(PARTITURAS) Frescobaldi Urtext

GIROLAMO FRESCOBALDI
Canzoni
da sonare
a una, due, tre et quattro
con il Basso Continuo
Libro Primo
(Venezia 1634)
Urtext
Edited by
Andrea Friggi
ii
To my great Love
Bist du bei mir,
geh ich mit Freuden
zum Sterben und
zu meiner Ruh.
p. f. p. i. c.
iii
Preface
Girolamo Frescobaldi (1583 1643) is generally known to be the greatest composer of
keyboard music of his time. Nevertheless, although musicologist and performers have
been for a long time interested only in this part of his production he was considered the
first to give an autonomous musical dignity to solo instrumental music , it is not possible to forget also the importance of his ensemble music.
The genre of canzona per sonar was in 17th century much considered in Italy since much music of this kind was printed (see, e. g., Biagio Marini, Dario Castello, etc.), and considering
this part of Frescobaldi music as something written only for his contemporarys taste is a
really big mistake.
This is why the present edition the first complete modern edition of the last revised
printing (Venice 1634) was necessary not only for scholars but also for players who
need a playable urtext1.
Three editions of his (first and only) book of canzoni da sonare were published: two were
printed in Rome in 1628 by the typographers Giovanni Battista Robletti and Paolo
Masotti, and one in Venice in 1634 by Alessandro Vicenti, the same typographer who, in
the next year, will print Frescobaldis Fiori Musicali (Venice 1635).
Its difficult to find which of the two roman edition was firstly printed: Masottis printing is
a fine full score edited by Frescobaldis pupil and organist Bartolomeo Grassi (37 canzonas; a toccata for violin, harpsichord [spinettina] and continuo, and two other pieces
for solo harpsichord and continuo); Robletti edition is a 5 part-book printing dedicated to
the Duke of Tuscany, the new patron of Frescobaldi, but prepared with few accuracy.
These two editions are very similar for the contents and it is not impossible to think that
one, and most probably Masottis printing, derives from the other2.
Partial editions are: Hans David, Frescobaldi, Canzoni per sonar [5 canzonas 2 canti and continuo], Mainz
1933; Friedrich Cerha, Frescobaldis selected canzonas, Wien/Doblinger 1966; Gustav Leonhardt, Frescobaldi, 6
Canzoni (1628), Wien 1956; John Harper, The instrumental Canzonas of Girolamo Frescobaldi: A Comparative Edition
and Introductory Study, Ph. D. diss., University of Birmingham 1975. The last is the only serious writing on this
subject and the interested reader could find a study on the three editions in this book.
A Fac-simile edition of Masotti and Vicenti has been printed by SPES edition (Florence 1981) with preface
by Lapo Bramanti.
2 There are many evidences that Grassi used Roblettis part-book to prepare the score. For example, although the order of the pieces is different, the fourth piece in Masotti (= the third in Robletti) in the index is
labelled Canzona quarta, but in the score we read Canzona terza; in addition, many misprints (missing ties, etc.)
1
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The new Venetian printing is instead completely different from the two others: Frescobaldi himself revised drastically all the canzonas and, although some pieces differ only for
smaller details, many are completely different and some are new.
In many canzonas new sections were added and some present in roman editions were replaced by newer; many new adagio passages were added to increase the contrast between
two allegro sections3. Continuo part is here simpler but its harmonic function is much
clearer.
Some pieces are new, in particular the last group ( 4. Soprano, alto, tenore, basso), that
was composed only by one piece in Roblettis printing and by three in Grassis edition, in
Venetian printing we found six new beautiful canzonas of which only one, present also in
Masotti, had been completely reworked.
Here is not the place to discuss in detail the difference between the three editions, but everyone who looked carefully at them can easily notice that the last is surely the most interesting and refined, i.e. showing the final stage of Frescobaldis elaboration4.
Almost all partial editions of Frescobaldis canzoni da sonare and most players used Masotti
edition (the most readable) or tried to prepare a mixed text using all the three source. In
the opinion of the editor of this edition, the only possible urtext is a faithful transcription
of the last and the only approved by the composer edition.
Of course, a complete and accurate urtext of each of the two previous printing would be
quite useful for scholars to point out the exact differences and to study Frescobaldis evolution.
Notes on performance.
According to 16th and 17th century practice, Frescobaldi did not indicated in 1634 edition
the instruments with which his pieces have to be played.
In Roblettis printing the first three canzonas are for violino solo, over cornetto [solo
violin or zink] and the fourth canto solo canzona is for violino solo, that is the most ob-
indicate that Grassi was using not a handwritten score but part-books. Cf. Friedrick Hammond, Girolamo
Frescobaldi, Palermo 20022, p. 266
3 In Roblettis printing all time indication are missing, while in Masottis sometimes its possible to find adagio
and allegro; in Venetian edition alegro [sic] and adagio indication are very frequent. Sometime adagio is written
adasio, apparently without any difference.
4 Cf. John Harper, The instrumental Canzonas of Girolamo Frescobaldi: A Comparative Edition and Introductory Study,
Ph. D. diss., University of Birmingham 1975
v
vious choose for the upper part in this kind of music, but a recorder, or even a renaissance
transverse flute, is also possible5.
We also read violino in the basso primo6 and tiorba in canzon quarta a due canti e due
bassi (= canzona trigesimaseconda detta lAltograndina of Masotti; not included in Vicenti) that
gives us an indication of how pieces with two bass instruments and continuo were usually
performed7.
In both roman editions8, at the beginning of many canzonas is also indicated come st
that means that the player shouldnt play diminutions (or perhaps, better, not too many) as
musicians of that time were often used overshadowing original composers music9.
Continuo in Italy was generally played with (portative) organ as the Frescobaldis indication (Basso ad Organo) confirms.
In this edition no continuo realization has been provided since its quite a personal matter
how to play it and a written down part would be contrary to the spirit of freedom and improvisation of this kind of music10.
Nevertheless, since in some cases11 a stylistically correct continuo realization is a fundamental part of the performance the editor has prepared some midi files merely as a suggestion for performers that are part of the present edition. The files are available at
http://icking-music-archive.org/ByComposer/Frescobaldi.html.
However, ensemble performance is not the only possible, since solo keyboard arrangements (or one instrument and keyboard) were also used in polyphonic canzonas12; in parCf., e.g., the ricercari for flauto, cornetto, violino, traversa e simili from Aurelio Virgiliano, Il dolcimelo,
mssc., fac-simile ed. by Marcello Castellani, SPES, Florence 1979.
6 Obviously a bass instrument of violin family.
7 Cf. also the preface of Johann Hieronymus Kapsberger to his Sinfonie (1615): Per Primo, & secondo Basso
sintende qual si voglia strumento che suoni in consonanza, come sarebbe Lauto, Chitarrone, Cimbalo, Arpa,
& suoi simili. Per primo, & secondo Canto, Violino, Cornetto, & suoi simili. [Basso primo and secondo is
intended for every bass instrument like lute, chitarone, harpsichord, harp and so on. Canto primo and second may be played by violins, cornets and other similar instruments].
8 In Roblettis ed. above all canzonas canto solo except n. 1 (= canzona seconda in Masotti; [3.] canzona terza in
Vincenti) and in all canzonas 2 canti but printed only in canto secondo part-book. In Masotti editino its
printed only above all four canzonas canto solo.
9 Cf. at least Silvestro Gassi, Opera intitolata Fontegara la quale insegna a sonar di flauto, Venice 1535; Girolamo
della Casa, Il vero modo di diminuir con tutte le sorti di stromenti, Venice 1584; Riccardo Rognoni, Passaggi per potersi
esercitare nel diminuire, Venice 1592.
10 On continuo playing in 17th century music cf. A. Agazzi, Del Sonare sopra l Basso con tutti li stromenti e del loro
uso in Conserto, Siena 1607; B. Bismantova, Compendio Musicale, Ferrara 1677. Useful, although a bit later, F.
Gasparini, Larmonico pratico al cimbalo, Bologna 1722.
11 The reference is to that canzonas without an upper part. We have no witnesses of other pieces for solo
bass instrument(s) before these. Cf. Friedrick Hammond, op. cit., p. 269.
In these (difficult) pieces, Frescobaldi should have intended continuo as a necessary element when a contrapuntal realization is clearly called for.
12 Cf. B. Grassis preface to Masotti edition (p. 151): Ogni Sonatore potr sonare queste Canzoni in compagnia, solo [Each player can play these canzonas with others musicians or alone]. An example of this
practice is the fact that canzona trigesimasesta detta la Capponcina (Masotti) had been previously printed by
Frescobaldi as canzon terza in his volume Ricercari et Canzoni Franzese fatte sopra diversi oblighi in partitura, Roma
1615 (typographer: Zanetti).
5
vi
ticular, when canzonas canto solo were played on keyboard left hand had to fill the harmony13. Examples of such arrangements are the three last pieces in Masottis edition; in
particular, the toccata for violin, harpsichord and continuo seems also to be an arrangement of a piece for solo instrument transcribed for different instruments.
Acknowledgments.
I whish to thank all those, in any way, have helped me in preparing this edition. In particular, I would like to thank Dr. Lorenzo Stoppa, a dear friend of mine and a very fine
musician, and Stefano Demicheli, the most skilled continuo player Ive never met, with
both of which Ive discussed and played several difficult passages.
A particular thank also to Christian Mondrup for his interest in this project and for his
many precious suggestions.
Milan, September 2004

Andrea Friggi
This edition has been prepared for

Werner Icking Music Archive
http://icking-music-archive.org/
Same as above: cominciando dalle Canzoni ad una voce sola, le dui parti Basso, e Canto, a chi h qualche
pratica di strumento, con darli buone accompagnatore nelle loro graziosissime consonanze, diletteranno sopra modo, & seguitando poi le altre, 2. 3. & 4. tanto pi il sonatore rester vantaggiato. [beginning from
canzonas for one voice, the two parts, i.e. Basso and Canto, if the player is so skilled to play right consonances, will give to the musician a great pleasure; and canzonas for 2, 3 and 5 voices will be useful too].
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Canto solo.
[1.] Canzon prima.
[2.] Canzon seconda.
[3.] Canzon terza.
[4.] Canzon quarta.
1
4
7
10
Basso Solo.
[5.] Canzon prima.
[7.] Canzon terza.
13
16
20
A due Bassi.
[8.] Canzon prima.
[10.] Canzon terza.
[11.] Canzon quarta.
23
28
34
40
A 2 Canto, e Basso.
[12.] Canzon prima.
[14.] Canzon terza
[16.] Canzon quinta.
[17.] Canzon sesta.
44
48
53
57
61
67
A 2 Canti.
[18.] Canzon prima.
[20.] Canzon terza.
71
75
79
83
IL
A 3. due Bassi, e Canto.

[22.] Canzon prima.
[24.] Canzon terza.
87
92
98
103
Due Canti, e Basso.

[26.] Canzon prima.
[28.] Canzon terza.
109
114
118
123
128
A 4. due Canti, e due Bassi.

[31.] Canzon prima.
[33.] Canzon terza.
133
139
145
152
Canto Alto Tenor, e Basso

[35.] Canzon prima sopra Rugier
[36.] Canzon seconda [sopra Romanesca]
[37.] Canzon terza.
[40.] Canzon Sesta.
158
162
167
171
178
183
F I N E.
188
189
Critical Notes
1. Sources:
V:
Canzoni | da sonare | a una due tre, et quattro | con il Basso Continuo | di |

Girolamo Frescobaldi | organista in San Pietro di Roma | libro primo. | con
privilegio. | in Venetia | Appresso Alessandro Vincenti. MDCXXXIV.
Printed edition (1634 Venice) of 40 canzonas for 1 to 4 voices. Five partbooks: Canto Primo (title page, dedication, pp. 1 49, index); Canto Secondo (title
page, dedication, pp. 1 -41, index); Basso Primo (title page, dedication, pp. 1
32, index); Basso Secondo (title page, dedication, pp. 1 44 [p. 29 before p. 28],
index); Basso per lOrgano (title page, pp. 1 61, index).
M:
In partitura | il primo libro | delle canzoni | a una, due, tre, e quattro voci. |
Per sonare con ogni sorte di Stromenti. | Con dui Toccate in fine, una per
sonare con Spinettina | sola, overo Liuto, laltra Spinettina Violi-|no, overo
Liuto, Violino. | del sig. Girolamo | Frescobaldi | organista in S. Pietro di
Roma. | date in luce da Bartolomeo Grassi | organista in S. Maria in Acquario
di Roma. | con privilegio. | In Roma | appresso Paolo Casotti.
M.DC.XXVIII. | con licenza de superiori.
Printed edition (1628 Rome) of the full score of 37 canzonas for 1, 2, 3, 4
voices and two toccatas (one for harpsichord and Violin [and continuo] and
the other for solo harpsichord [and continuo]) plus a canzona (ultima, detta la
Vittoria, i. e. last, called The Victory) for solo harpsichord [and continuo].
Title page (p. 1), dedication (p. 3), music score (pp. 4 150), Alli studiosi
dellopera [to the readers of the book] by Bartolomeo Grassi (p. 151), index
(p. 153).
This beautiful book, edited by Frescobaldis pupil Bartolomeo Grassi with
much attention, contains an earlier version of some canzonas than included in
1637 edition.
R:
Il primo libro | delle canzoni | ad una, due, tr, e quattro voci. | Accomodate,
per sonare ogni sorte | de stromenti. | di Girolamo | Frescobaldi, | Organista
in S. Pietro di Roma. | In Roma, Appresso Gio. Battista Robletti. 1628. | Con
Licenza de Superiori.
Printed edition (1628 Rome) of 35 canzonas for 1 to 4 voices. Canzonas are
the same as in M apart for some differences in the order and very few different
details in the music. Canzona 1, 34, 37 and the three last pieces (2 toccatas and
canzon ultima) of M are missing; canzona 2 of R is not found in any other
edition. Five part-books: Canto Primo (pp. 1 55, index), Canto Secondo (pp. 131, index), Basso Primo (pp. 1 39, index), Basso (pp. 1 39, index), Basso ad
Organo (pp. 1- 61, index). In each part-book title page is on p. 1 and dedication
on p. 3.
190
2. Editorial principles:
Since this is the first edition of 1634 printing (V), the only authoritative source is the
printing itself; other sources have been compared with the aim of printing a more
correct text (there are many misprints in V) and to point out the differences with the
other two roman editions (in particular with M).
Original text, as far as possible, has been maintained. All editorial corrections are
listed in the following notes.
Time signatures and black notation have been modernized according to our
standard.
Accidentals have been converted to modern standard too; accidentals missing in the
sources but clearly necessary (e. g. when two basses play in unison and when in one
voice, generally in Basso ad Organo, an accidental is omitted) have been added in
brackets; accidentals suggested by the editor are printed above the note in smaller
type.
Necessary notes and rests added by the editor have been put in brackets and are
generally to be considered sure additions; only once (p. 52, bars 88 93) an
integration of 6 bars in bass line has been printed in smaller types since it has been
taken entirely from an other source (M) and not all the note of the integration are
sure at all.
All beaming and bar lines are also editorials.
Originals clefs have been printed before the first measure; ancient clefs have
generally been converted in treble- and bass-clefs; only in the last six canzonas,
where the central voice (tenor) was original written in alto- (canzon prima) or tenor
(canzonas 2-6) alto-clef has been used.
Continuo figures are printed according to organ part-book and editor avoided adding
missing numbers; only clearly wrong figures have been corrected.
Indication of pian and forte, also present in M but not in R, are generally precise
in V and, when missing, have been added by the editor in brackets.
In the following notes editor added a brief comparison between V and M with the
indication of the size of the differences.
3. Abbreviations
S = Soprano
C = Canto
C1 = Canto Primo
C2 = Canto Secondo
A = Alto
T = Tenore
B = Basso
B1 = Basso Primo
B2 = Basso Secondo
O = Basso ad Organo
b. = bar(s)
n. = note(s)
191
4. Notes
1. Canzon Prima. Canto solo
(= M: Canzona prima detta la Bonvisa; only very small differences).
b. 4, n. 3
b. 44
# suggested according to M
Alegro missing in O.
2. Canzon Seconda. Canto Solo

(= M: Canzona terza detta la Lucchesina; only very small differences).
b 38, n. 5
b. 55
e added according to M.
Alegro missing in O.
3. Canzon Terza. Canto Solo

(=M: Canzona seconda detta la Bernardina; only very small differences).
b. 22, n. 6-7 accidentals suggested; in M: g f# g#
b. 33
Adagio missing in C
b. 37
Alegro missing in C
b 47
Adagio missing in C
b. 50
Alegro missing in C
after b. 105, in C there is a note (a3 brevis) while in O the piece ends. In M the piece
ends exactly as printed here.
4. Canzon Quarta. Canto Solo
(=M: Canzona quarta detta la Donatina; only very small differences).
b. 65, n. 1
M: e; V: d (clearly a misprint).
5. Canzon Prima. Basso Solo

(=M: Canzona quinta detta la Trombocina; many differences).
In this piece when in O is indicated Adagio in B is written Adasio.
b. 20, n. 1 in O: .
b. 64
Alegro missing in B
b. 79
Adasio in B; nothing in O
b. 97
Adagio missing in B
b. 106
Alegro missing in B
b. 106, 109, 111, 112 the rhythm _ is written . ; in M is printed exactly as here.
b. 108, n. 1 in M c is sharp.
6. Canzon Seconda. Basso Solo
(=M: Canzona sesta detta Laltera; many differences).
b. 75
Alegro missing in O
192
7. Canzon Terza. Basso solo
(= M: Canzona ottava detta lAmbitiosa; many differences).
b. 27, n. 2-3 V: c d, corrected into b c (no comparison with M possible since in M
there isnt this section).
b. 72
In B Alegro is written at b. 73
b. 78
In B Adagio is written at b. 76
8. Canzon Prima 2 Bassi
(= M: Canzona decimaquarta detta la Marina; some differences).
b. 47
b. 53
b. 59, n. 1
Adasio B2
Presto in O: Alegro in B1 and B2
In O: f, corrected into c (also e possible); cfr. M:
Perhaps also e2 in B1 should be corrected into c2.

b. 72
Adagio missing in B2
b. 91
Alegro missing in B2
9. Canzon Seconda 2 Bassi
(= M: Canzona decimasesta detta la Samminiata, some differences).
b. 42
b. 81
b. 93
b. 126
Alegro B1, O: Adagio B2 (clearly a misprint).
Adagio missing in O
10. Canzon Terza 2 Bassi

(= M: Canzona quintadecima detta la Lievoratta, some differences).
b. 20
b. 79
b. 88
b. 102
Alegro missing in B1 and O
11. Canzon Quarta 2 Bassi

(= M: Canzona decimasettima detta la Diodata, few elements in common).
b. 9
time signature:
B1;
B2;
193
b. 18
b. 35
b. 69 f.
b. 78
V: only one half rest
two bar rest missing
Adagio missing in O
12. Canzon Prima 2. Canto e Basso

(= M: Canzona decimaottava detta la Masotti; only very small differences).
In this piece when in B and O is indicated Adagio in C is written Adasio.
b. 34 ff.
b. 71
original:
Alegro missing in B
13. Canzon Seconda 2. Canto e Basso

(= M: Canzona decimanona detta la Capriola; only very small differences).
b. 88 93
Six measures missing in O; integration from M (where in b. 87 the first

g is an octave higher; so perhaps b. 92 should be exactly as b. 87;
perhaps in b. 90 the first c should be an octave lower too).
14. Canzon Terza 2. Canto e Basso

(= M: Canzona vigesima detta la Lipparella; only very small differences).
b. 34
b. 47
b. 51
Alegro missing in B and O

Adagio missing in B
Alegro missing in C and B
15. Canzon Quarta 2. Canto e Basso

(= M: Canzona vigesimaprima detta la Tegrimuccia; only very small differences).
b. 50
b. 57
Adagio missing in C and B

16. Canzon Quinta 2. Canto e Basso

(= M: Canzona vigesimaseconda detta la Nicolina; only very small differences).
b. 36
b. 90
Adagio missing in B
Adagio missing in B and O
17. Canzon Sesta 2. Canto e Basso

(= M: Canzona vigesimaterza detta la Franciotta; only very small differences).
b. 10
b. 54
b. 66
b. 89, n. 6

Adagio missing in O
Alegro missing in C and O
C: a corrected into b (Cf. M).
194
18. Canzon Prima 2 Canti
(= M: Canzona nona detta la Gualterina; some differences).
b. 29
b. 70
Adagio missing in C1
Alegro missing in O
19. Canzon Seconda 2 Canti

(= M: Canzona decima detta Henricuccia; some differences).
b. 1
b. 7
b. 34
b. 38
Adasio missing in C1 and C2

Alegro missing in C1 and C2
Adagio in C2; nothing in C1 and O
Adasio missing in C1 and C2
20. Canzon Terza 2 Canti

(= M: Canzona decimaterza detta la Bianchina; many differences).
b. 24
b. 25
b. 32
b. 41
b. 53
b. 60, n. 3
b. 79
repetition sign missing in C1

Alegro missing in C2
Alegro missing in C1 and C2
In O Alegro (a misprint?)
Adagio missing in O
21. Canzon Quarta 2 Canti

(= M: Canzona undecima detta la Plettenberger; very small differences).
b. 27
b 49
b. 50
b. 61
b. 72
Alegro missing in C1 and O

repetition sign only in O (no rep. sign in M)
adagio clearly a misprint for Alegro
repetition sign only in O (no rep. sign in M)
22. Canzon Prima 3. Due Bassi e Canto

(= M: Canzona vigesimaquarta detta la Nobile; many differences).
b. 84
In C adagio clearly a misprint for Alegro
23. Canzon Seconda 3. Due Bassi e Canto

b. 27
b. 38
b. 50, n. 1
b. 92
b. 102
Adagio missing in B1 and B2

Alegro missing in B1 and B2
In B1 b1 corrected into d2
Adagio missing in C
Alagro [sic] in B2; Alegro missing in C
195
24. Canzon Terza 3. Due Bassi e Canto
In B2 this piece is labelled Canzon Prima (obviously a misprint).
b. 54, n. 3
b. 55, n. 1
b. 87
In C: d4 corrected into c4
In C: d4 corrected into c4
Presto O; Alegro C and B2; nothing in B1
25. Canzon Quarta 3. Due Bassi e Canto

(= M: Canzona vigesimaquinta detta Garzoncina; many differences).
b. 30, n. 2
b. 55
In O: original continuo figure @

Adagio missing in B1 and B2
26. Canzon Prima 3. Due Canti e Basso

b. 6, n. 1
b. 10, n. 5
b. 11, n. 5
b. 23
b. 34
b. 41
b. 44
b. 56
b. 64
In B: g2 corrected into a2
In C2: e quarter note corrected into half note.
In B: g2 corrected into a2
Adagio missing in C1 and C2
Presto O: nothing in C1, C2 and B
Adagio missing in B
Alegro missing in C2 and B: Alegri [sic] C1
27. Canzon Seconda 3. Due Canti e Basso

(= M: Canzona vigesimanona detta la Boccellina; very small differences: C1 and
C2 are inverted).
b. 27
b. 28 f
b. 46
b. 56
b. 61
Adagio missing in B
In C2: b3 originally quarter note, corrected into half note.
Adagio missing in C2 and B
Alegro missing in C2 and B
In B originally: c, c, f (3 half notes) corrected into c, f (2 half notes)
28. Canzon Terza 3. Due Canti e Basso

(= M: Canzona vigesimaottava detta la Lanberta; small differences).
b. 42
b. 52
Adagio missing in C1, C2 and B

Alegro missing in C1, C2 and B
29. Canzon Quarta 3. Due Canti e Basso

(= M: Canzona vigesimasettima detta la Lanciona; many differences).
b. 44
Presto O: Alegro C1, C1 and B
196
30. Canzon Quinta 3. Due Canti e Basso
b. 13, n. 2
b. 42
b. 63
b. 75
b. 82 f
In C1: added d4
Alegro missing in B
Adagio missing in B
Alegro missing in C1 and B
In C1: originally after c, 1 half rest and 1 quarter rest, corrected into 2
quarter rest.
31. Canzon Prima 4. Due Canti e Due Bassi

(= M: Canzona trigesimaquarta detta la Sandonina; many differences).
b. 50
In B1: a2 corrected into f1 (cf. O)
32. Canzon Seconda 4. Due Canti e Due Bassi

(= M: Canzona trigesimaterza detta la Rovellina; many differences).
b. 21
b. 28
b. 29 f
b. 46
b. 80, 3
b. 99
Adagio missing in C1, B1, B2

Alegro missing in C1, C2, B1, B2
In C2: originally 3 semibreves rest, corrected into 2 semibreves rest
Adagio missing in C1, C2, B1
In O: d2 corrected into e2
In C1: g3 corrected into a3
33. Canzon Terza 4. Due Canti e Due Bassi

b. 28
b. 41
b. 69
b. 106
b. 88
Adagio missing in C1, C2, B1 and B2

Alegro missing in C1, C2, B1 and B2
Adagio missing in C1, C2, B1 and B2
Alegro missing in C1, C2, B1 and B2
In O: piano originally under b. 86, corrected according C1 and C2
34. Canzon Quarta 4. Due Canti e Due Bassi

(= M: Canzona trigesima detta la Cittadellia, very small differences).
b. 27
b. 43
b. 60
Adagio missing in C1, C2, B2

Alegro missing in C1, C2, B1, B2
Adagio missing in C1, C2, B1, B2
35. Canzon Prima 4. Canto Alto Tenore Basso Sopra Rugier

b. 10
b. 31, n. 2
b. 76, n. 2
In A: f# originally half note

In A: f3, corrected into g3
In C: perhaps e4 is to be corrected into c4
197
36. Canzon Seconda 4. Canto Alto Tenore Basso
b. 6
In C: f3 corrected into a3
37. Canzon Terza 4. Canto Alto Tenore Basso

b. 57, n. 1
In O: e2 corrected into c2
38. Canzon Quarta 4. Canto Alto Tenore Basso

b. 40, n. 3
In C: g3 corrected into f#3
39. Canzon Quinta 4. Canto Alto Tenore Basso

b. 89, n. 2
In O: e2 corrected into f2
40. Canzon Sesta 4. Canto Alto Tenore Basso

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GIROLAMO FRESCOBALDI

Milan, September 2004

This edition has been prepared for

2004 Andrea Friggi.

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2004 Andrea Friggi.

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2004 Andrea Friggi.

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2004 Andrea Friggi

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2004 Andrea Friggi

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2004 Andrea Friggi

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2004 Andrea Friggi

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2004 Andrea Friggi

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2004 Andrea Friggi

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2004 Andrea Friggi

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2004 Andrea Friggi

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* See critical notes, p. 192

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