire aux
grands l\llaitres. C'est principalement par les reuvres
de cette periode qu'il fut le grand educateur musical
des pays du sud de l' Allemagne.
On a quclquefois reproche a F rescobaldi, a la
et l'occupejusqu'au 28 fevrier rb ..L). Alessandro. Coslant.ini lui
l.e I 5 mars 1643 et conserve Ia <<objet de sa
si infinic ambition . jusyu'a sa mort survenue le 20 octo-
b:c I65? _Fabritio

ne a Turin (en ?),

Costantu:t :1wurut le 28 deccmbrc 1()95; des lc 24 septcm-
brc 1b57 1 I eta1t son suppl6ant et sa nomination a ete rcportee
a cette date. Fontana dut se retirer apres trcntc-quatrc ans de
service ft cause de Ia faiblesse de sa vue. II demanda. lui aussi.
un suppleant en 169I, et obtint une pension egale <:\ son trai-
tement. Ce suppleant, Giuseppe Spoglia, fut titnlarise le
I octohre J 691, mais demissionna le mois suivant. Ie
19 non:mbre. Joanno Francesco Gardus (en n?alitt
nouveau suppleant, fut nomm6 le r: decembre 1691 et titula-
rise Ie 29 decembre 1695, c'est-a-dire le lendemain meme de
Ia mprt de Fontana. Garbi, ne <.'t Florence) mourut le
23 j uin I 7 1 9.
(r) Fontana fut admis: au milieu de l"Jllnet> 11>5o, cumme membre de Ia
de Sainte-Cecile (fondee en 1 sS4 par Palestrina) et en fut
levtce-Presldent flU titre d'Organisle, en ro8
4
et ei1
F rescobaldi was without doubt the most able,
learned and famous of I ta)ian organists whose School
he raised to the highest rank. F roberger, when
organist to the Court of Vienna and already famous,
obtained leave of absence to study under Fresco-
baldi from 1637 to 1641. The Italian school began
to decline almost immediately after F rescobaldi' s
death.
This master organist vho had so great an
influence upon the art of his time, lived in a period
of transition. From the XIIIth century on, com-
posers had begun to lose irterest in the Gregorian
melodies and to prefer polyphony and the tonality
of the modern scales as they exist today.
F rescobaldi' s youthful con positions are influenced
naturally enough by Flemish and by V enitian art.
French art, too, influenced him greatly as can
be seen in his Ricercari e Canzoni francesi
(Rome 1615) and his Canzoni aile /rancese
published in partitura (Venice 1645) in four books
of which only the first and fourth are known
to us.
In spite of these early infuences, however, F
cobaldi in his mature works developed his full per-
sonal genius as is usually the case with great
ters. It is through his works of that period that
he became the great musical educator of the
countries south of Germany
F rescobaldi has some tines been criticised by
the rst of December 1633, Frescl)baldi resumed his post on
the Ist of 1\tlay 1634 and kept it ti.l the 28th of February I6-fj.
Alessandro Costantini succeeded him on the ISth day of
,\larch !643 and held the posiqon which was the" object ot his
so infinite ambition" till his death occurred on the 2oth ot
October 1657. Fabritio P'ontarta t
1
) born at Turin (in.?) who
succeeded Costantini died on the 28th of December 1695;
Fontana had been substituting for Costantini ever since the
24th of September 1657 and on this account his appointment.
has been attributed to that date. Fontana was obliged to
withdraw after 34 years service on account of the weakness
of his sight. He himself asked fur a substitute, in 1691, and
was granted a pension equalto his salary. This sul{stitute
Giuseppe Spog!ia, was appointed en the 1st of October 1691
but resigned office the next month, on the 19th of November.
Joanno Francesco Gardus (really Garbi), a new substitute,
was chosen on the 1st of December 1691 and appointed on
the 29th of December 1695, that is to say, the very day after
the death of Fontana. Garbi, born at Florence, died on the
23rd of June. 1719.
(1) Fontan?, in the the year 1650 W.dS member uf the:
St. Cecilia Congregation (founded in 1684 by PRlcstrin::t) and was its vit.:l.'-
president organist in 1.684 a11d 1688.
-- XIX ---
suite de F etis, sans doute, de s'etre laisse en trainer,
certaines a quelques manifestations
d'un gout douteux, tres en vogue a son epoque, et
consistant en devinettes musicales. On ne manque
jamais de cit<:r, a cet egard, le -se.eOnd Ricercare de
Ia Missa della Madona, des Fiori Musicali.
Dans cette Piece, magniflquement ecrite a quatre
parties, F rescobaldi propose un theme de six notes
et demande qu'il soit obligatoirement chanle et non
joue par l'executant, a qui illaisse d' ailleurs le soin
de trouver . tous les passages ou ce theme peut se
superposer a Ia trame polyphonique des quatre autres
parties.
Ce jugement de Fetis nous parait plus que severe
et l'opinion ne peut manquer de devenir toute con-
traire lorsqu'on entend executer ce Ric.ercare avec
le theme chante et bien mis en ses places, comme
Alex. Guilmant l'a realise dans !'edition que nous
publions.
Ce Ricercare, ainsi rendu comme il doit
suggere meme d'interessantes deductions :
Le theme a chanter jouer, ecrit en
cle d'ut quatrieme ligne. Or, il est '.naturel de
penser que Frescobaldi, prechant d'exemple, chan-
tait lui-meme le theme lorsqu'il faisait entendre son
Ricercare. Done il avait une voix de tenor, ce
qu' on n' a --pas dit jusqu'ici. On peut croire que
qu'il chantait a l'orgue, sa helle volx si connue contri-
buait a attirer tant de monde a ses auditions dans
de vastes locaux, malgre Ia pauvrete des orgues sur
lesquels il jouait.
Le theme a chanter pourrait d' ailleurs confirmer
cette pauvrete, car on ne saurait le jouer sur r Qrgue
que si ron dispose d' un pedalier capable de rendre
cette partie de tenor. La composition de l'orgue de
Brescia nous montre que le pedalier-tirasse ne pou-
vait convenir a cet effet, et il n'y a done plus lieu
de s'etonner de la demande de Frescobaldi au
sujet de son theme a chanter.
On peut encore aller plus loin dans la des
deductions. Le theme du Ricercare et la martiere
dont les parties sqnt conduites incitent a' voir,
presque malgre sol, dans cette Piece, un embryon
de ce qui devait devenir plus tard le Choral-Pre-
lude.
Pour terminer cette notice, nous donnons Ia liste
des reuvres de F rescobaldi. "T outes celles qui no us
followers of F etis for having yeilded in a fe,v
instances to the questionable taste of the day
wich delighted in Inusical riddles. The second
Ricercare of the Missa della Madona of the
Fiori lVf usicali is often cited as an instance.
In that piece, a wonderful composition in four
parts, F rescobaldi introduces a theme of six notes
vvhich is not to be played but to be sung by the
organist, vvho is expected also tp pick out all the
places wherein this theme can be super-posed upon
the polyphonic structure of the other four parts.
F etis' condemnation seems to us over-severe;
indeed, one can hardly fail to reach the opposite
conclusion after hearing this Ricercare with
theme sung and placed correctly as has been done
in this edition by Alexander Guilmant.
Moreover, this Ricercare properly rendered
suggests some interesting deductions :
The theme for the voice is written with the C
clef on the fourth line of the staff, and as we may
well believe that Frescobaldi sang the theme himself
when playing his Ricercare, it follovvs that he must
have possessed a tenor voice, a fact not mentioned
hitherto. One can readily imagine that when he
sang at the organ, his glorious voice \vhich was so
famous helped to attract the cro\vds that Rocked to
his .recitals in those vast buildings \Vi th their inad-
equate organs.
The mere fact of this theme being given to the
voice is further evidence of the inadequacy of the
organ
9
s resources, for unless the instrument had been
in possession of a pedal-board equipped to render
this tenor part, the theme could not possibly have
been played. An examination of the composition
of the organ at Brescia proves that its pedalier
tirasse could not have accomplished this result,
and one readily understands the reason why F res-
cobaldi assigned this theme to the voice.
We may carry our deductions further. We can
hardly fail to notice that the theme of .this Ricer-
care and the working out of the parts give us the
germ of what is later to become the Choral-
Prelude.
In conclusion we append a list of F rescobaldi's
works. All that have come down to us were
-XX-
sont parvenues: oht ete 1mpnmees de sor tenlpsl et
leur succes fut tel que quelques-unes eurent plusieurs
editions. N ous indiquerons les bibliotheques ou, a
notre connaissance, on trouve des exemplaires de
l'epoque; il serait interessant de pouvoir en men-
tionner d'autres. Enfin nous ferons connaitre un
renseignement in edit : c' est le prix que quelques
amateurs ont paye pour les exe1nplaires de certains
ouvrages de F rescobaldi.
LISTE DES <EUVRES DE fRESCOBALDl
1 o Di Girolamo F rescobaldi, If prin1o libra di
lv! adrigali a cinque voci, nuovamente composti e
dati in luce. In Anversa, appresso Pietro Phalesio
(dit Phalesius), in-4 (1608). Dedie le 13 juin 1608
au Cardinal Bentivoglio Guido J .
zo If primo libra delle fanlasie a due, ire e
quatlro (voci). Milano, 1608, in-4.
3o II prima libro dei Recercari et Canzoni
{ranzese fatte sopra diversi oblighi, edite in par-
tilura, dedie au Cardinal Pietro Aldobrandino,
in-folio, Roma, Bartolomeo Zannetti, 1615
2
II y
eut une reedition de cet ouvrage en 1618.
4o Toccale e Partite d' intavolatura di cirnbalo,
in-folio, Roma, Nicolo Borboni, 1615. L'ouvrage
est dedie au Cardinal due de Mantoue et de 1\tlon-
fenat (22 decembre 1614) c,, et F rescobaldi re<;ut
a cette occasion 300 ducats
4
La basse et le
tenor sont ecrits sur une portee de 8 lignes, l'alto
et le soprano sur une de 6 lignes.
Cet ouvrage a ete reimprime en 1627, avec un
nouveau frontispice et le portrait de Frescobaldi
grave par Christian Sas. Enfin la 3e edition reproduit
la precedente, avec une addition de 25 pages.
Elle porte le nouveau titre : Toccate d'intacola-
lura di cembalo ed organa, partite di diverse arie e
correnti, balletti, ciaccone, passechagli, di Giro-
lamo F rescobaldi, organista in San Pietro di Roma,
(r) Un exemplaire;de ce volume :-;e trouve <l la Bibliotheque
d'Oxford.
(2) Un exemplaire de ce volume ('St conserve a Saint-Pierre
de Rome dans lcs archiYes de b chapclle Giulia. un autre au
ConserYatoire de Paris. et un autre encore b Library of
Congress. \Vashington D. C.
u).Gn se' trouve a b de Ferrare;
utl autre ;{ l.a Library of Congress Washington. D. C.
(t+) A. Cametti. lac. cit .. p. 19.
published in his lifetime, some having been so
popular that several editions were printed. Whe
shall indicate, to the extent of our knowledge, the
libraries where contemporaneous copies may be
found. We wish we could mention many others.
We will also give hitherto unpublished data regar-
ding the price paid by collectors for copies of F res-
cobaldi' s works.
LIST OF THE WORKS OF fRESCOBALDI
1 o Di Girolamo F Il prin1o libra di
Mad rig ali a cinque voci, nuovamente composti e
in luce. In Anversa, appresso Pietro Pha-
lesio (surnamed Phalesius), (1608). Dedi-
cated, on the 1st of June 1608 to Cardinal Bnti-
voglio


2o If primo libro delle fanlasie a due, ire e
quatfro (voci). Milano, 1608, in-4.
3o II primo del Recercari el Canzoni
franzese fatte sopra diversi oblighi, published in
parlitura, dedicated to Cardinal Pietro Aldobran-
dino, in folio, Roma, Bartolomeo Zannetti, 1615
A new edition of this work appeared in 1618.
4o Toccate e Partite d'intavolatura di cim-
halo, in-folio, Roma, Nicolo Borboni, 1615. The
work is dedicated to the Cardinal-duke of Mantova
and Monferrato (on the 22nd of December 1614
on which occasion F rescobaldi received 300 du-
cats
141
The bass and tenor are written on a staff
of 8 lines, the alto and soprano on a staff of 6 lines ..
This work was reprinted in 1627, with a ne\v
frontispiece and a portrait of F rescobaldi engraved
by Christian Sas. Finally, a third edition repro-
duces the preceding one but with an addition of
25 pages. It has the new title : Toccale d'inta-
volatura di cen1balo ed organo, partite dr diverse
arie e correnti, balletti, ciaccone, passechagli, di
Girolamo F rescobaldi, organista in San Pietro di
i 1 1 A copy of this volume is to be found at the Oxford
Library.
12) A copy of this volurne is kept at St Peter's of Rome in
the archi\'es l)f the Giulia Chapel. another at the ConserYa-
toire of Paris and another also at the Library of Congress.
\Vashington D. C.
( _:fl A copy is to be found at the Library of Ferrara. ano ...
ther at the Library of Congress. \Vashington D. C.
q) A. C3nwtti. Inc. cit .. p. H).
-XXI-
Libro Jo, stampato l'anno 1637, da NicoJo Borboni,
in Roma. Cet in-folio contient le frontispice, le
portrait de F rescohaldi et 94 pages de tnusique
.. II)
gravee .
5o I l secondo libro di toccate, canzone, versi
d'hinni, Magnificat, gagliarde, correnti ed altre
partite d' inlavoiatura di cimbalo ed organo, di
Girolamo F rescobaldi, organista in San Pietro di
Roma, de Nicolo Borboni. Ce volume contient une
de<:licace datee du 15 janvier 1627 a Monseigneur
Luigi Gallo, eveque d' An cone,- un frontispice, le
portrait de F rescoba,Idi . et 84 pages de musique; il
a ete reimprime. 'en 1628 et en 1637 (2)' chez
Nicolo Borboni, a Rome.
6o Primo libro di Capricci sopra diversi soggelli
ed arie in partilura, in-folio, in Roma, Luca
Antonio Soldi. L' ouvrage contient Ia dedicace du .
12 avril 1624 (J) a Alfonso d'f..ste, gouverneur de
Modene. II existe une edition de 1627, Roma,
Nicolo Borboni, dans laquelle le portrait de Fresco-
baldi, par Christian Sas, parut pour Ia premiere fois.
L' ouvrage a ete reedite en 1628 et eri 1645, a
Venise, chez Alessandro Vincenti, mais il se trouve
augmente de dix Ricercari et de cinq Canzoni
francesi, extraits de l'reuvre n 3.
7 Il primo libro delle Canzoni ad una, due,
ire e quatlro voci accomodate per sonare e per
cantare con ogni sorte de slromenti, stampata da
Robletti, in Roma, 1628. Le volume est in-4o in
parlitura et F rescobaldi, dans son avis, annonce que
les varietes d'inverition tiennent moyens
d' execution sur les divers instruments (
4
). L' ouvrage
a ete reedite en 1635 chez Alessandro Vincenti a
Venise.
8o ll primo .Zibro di ar.ie musicali per can tarsi nel
Gravicimbalo e Tiorba, a una, a dua e a ire voci,
presso G. B. Landini, Firenze, fin de .1630. Cet
ouvrage in-4 est dedie au Grand-Due de T oscane
(I) Cette edition se trouve a la Bibliotheque du Conserva-
toire de Paris; a celle de la Sacred Harmonic Society de
Londres; a la Library of Congress de vVashington D. C.;
ala Bibliotheque royale de Bruxelles; chez J\L Joseph Bonnet
a Paris. .
(2) Un exemplaire se trouve au Conservatoire de Par!s.
(3) Un exemplaire se trouve a. la Library of Congress,
Washington D. C.
(4) Un exemplaire de cet ouvrage, date de 1u34, existc ala.
Bibliotheque de la Sacred Harmonic Society, Londres, et
nn autre ala Library of Congress de Washington D. C.
Roma, Libra 1 o stampato l'anno 1637 da Nicolo
Borboni, in Roma. 1-.his in-folio contains, besides
the frontispiece, the portrait of Frescobaldi and
94 pages of engraved music (I)
5o ll secondo libro di loccale, cahzone, versi
d'hinni, Magnificat, gagliarde, correnti ed altre
partite d' inlavolatura di cimbalo ed organa, di
Girolamo F rescobaldi, organista in San Pietro di
Roma da Nicolo Borboni. This volume contains
a dedication dated January 15th, l 627 to His
Grace Luigi Gallo, Bishop of Ancona, a frontis-
piece, F rescobaldi's portrait and 84 pages of music;
if was reprinted in 1628 and 16J7 (
2
), by Nicolo
Borboni, in Rome.
6o Primo libro di Caprice/ sopra diversi soggetti
ed arie in ... partitura, in-folio, in Roma, Luca
Antonio Soldi. The book contains the dedication .
of April 12th, 1624 (
3
) to Alfonso d'Este, governor
of Modena. There is also an edition of .1627,
Roma, Nicolo Borboni, in wich Frescobaldi's por-
trait by Christian Sas appears for the first time.
The book was published again in 1628 and I 645
at Venice, by Alessandro Vincenti, but there is an
addition of ten Ricercari and five Canzoni francesi
taken from the volume Number 3.
7o ll primo libro delle Canzoni ad una, due,
ire e quallro voci accomodate per sonare e per
canlare con ogni sorle de stromenli, stampata da
Robletti, in Roma, 1628. The volume is in-4 in
parlilura and F rescobaldi, in his notice, announces
that the varieties of invention take into considera-
tion the means of execution on the various instru-
ments (
4
l. The book was reprinted in 1635 by
Alessandro Vincenti at Venice.
8 // primo libro di arie musicali per can tarsi nel
Gravicimbalo e Tiorba, a una, a dua e a ire voci,
presso G. B. Landini, Firenzi, at the end of 1630.
This work in-4o is dedicated to the Grand Duke
(I) This edition is to be found at the Librar_y of the " Con-
scrvatoire de Musique "of Paris; at the library of the Sacred
Harmonic Society of London, at the Library of Congress
of Washington D. C., at the Royal Library of Brussels;
at Mr. Joseph Bonnefs in Paris.
( 2) A copy is to be found at the '' Conservatqire de
. rnusique " of Paris.
(3) A copy is at the -Library of Congress, Washing-
ton D. C.
(4) A copy of this work,, dated 1634 is at the Sacred
Harmonic Society, London and another at the Library of
Congress of Washington D. C.
- XXII -
Ferdinand II. If secondo libra, publie la meme
annee, est dedie au 1narquis Roberto Obizi i
9o Fiori n1usicali di diverse composilioni,
Toccale, Kirie, Canzoni, Capricci e Recercari, in
partitura a quatlro, au tore Girolamo F rescobaldi,
organista di San Pietro di Roma, op. 12, Nicolo
Borboni, Roma 1635. La dedicace au Car-
dinal Antonio Barberino est datee de V enise,
20 aout 1635. L'ouvrage a ete reimprime con
privilegio, a V enise, chez Alessandro Vin-
centi
2
.
F rescobaldi a publie quatre volumes de Canzoni
francesi, le premier, indique au ll
0
3 et le dernier,
qui fut imprime en 1645 a V enise, a pres sa mort,
no us sont seuls parvenus. Les deux aut res n' ont pas
encore ete
On possede en outre deux manuscrits cde Fresco-
baldi : Lamenlalio et un psau1ne In te Domine
speravi. Ces reuvres, composees pour deux chceurs
(1618-1625), paraissent n'avoir pas ete imprimees.
Une lettre autographe de F rescobaldi, datee de
1609, se trouve a Ia bibliotheque de la Sacred
Harmonic Society de Londres
3

Un exemplaire du volume Toccale e partite
d'lntavolatura' edition de 1615, a ete vendu en
Angleterre, en mai 1917 et a atteint le prix de
350 francs. A la meme vacation, un exemplaire
du Ricercari e Canzoni francesi (1615) a ete
adjuge pour 237 fr. 50. II prima libra delle
Canzoni, edition de 1628, est monte a 300 francs
4

MAURIEE ALIAMET-GUILMANT.
(I} Ces volumes se trouvent a Ia Bibliotheque nationale de
Florence et b. celle du Lycee Musical de Bologne (A. Cametti,
loc. cit .. p. 29 l.
{2) Un excmplaire de c:ette reimpression existe a 1a BibHo-
theque nationale de Paris.
(3-41 Renseignements communiques par Ch. W. Sutton,
directeur de la Bibliotheque publique de Manchester. aM. le
Docteur Pyne, organiste de !'Hotel de Ville de Manchester.
of Tuscany, Ferdinand I I. II secondo libro publi-
shed in the same year, is dedicated to Marquis
Roberto Obizi
0
>.
9' Fiori musicali di diverse compositioni Toccate,
Kirie, Canzoni, Capricci e Recercari in partitura
a ql)altro, au tore Girolamo F rescobaldi, organist a di
San Pietro di Roma, op. 12, Nicolo Borboni,
Roma 1635. The dedication to Cardinal Antonio
Barberi no is dated Venice, August 20th, 1635.
The work was reprinted can privilegio, at Venice
by Alessandro Vincenti<
2
).
F rescobaldi published 4 volumes of Canzoni
francesi of wich only the first indicated above as
number 3 and the last wich was printed in 1645 at
Venice, after his death, are known to us. The
other two have not yet been discovered.
In addition there are two manuscripts by
F rescobaldi : Lamentalio and a psalm In te Domine
speravi. These works, composed for two choirs
( 1618-1625), seem not to have been printed.
An autograph letter of F rescobaldi, dated 1609,
is to be found at the Library of the Sacred
Harmonic Society of Londonm.
...\ copy of the volume Toccate e partite d' I nta-
colatura, edition of I 615, was sold in England in
lVlay 1917 for the sum of 350 francs. At the same
sale a copy of the Ricercari e Canzon ifrancesi ( 1615)
brought 237 francs 50. If primo libra delle Can-
zoni, edition of 1628, reached the price of the
300 francs <
4
J.
MAURICE ALIAMET-GUILMANT.
(I} These volumes arc found at the National Library of
Florence and at the Library of the Musical Lyceum of Bologna
1A. Cametti. foe. cit., p. 29l.
(2) A copy of this reprint is at the National Library of
Paris.
(3-4) Information communicated by Ch. W. Sutton. the
Director of the Public Library of Manchester. to Doctor Pyne,
the organist of the Town Hall of Manchester.
FIORI M USICALI
Voici, choisi dans le nombre des reuvres de
F rescobaldi, un livre dont on aim era tout d'abord
le titre exquis : Fiori M usicali, fleurs musicales
offertes pour Ia parure et r ornement de l'Eglise.
Cet ensemble de Pieces est destine a fournir les
soli du grand orgue pour les trois messes grego-
riennes suivantes :
1 o Orb is factor (pour les Dimanches dans
l'annee).
zo C unctipotens (pour les Fetes doubles).
3o Cum ]ubilo (pour les Fetes de Ia Vierge).
Dans chacune de ces messes, on trouve tout
d'abord une Toccata avanti fa Messa, servant de
Prelude ou d'Entree. Viennent immediatement
a pres, suivant I' ordre de Ia ceremonie, les versets du
K
.()\
yrre .
Leur nombre, plus grand que celui necessaire pour
un seul Office, permet aux organistes de varier leurs
reponses, lorsqu-e la meme messe revient au pro-
gramme du chreur, imposee par Ia liturgie.
Ces interludes traitent souvent le theme grego-
rien en canlus .firmus, en l'imposant d'un bout a
r autre du verset a une meme voix : soprano, alto,
tenor ou basse, r accompagnement etant presque
toujours forme de motifs tires du theme lui-meme.
( 1) Bien q uc la regie strictc cxigc q ur lcs hymncs cl can-
tiques gregoricns soient chantes entiercment pendant l'oftlce,
on tolerc unc \icillc eoutume It'S eglisrs
dotees de deux orgucs : cellc de fain: altcrner le chreur ct ll'
grand orguc dans lc Commun des l\1esses ct l'Hymnc des
Veprcs; rna is il est indispensable que l'organistc dn gr:md
orgue prenne pour theme Ia 111elodic du ycrset ou au rnoins un
fragment de ccttc melodic, ainsi. que Fresc.obaldi nous en
donne l'exemple.
This book, chosen from among the works of
Frescobaldi, is one wich at first sight vviii delight us
by its exquisite title
Fiori M usicali, musical flowers offered for the
adornment of the Church. The entire coJlection is
intended to furnish solo pieces for the organ during
the three following Gregorian Masses:
1" Orbis factor (for the Sundays of the year.)
2" Cunclipolens (for double feasts.)
3'' Cun1 ]ubilo (for feasts of the Blessed Virgin.)
In each of these Masses we find first a Toccata
a van ti fa Messa intended as a Prelude or" Entrance,"
and immediately thereafter the verses of the Kyrie<
1
)
in accordance with the order of the ceremony.
There are more of these verses than is required for
a single occasion, and this makes it possible for an
organist to vary his responses when the requirements
of the liturgy demand the same Mass to be sung
on several occasions by the choir.
The Gregorian theme, in these interludes is often
treated as a cantus firmus, given to a single voice.
(soprano, alto, tenor or bass) from the beginning
to the end of the verse, the accompaniment being
(I) Though the strict rule requires the Gregorian hymns and
to sung in their entirely during an old
custom is tolerated in parochial churches prt lYidcd with t\\"0
organs : that of making the chorus and the great organ alter-
nate in the ''Common of ;md the hymn of V cspers, but
it is oblig:ltory th:'t the of tht' gr:md should
take as his theme the melody uf the VLrsc or, at least, <1 frag-
ment of that melody as we see in the (:xampks giYcn us by
Frescobaldi.
XXIV
Un contre-sujet, rythme franchement, devient l'ossa-
ture de Ia petite Piece.
Parfois, la melodie liturgique circule librement,
s'insinue et passe d'une voix a I' autre. Parfois encore,
contemplative, elle redit inlassablement sa phrase de
priere, comme dans le Chrisle, page 7 de Ia pre-
miere Messe, oil une pedale .d' alto ajoute encore au
caractere meditatif \:).
Aux interludes du Kyrie succedent les Canzone
dopo l' Epistola. Celles-ci etant executees a pres
l'Epitre, que devenaieht alors le Graduel et l'A lle-
luia?
Etaient-ils chantes apres !'execution de la Can-
zona, ou bien osait-on se permettre de les supprimer
et de leur substituer un solo d' orgue? Non seule-
ment le Graduel et I' Alleluia ne doivent absolument
pas etre omis, mais !'execution d'un marceau d'orgue
avant ces pieces romprait I' equilibre et le rythll?-e de
Ia ceremonie. 11 n'y a done, entre l'Epitre et l'Evan-
gile, aucune place pour ces Canzone, mais elles peu-
vent convenir a l'Offertoire au meme titre que les
Ricercari dopo il Credo, auxquels F rescobaldi
donne leur destination par le titre meme rz).
Aucune hesitation non plus pour introduire a
leur place, dans l'Office, les Toccale per l' Eleva-
zion e. lei le genie du Maitre a fait apparaitre en
substance r arne meme de la musique.
Ecoutez la J'occala per l'Elevazione de Ia Messa
delli fip9stoli. Est-il possible de mieux exprimer
!'amour, l'humilite, la confiante resignation et !'espe-
rance du creur chretien?
En lisant cette piece, arretez-vous longuement sur
les sept dernieres mesures, si profondes et si depouil-
lees de toute pensee-vaine.
(I) No us regret tons que dans ces versets des K yrie et des
Christe, pieces de caractere pourtant calme et religieux, le
texte meme des melodies gngoriennes soit parfois denature,
surtout par l'addition de notes sensibles. Certainesaulres fautes
sont d'ailleurs imputables aux mauvaises editions de plain-
chant corrigees suivant les lois de l'art musical (!!) et alors
en usage a Rom e.
Cette periode de decadence du chant gregorien a ete lumi-
neusement deerite par Dom Augustin Gatard 0. S. B. au
chapitre III de son livre sur La musique gregorienne, Henri
Laurens, Paris (Collection des musiciens celebres).
(2) lei encore l'organiste ne devrait. au cours d'une grand'-
messe, commencer ajouer le solod'orgue di Offertoire qu'apres
i;execution chantee ou tout au moins spalmodice par le chreur
de la piece gregorienne du meme nom.
usually composed of motifs taken from the theme
itself. A counter-theme in contrasting rhythm
becomes the back-bone of the little composition.
Sometimes the liturgical melody runs freely and
passes from one voice to another. At other times,
contemplative, it obstinately repeats its strain of prayer
as in tl,e Christe, 7th page of the first mass, where
an alto pedal adds to its meditative character(!).
The interludes of the Kyrie are followed by the
Can zone dopo l'Epistola, but if these were performed
after the Epistle one wonders what became of the
Gradual and the Alleluia.
Where they sung after the conclusion of the
Canzona) Or could they possibly have been sup-
pressed and replaced by an organ solo? Not
only should the Gradual and the Alleluia
under no circumstances be omitted but the execution
of an organ solo before those pieces would impair
the coordination and the rhythm of the ceremony.
There is therefore no room between the Epistle
and the Gospel for those Canzone, but they may be
used for the Offertory like the Ricercari dopo il
Credo the destination of wich F rescobaldi points out
by their very title (2).
Neither should there be any hesitation as to the
introduction of the Toccale per l'Elevazione in their
proper place in the service. Here the Master's
genius made appear in substance the very soul of Music.
Listen to the T occate per t Elevazionc of the
Messa delli Apostoli. lsjt possible better to express
the love, the humility, the confident resignation and
hope of the Christian heart?
When reading this piece, stop for a time and
think over the last seven bars, so deep and so free
from all vain thoughts.
(r) \Ve regret that in those verses of the Kyrie and Chdste
(pieces whose character at any rate is calm and religious), the
text of the melodies is sometimes altered especially
by the addition of leading-notes. Smi1e further mistakes may
be ascribed to incorrect editions of plain-chant t corrected
according to the Jtn,s of musical art"(!!) which were in use
in I(ome at the time. That decadence of the Gregorian chant
has beL'll very clearly described by Dom Augustin Gatard,
O.S.B. in the 3r.d chapter of his book on La musique Grego-
rie1lne, Henri Laurens, publisher, Paris (Collection des musi-
ciens celebres).
( 2) Here again during the course of a High Mass the orga-
nist should not begin playing the solo called offertory until
the Gregorian piece of the same name has been sung or at
. ie:lst recited by the choir
- XXV
Les Canzone dopo il Communio se jouent comme
sorties; quant a Ia Bergamasca et Ia Girolmeta, leurs
titres profanes les designent plus specialement pour
les programmes des concerts.
F rescobaldi voulait, avant tout, no us dit-il dans
son avis A I Lellore, travailler utilement pour les
organistes, en facilitant leur tache pendant le service
divin. Nous avons done cherche, par nos indica-
tions, a repondre au vreu de F rescobaldi, et essaye
de faire mieux aimef et ses reuvres en
donnant les renseignements pratiques dont on a
aujourd'hui besoin.
N ous pen sons aussi devoir insister sur le sens
veritable de certains avis du Maitre.
Sa recommandation (A'! Lettore, paragraphe 2),
de commencer par jouer adagio les premieres
mesures, puis d'animer !'execution des suivantes, ne
saurait s' appliquer qu' aux To<;cate, d' a pres le texte
meme de F rescobaldi.
Nous preciserons encore en disant qu'il ne s'agit
pas ici des Toccate per l'Eievazione, mais unique-
ment des cinq T occate, pages 1 , 32, 48, 68 et 81.
. L' analyse meme de la forme de ces pieces jus-
tifie clairement le conseil de r auteur : les harmo-
nies du debut suggerent, en effet, un jeu
soutenu et bien defini, mais les passages suivants,
etant ecrits un peu a Ia maniere d' une cadence ou
d' un point d' orgue improvises, veulent etre executes
avec plus d' animation et de liberte.
Pour les _trois Toccate per l'Eievazione, une
interpretation calme, recueillie et expressive est
absolument necessaire.
II serait done contraire a la pensee de l'auteur
de suivre sans discernement, et en generalisant un
conseil donne pour un cas tres particulier, et d'y
vouloir trouver l'excuse d'un rubaio arbitraire et
destructeur de .rythme et de mesure.
N otons aussi Ia fac;on curieuse dont F rescobaldi
nous presente r avant-derniere piece du recueil :
<< Celui qui jouera cette Bergamasca \II n'apprendra
pas peu >>, et la proposition concernant le Ricer-
care a qualre voix (p. 82), d' (( obligation de
placer chaque fois qu'elle pourra entrer dans Ia
trame des parties, et en Ia chantant sans Ia jouer )),
(I) Lc thernc de cctte Bergamasca a ete traite SOU\'el1t par
compositeurs du xnr" sieclc, notamment par Fasolo,
$cherer, Pasquini. Barh etc.
The Canzone dopo il Communio are played as
<c Postludes; >> the Bergamasca and the Giro/meta as
their profane titles suggest, are better st!ited to concert
programmes.
F rescobaldi wished above all, as he tells us in his
advice A I Lett ore to make his work of practical help
to organists by simplifying their task during the
service. We have therefore endeavoured by our
indications to comply with F rescobaldi' s wish, and
have tried to make his works better liked and
better understood by giving such practical information
as is required our own day.
We think it I;kewise advisable to insist on the
true meaning of certain of the Master's warnings.
His recommendation (A l Lettore, 2nd paragraphe)
to play Adagio the first bars and then quicken the
tempo of the following ones, according to F rescobaldi' s
text itself, can have reference only to the Toccate.
Let us add, for the sake of further precision, that
we are not referring here to the Toccate per l'Eie-
vazione but only to the five T occate of pages 1 , 32,
48, 68, and 81.
The very analysis of the form of those pieces clearly
justifies the author's advice; the noble harmonies of
the opening measures suggest, indeed, a sustained
and well defined rendition but following passages,
being written a little after the manner of an extempor ..
ized cadence or organ-point are to _be performed more
quickly and freely.
For the three Toccate per l'Eievazione, calm,
meditative and expressive interpretation is absolutely
requisite.
It would therefore be contrary to the author's
intention to follow indiscriminately or to treat as
generalization advice given for a particular case and
to try to find an excuse therein for a random rubato >>
destructive of rhythm and time.
Let us note also the curious manner in which
F rescobaldi introduces the last piece but one of the
collection. He who plays this Bergamasca(ll will
learn not a little, >> and his direction concerning the
Ricercare a qua tiro voci (p. 82) imposes the obligation
of introducing a theme of six notes as a fifth voice
which is to be sung, not played, as often as it
(I) The theme of t.his Bergam;tsGt has often been treated
by composers of the 17th century, more partirnlarly by
Fasolo: Scherer, P<tsquini. Bach, C't".
-XXVI -
une cinquieme voix dont le motif de six notes nous
impose.
Dans !'edition de 1635, les pieces sont publiees
en partition, sur quatre portees cinq I ignes; la
basse en cle de fa 4e ligne et les trois autres parties
en d'ut respectivement de 4e, 3e et 1 re lignes.
Cette edition ne comporte aucune indication des
nuances ni de registrations.
Le becarre n' etait pas un signe connu du temps
de F rescobaldi. Pour rendre naturelle une note
diesee dans le cours d' une mesure, F rescobaldi indi-
quait b, de meme il inu.tquait + pour. rendre natu-
relle une .note bemolisee so it en cours de me!;ure, so it
a r armature.
Le manuscrit dont nous nous sommes servi etait
une co pie d' Alexandre Guilmant en notati<?n musi-
cale moderne sur trois portees avec pedale obligee.
Cette copie reproduisait le texte de I' edition de 1635,
sans autre addition que les nuances et registrations
des trois Toccate per f Elevazione et Ia realisation
de Ja cinquieme voix du Ricercare, page 82, par
Alexandre Guilmant lui-meme.
Le hecarre .y etait employe chaque fois qu' une
note redevenait naturelle apres avoir ete Cliesee ou
bemolisee.
N ous avons designe par un so us-titre en franc;ais
Ia place de ces pieces au .cours de l'Office, propose
quelques doigtes ainsi que les nuances et les regis-
trations de toutes les pieces.
Les signes, notations et indications de mouve-
ments places entre parentheses ne sont pas de
F rescobaldi.
En consultant l'ouvrage de Haberl
0
', oil iLrepro-
duit les Fiori musicali au complet avec d'autres
pieces choisies, on demeure stupefait devant uun
inexplicable melange de deux pieces differentes. La
Canzona dopo l'Epistola, de Ia Messa della Dome-
nica (p. 8), est brusquement arretee apres dix-
sept premieres mesures, alors qu' elle en com porte
en realite.
Par contre, le Kyrie u !limo (piece no 11 ), est
indument continue sans interruption, par Ia suite de
Ia Canzona reprise a sa dix-huitieme mesure. Le
Kyrie ultimo, au lieu de ses trente-sept mesures, se
(r) Fr. X. Haberl : Collectio musiccs organicac ex opcribus
Hicrnnimi Frescobaldi Fcrraricnsis. Sammlung von Orgcl-
satzcn aus tlcn gedruckten \Verlien. Brcitkopf und Hi\tkl
r88q.
may be correctly superimposed upon the other
VOICes.
In the edition of 1635, the pieces were published
ip. score, on four staves of five lines, the bass with
an F clef on the 4th line and the three other parts
with C clefs respectively on the 4th, 3rd, and I st
lines. This edition does not bear any indication
either of nuances or registration.
The natural sign was not known in the time of
F rescobaldi. In order to change a sharpened note
into a natural in the course of a measure F rescobaldi
indicated [i; he likewise indicated ;: in order to restore
& flattened note to a natural either in the course of
a measure or at the signature.
The manuscript that we have made use of was
a copy by Alexandre Guilmant in modern musical
notation on three staves with an obligato pedal.
That copy reproduced the text of the edition of 1635
without any addition except the nuance and regis-
tration of the three Toccale per l'Elevazione and
the correct superimposing of the fifth voice of the
Ricercare (p. 82) by Alexandre Guilmant himself.
The natural sign was used each time that a
. note became normal after having been harpened or
flattened.
We have marked by a French subtitle the proper
place for these pieces in the Service and suggested
a few fingerings with the nuances and registration of
each composition.
The signs, notations and indications of tempo
placed between brackets are not F rescobaldi' s.
When consulting Haberr s <> work in which he
reproduces the whole of the Fiori M usicali with
some other selections, we are amazed find an
unaccountable medley of two different pieces. The
Canzona dopo l'Epistola of the Messa della Dome-
nica stops abruptly after- the first seventeen
it really has fifty-nine.
On the other hand the Kyrie ultimo (NQ 11) is
improperly enlarged by the addition of the remain-
der of the Canzona reintroduced on its eighteenth
measure. Thus in Haberl's edition the Kyrie
(I) Fr. X. Haberl, Collectio musiccs organicce ex operibus
Hicronimi Frcscohaldi Fcrraricnsis, Sammlung von Org;cl-
si\tzcn a us den getl ruck ten \V Breitkopf und
1889.
-xxvtt -
trouve ainsi en a voir soixante-dix-ncuf dans r edi-
tion de Haberl.
La copie manuscrite d'Aiexandre Guilmant, que
no us avons sui vie, a ete collationnee avec r exem-
plaire des Fiori Musicali (edition de 1635) appar-
tenant a Ia Bibliotheque nationale de Paris, et, bien
entendu, les textes sont conformes. Nous les don-
nons tels quels, comme rim pose d. ailleurs le carac;.
tere musical propre aux deux pieces.
D'apres Ia disposition de la gravure de l'exem-
plaire de 1635, on ne peut admettre aucune erreur
lors du tirage des planches, ou de Ia reliure du
volume; Ia faute de Haberl apparait done volon-
taire et inexcusable.
Les Fiori musicali devaient etre tenus en haute
estime par J. Seb. Bach, car Spitta signale qu'en 1714
fillustre cantor en fit prendre une copie pour son
usage personnel et qu'il Ia signa et data de sa main.
Gene copie est conservee a Ia Bibliotheque de
.Musique religieuse de Berlin. D'autres auteurs pre-
tendent que Bach copia les Fiori entierement de sa
main, comme il le fit, notamment, pour un certain
nombre de pieces d' auteurs On peut
admettre le fait, d' autant plus que Bach n' avait
guere confiance qu'eri lui pour !'exactitude d'une
documentation a son usage.
JosEPH BoNNET.
ultimo has seventy-nine measures instead of the
proper thirty-seven.
The munuscript copy by Alexandre Guilmant
that we have followed has been compared with the
copy of the Fiori Musicali (edition of 1635) be-
longing to the National Library of Paris and the
texts are, of course, exactly alike. We reproduce
-them correctly and as the musical character of the
two pieces plainly indicates.
The disposition of the plates for the copy of 1635
makes it clear that there was no mistake at the time
of the printing of the copy or of the binding of the
book; Haberl's error therefore appears wilful and
inexcusable. -
The Fiori M usicali must have been held in
. high by J. Seb. Bach, for Spitta points out
that, in 1714, the famous cantor ordered a copy to
be made for his own use and that he signed and
dated it with his own hand. That copy is kept at
the Library of Religious Music of Berlin. Other
authors assert that Bach transcribed the Fiori enti-
rely with his own hand as was his custom, notably
for certain pieces by French authors. The fact
may be admitted, the more so as Bach trusted to
himself alone for the accuracy of a copy intended
for his own use.
JosEPH BoNNET.
LES FORMES ANCIENNES :
TOCCATA, RICER CARE, CANZONA
Nous crayons utile de donner maintenant que} ...
ques explications sur les formes auxquelles se ratta-
chent les pieces des Fiori musicali : Toccata,
Ricercare, Canzona.
ParT occata (de l'italien ioccare, toucher), on desi-
gnait autrefois un genre de pieces tres libres de
forme, sortes d'improvisations ecrites dont le but
etait parfois de faire valoir l'habilete de toucher
du virtuose. Cependant F rescobaldi donna ce nom
a des pieces de caniCtere purement expressif, comme,
par exemple, les trois T occate per l'E.levazione. La
Toccata pouvait done etre indifferemment une piece
mouvementee ou calme se differenciant avant tout
des autres compositions par une liberte et une fan-
taisie abso1ues.
Buxtehude et Bach reserverent plus tard le nom
de Toccata a des pieces de virtuosite et, de nos
jours, la Toccata est devenue une piece brillante,
sorte de M oio perpeluo.
Le Ricercare et Ia Canzona decoulerent en droite
ligne de Ia musique vocale. Le Ricercare (recherche),
de caractere serieux et grave, developpant, sous
forme imitative, des petits motifs melodiques, s' appa-
rente ainsi au motet religieux.
Dans certains de ses Ricercari, F rescobaldi traite
les divers motifs chacun a leur tour, en differentes
periodes et les superpose ensuite harmonieusement
(Ricercare cromatico, p. 49).
Dans d'autres cas, Ia piece entiere ne developpe
qu'un seul theme, celui-ci pouvant ne pas rester
THE ANCIENT FORMS:
TOCCATA, RICER CARE, CAN ZONA
A few explanations may now be .useful on the
forms with which the composition of the Fiori
Musicali are built : Toccata, Ricercare, Caniona.
Toccata (from the Italian toccare, to touch) was
the name formerly given to a type of composition
which was very .free in form, an improvisation the
aim of which was s o m t ~ m s to bring forth the clever-
ness of touch of a virtuoso. However F rescobaldi
gave that name to some pieces of a merely expres ...
sive character as, for instance, the t! .ree T occate_
per l'Elevazione. The Toccata could, therefore,
be either lively or quiet, its distinctive quality being
absolute freedom and fancifulness.
Buxtehude and Bach later reserved the name of
Toccata for pieces of virtuosity and, in our time,
the Toccata has become a brilliant piece, a kind
of M oto perpeluo.
The Ricercare and the Canzona were the direct
outgrowths of vocal music. The Ricercare (re-
search) was of a serious and grave character, and
developed in imitative form some little melodic sub-
jects. It is therefore closely related to the religious
motet.
In some of his Ricercare, F rescobaldi treats the.
various motifs in turn in separate periods and then
superposes them harmonically (Ricercare cromalico,
p. 49).
In other cases, the whole piece develops a single
theme which is not required to remain necessarily
-XXIX-
obligatoirement dans Ia forme primitive, mais subir,
au contraire, des transformations de valeurs, et
apparaitre avec des contre-sujets differents (Exemples
p. 19, 46, 77).
Si le Ricercare etait issu du motet neerlandais,
Ia Canzona procedait, par contre, de Ia chanson
franc;aise du debut du xvF siecle. U ne tradition
voulait que la Canzona commenc;at toujours confor-
mement au rythme : J. I
La Canzona donna naissance a Ia fugue instru-
mentale, et Bernard Schmid, presentant dans sa
Tablature ;> "
1
) une suite de Fugues, les designe par
le mot Fugues, autrement nommees par les Ita liens
Canzone alia /rancese )), ne faisant, comme on le
voit, aucune difference er1tre les unes et les autres.
josEPH BoNNET.
(I) Tablatur Bach, par Bernard Schmid, citoyen, ct orga-
niste de Ia de Strasbourg, par Lazare
Zctzner, Strasbourg, r6o7 (voir la Table des matieres: Fugen,
pieces n''" 65 a 76).
in its primitive form, but on the contrary undergoes
metrical changes and appears with different counter-
themes (See F, i. P, 19, 46, 77).
While the Ricercare originally developed from
the 1notet of the Netherlands the Canzona grew
out of the French song form of the beginning of the
16th century.- A tradition required the Canzona
always to begin according to the rhythm : d j j
The Canzona gave rise to the instrumental
fugue and Bernard Schmid, when presenting a set
of fugues in his Tablature
11
, designates them by
the word Fugues, otherwise called by the Italians
Canzone alia francese, obviously making no dis
tinction between the two titles.
JosEPH BoNNET
( r) Tablaiur Bach, by Bernard citizen ot
Strasburg and organist of the Cathedral in tb: ,tcity, published
by Lazare Zetzncr, Strasburg, 1607 (Sec . .al.c Index ; Fugcn,
pieces 65 to 76).
A'LL' EMINENTISSIMO
ET REVERENDISSlMO SIG.
SIGNORE IL
CARDINALE AI'JTONIO BARBERINO
ALL' altezza dei meritati honori, a quali sua Eminenzza la gloria della Romana grandezza ereger si
compiaque, questo mio picciol dono quasi tributo in parte . della longa osseruanzza offerendosi, non degno
si stima de suo pregiati fauori, e di si nobil patroci.nio, alia cui tutela e sourano dominio angusto pare
il T ebro, e picciol regno il Mondo. Portando pero in fronte il suo augustissimo nome, quale a pari del
Sole agli estremi con.fini del mondo spiega 1' Ali- di gloriosa fama, lui quasi corpo inanimate spera trarne
da esso immortal vita. Ne men Fidia per consecrarsi a posteri immortale, scolpita nel scudo di Pallade
Ia sua effigie, tenne il suo nome perire nelle memorie altrui mentre el,la sostentando il proprio tempio
doueua insieme lui dal' ingiurie del tempo conseruare. V engo e riporre anch'io sotto l'auspicio de
l'inuitto suo nome queste mie musicali c.ompositioni, accio dal dente mordace dell' eta inuidiosa secure
conduchino nel' immortal suo nome eterna vita. Non sdegni dunque accoglier I' offerta l'innata benigntia
di sua Eminenzza, quale nei Prencipi cosi preclara come rara in lei miro & ammiro. E qui humilissima-
mente inchinandomi a sua Eminenzza, prego il motor celeste a secondare il fine de suoi altissimi
pens1en.
Di Venetia adi 20. Agosto 1635,
Di V. S. Eminentissima, & Reuerendissima.
Humili$timo & devotissimo Seruitore.
GIROLAMO fRESCOBALDI.
AL LETTORE<t>
Essendo stato sempre desideroso
(per quel talento che mi e da Dio
Concedu to) di giouare o ~ le mie
fatiche alii studiosi di detta profes-
sione, sempre ho dimostrato al
mondo con le mie Stampe d'inta-
uolatura, & in partitura di ogni
sorte capricci e d'inuentioni dar
segno del mio dessideroso affetto,
accio che ogniuno vedendo, e stu-
diando le mie opre ne restasse con-
-tento, & approfittatto. Con questo
mio libro din) solo che il mio
principal fine e di giouare alii
Organisti hauendo fatto tale com-
positione di tal stile di sonare,
che potranno rispondere a Messe
& a Y espri, il che conoscendo
esser a loro di molto profitto e
Potranno anco seruirsi a suo bene-
placito di detti Y ersi, neUe Can-
zoni finire nelle sue Cadenze cosi
ne Ricercari, quando paressero
troppo lunghi, stimo di 1nolta
I importanza a sonatori, il praticare
le partiture perche non solo stimo
a chi ha desiderio affatticarsi in
tal compositione rna necessaria
Essendo che tal materia quasi
paragone distingue e fa conoscere
il vero oro delle virtuose attioni dal
lgnoranti altro non mi occorre
solo che r esperienza e del tutto
maestra : proui, & esperimenti chi
vol in questa arte auanzarsi Ia
AU LECTEUR TO THE READER
Ayant toujours souhaite aider, Having always-been anxious (as
autant que Dieu m'en a donne le far as God has granted me the
talent, et de toutes mes forces talent) to help with all my strength
les gens studieux de Ia profession the students of the musical pro-
musicale, j' ai toujours manifeste fession, I have always manifested
au public, par mes publications to the world through my printed
tant en tablatures qu'en partitions editions in score and by all sorts
et par toutes sortes de caprices of devices and inventions my
et d'inventions, mon desir empresse earnest desire that each one in
que chacun, voyant et etudiant seeing and studying my works
mes reuvres, en demeurat satisfait should not only be pleased but
et en tirat un profit reel. Mon should derive practical profit there-
principal objet est encore d' a'ider from. My principle aim with the
les organistes, par le present present book is to help organists.
ouvrage; j'en ai compose les diffe- I have written the different pieces
rents morceaux de telle sorte qu'ils is such a way to make them sui-
puissent servir soit pour Ia messe table either for mass or vespers.
soit pour les vepres, ce qui sera The organists may also use the
d'une grande utilite; les organistes verses as they please. If the Can-
pourront d' ailleurs se servir de zoni as well as the Ricercari are
ces versets comme il leur plaira. found to be too long, they can be
Dans les << Canzoni , de meme concluded at the cadences or
que dans les Ricercari . ils pour- piiuses (See pages 20 and 29).
ront terminer aux poses (cadences) ,
si les pieces leur semblent trop
longues (Ex. pages 20 et 29).
j'estime qu'il est de grande I consider it to be a matter of
importance pour les virtuoses de great importance for organists to
jouer sur Ia partition, non seule- be able to read from the score;
ment pour ceux qui desirent s'a- Not onley for those who wish
donner :1 ce genre de composition, to give themselves seriously to a
. mais aussi parce que cette pratique study of this type of composition,
etablit une nette distinction entre but such a practice makes a dis-
les vrais virtuoses et les ignorants. tinction between cultured and
ignorant musicians.
(I) Copie exacte de l'cxcmplairc de la Bibliotheque nationalc ('l7m I8Io).
V erita di quanta ho detto vedra i
quanta esequira di profitto.
- XXXII -
II ne me reste plus qu'un mot
a dire : I' experience est Ia grande
maitresse; que celui-la done qui
peut progresser dans l'art demande
a l' epreuve la confirmation de ce
que je dis; il verra le profit qu'il
en retirera.
Nothing else occurs to me to
say except that experience will
master every art. He who wishes.
to advance in the art should
experiment and put these things
to practical proof and according
to his he will realize the
truth of what I say.
1. Nelle T occate quando si 1. Dans les << r occate >>, lorsqu 'il 1 In the T occate when a trill
trouera alcuni trilli ouero passi se trouve -des trilles ou des pas- or an expressive .passage occurs it
affettuosi sonarli adagio e nelle sages particulierement expressifs, should be played more slowly; as
seguite nelle parti insieme les jouer adagio; dans les suites to the series of eighth notes which
fargli alquanto allegri e nelli trilli de croches oil les par.ties sont occur together in the parts, these
siano fatti piu adagio con il len tar ecrites note contre note, jouer plu- should be hurried a little; the
Ia battuta benche Ia toccate si tot allegro; pour les trilles, !"alen- 1 trills should be played more slowly
deuono fare a suo beneplacito tir la mesure, encore que les toe- and the whole tempo held back .
secondo el gusto. del sonatore. cate se jouent a volonte et selon although of course the T occate
le gout de l'executant. should, as. a whole, be played
according to the will of the per-
2. Li principi. di tutte le T oc-
cate ben che siano di crome
potransi fare adagio, e poi secondo
i lora passi farli allegri.
3. Nelli Kirie alcuni si potranno
sonare con battuta allegra, & altri
con lenta come parera al giudicio
di chi sonara.
4/ Anchora detti versi b\!nche
siano fatti per kirie potrarrno
seruire alcuni come piu piacera
per altri affetti.
2. Le debut de toutes les T oc-
cate, meme ecrit en croches, peut
se louer adagio, quitte a jouer
ensuite allegro suivant le caractere
du passage.
3. Pour les Kyrie, les uns
peuvent se jouer allegro, Ies autres
adagio selon qu'en jugera l'execu-
tant.
4. Les versets, d' ailleurs, bien
que destines aux Kyrie, peuvent
aussi, du moins quelques-uns, ser-
vir en d' autres occasions si on
le juge a propos.
5. Nelli Canti fermi benche , 5. Les canti fermi (themes gre-
siano legati per non impedire le goriens) doivent joues legato,
mani si potranno sciorre per piu mais si cela etait trop difficile o"n
comodita hauendo usato tutta pourrait user de quelque liberte a
quella facilita che habbia saputo. ce sujet. Au reste, j'ai cherche a
rendre toutes chases aussi faciles
., .
que J a1 pu.
former.
2o Even though the toccate
usually begin with eighth notes
these can be played rather slowly
and gradually, one can quicken the
movement as one goes on to other
passages of different character.
3o In the Kyrie one may. play
sometimes quickly and sometimes
slowly according to the perfor-
mer's fancy.
4 Although the verses are
written for the Kyrie many of
them may also be used when
desired on other occasions.
So In the canti fermi, the
gregorian melodies must be played
legato as much as possible; howe-
ver, if it would be too difficult,
some licence might be taken. For
the rest I have tried to make it
as easy a possible.
GIROLAMO FRESCOBALDI.
:l
TOCCATA AVAl\lTI LA lVIESSA DELLA OOMEl\liCA*
(ENTREE)
1:'\DICATJON
OOS JEUX
( Ri:CJT:Fonds 8 8et4 .IDoite .f':mwd.
J G!L, ORGlJE ET POS: Fonds .1.6 .8 d 4, C!nciers 1eunis.
\pJ{DALE.:Fonds 32-:1.6.8et4. Tirosse G.O.
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SALABERT Paris 22 rue Chauchat (Collection Maurice Senart) E.M.S. !l313.
\SWELL: Foundations 8,'-.f.;Reeds 8 _ 4 Wo:r clvsed).
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EDITION NATIONAL E.M.S.5313
26
CAl\tZOl\lA POST IL COlYilYI.Ul\110
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RECLT: Fonds et Anches. 8,4 et 2.
POS: .Fonds. 8_. 4,2 et Plein jeu
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ElUTION N.ATIONA.LE !. 5313 Pa'l'is, lmp.,f'ranyaise dt: musique.
Haudon t;r.
MUSIQUE POUR ORGUE
COLLIECTIONS SALABERT. SENART. ROUART-LEROLLE A C'e
OUYIIAas DlliNS.IGNNT
BEAUCAMP (H.)
DE LA
HURE (J.)
DE L'ORGUE.
LA TECHNIQUE DE L'ORGUE.
OIIGUB suL
BELlER
TOCCATA.
&REVILLE (P. de)
ET FUGUE.
CALVI'ERE
D'ORGUE.
CHAUSSON (E.)
INTERLUDE (Arrangement Commette).
CAYRONMARTINEAU (J.)
ACCOMPAGNEMENTS DES PSAUMES ET
HARMONISATION$ DES ANTIENNES DE LA
SAINTE- VIE RGE ..
ET CARILLON.
COUTURIER
PREMii:RE SUITE.
DUPARC (H.)
AUX

SYMPHONIE.
ERB (M.-J.)
SONATE.
GEORGE (Max)
CHORAL
CONSOLAMINI.
THRi:NE.
GRUNENWALD (J.-J.)
BERCEUSE.
HYMNE A LA SPLENDEUR DES
HYMNE AUX
QUATRE
HILLEMACHER (P.-L.)
POUR ORGUE :
I. Prelude funebrto
3 Perit prelude.
5. Prelude on forme d'etude.
7. llftprovis 1tions (7 pieces).
C]. Esq111sa
HURE (J.)
2. Meditation
4. fugue J VOIX"
6. 4 pieces).
8. Prelud n canon.
10. Marche.
II. Priirf'.
COMMUNION SUR UN NOEL.
IMBERT (M.)
EN SOL MINEUR.

JAMET (L.)
DIX
JESINGHAUS (W.)
FESTA MUZIALE.
MAITRES CONTEMPORAINS DE L'ORGUE
600 recueillies par I' Abbe Jos. JOUBERT :
I" volume: Ecole 2 volume: Ecole
J volume: Ecole etrangir. 4 volume: Ecole etrangere
5' volume : Ecole 6' volume: Ecole
7 volume : Ecoles et .. trongires.
8 volume: Ecoles etrangires.
MALEINGREAU (P. de)
OPUS SACRUM.
SVMPHONIE DE LA PASSION.
TRYPTIQUE POUR LA
A L'INTRO"ir (7 piecea).
MOTTU (A.)
LITURGIQUES, cahier I.
II.
Ill.
IV.
ROPARTZ (J.-G.)
DEUX CHORALS POUR GRAND ORGUE :
I. Choral en mi majeur. 2. Choral varil!.
AU PIED DE L'AUTEL, fer recueil :
60 pieces pour harmonium ou orgue sans pedales.
AU PIED DE L' AUTEL. 2e recueil :
40 pour harmonium ou orgue sans pedalt"s
SA TIE
MESSE DES PAUVRES.
SCHUKOFF (A.)
FANTAISIE SUR 3 CHANTS POPULAIRES RUSSES.
TICHY ( 0.-A.)
IMPROVISATION.
UGARTE (J.-M. de)
LAUS DEO.
VAN NUENEN (J.)
4
OIIGUE ET PIANO

SYMPHONIE EN SOL MINEUR pour orgue et
orchestre (r6ductlon).
CHANT ET ORGUE
BONDEVILLE (E.)
T ANTUM ERGO.
DAVID (J.)
0 SALUT ARIS.
DUBOSCQ (CI.)
CANTIQUES AUX SAINTS DE L'HIVER.
DU MATIN ET DU SOIR.
DUPONT (G.)
AVE MARIA.
EHRMANN (R.)
TANTUM ERGO.
GEORGE (M.t
HOSTIA ET
HAUDEBERT (L.}
CHANT DE PAQUES.
LACACHEUR (L.)
AVE MARIA.
MOTTU (A.)
DEUX CHANTS DE MARIAGE.

PESSARD f E.)
PETITE MESSE
PHILIPP ART -GONZALES (A.)
AVE MARIA (2 voix),
RENARD (G.)
CANTIQUES POUR LES SOLDATS.
REV-ANDREU
AVE MARIA.
SEVERAC (D. de)
SALVE REGINA.
MORC.AUX CLASSIQUES
pour orgue
BACH (J.-S.)
ET FUGUES. Vol. I.
BUXTE:HUDE
Vol. II.
Vol. Ill.
PASSACAILLE. ET FUGUES. TOCCATAS.
CANZONETTES.
FRESCOBALDI
FIORI MUSICALI.
SCHEIDT
12 D'ORGUE EXTRAITES DE LA
TABULATURA NOVA.
VENTE EXCLUSIVE : EDITIONS SAL.ASERT, 22. Ru CHAUCHAT -