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Frescobaldi Gerolamo

CANZONI ALLA FRANCESE IN PARTITURA

Libro IV

a cura di Étienne Darbellay

FIORI MUSICALI (Opere complete - vol. II)

a cura di Luigi Ferdinando Tagliavini
Con la collaborazione di Étienne Darbellay e Christine Jeanneret

di diverse composizioni
Toccate, Kyrie, Canzoni, Capricci e Recercari
in partitura a quattro (1635)


Il dodicesimo volume delle Opere complete di Girolamo Frescobaldi contiene l'opus XII, iFiori musicali, silloge di esclusiva destinazione organistica che il maestro ferrarese pubblicava a Venezia nel 1635 col dichiarato intento di "giovare agli studiosi della professione musicale". Come nei precedenti volumi della presente edizione dedicati a musica per tastiera che Frescobaldi ha voluto dare alle stampe in partitura - le Fantasie, iRicercari e i Capricci - anche in questo si è voluta adottare una doppia veste: la partitura a quattro voci, conforme all'originale, e un "intavolatura" su due righi; la prima per un dovere di fedeltà, oltre che per rispettare il preciso intento del compositore che nel saper leggere la partitura vedeva la pietra di paragone per distinguere "il vero oro delle virtuose azioni dall'ignoranza", la seconda per facilitare il compito all'esecutore. Vengono così simultaneamente adempiute le esigenze di un'edizione critica e quelle di un'edizione "pratica". La fedeltà all'edizione del 1635 non esime dalla segnalazione e correzione di errori, come pure dall'integrazione di lacune (omissioni di accidenti, archi di legature, ornamenti), sempre compiute evidenziando graficamente la differenza tra testo originale e testo integrato. Il fatto che dei Fiori Musicali sia apparsa un'unica edizione sembrerebbe facilitare il compito dei curatori. In realtà non è così. Dato che procedimenti usati dallo stampatore per una nuova inchiostratura e una nuova tiratura hanno provocato spostamenti, cadute o alterazioni di caratteri tipografici, si riscontrano differenze tra i vari esemplari. Si sono dunque dovuti passare al vaglio tutti i quindici esemplari oggi noti. Per accedere a queste fonti, conservate in biblioteche europee e degli Stati Uniti, è stato importante il contributo della prof. Mariateresa Dellaborra e del prof. Piero Gargiulo. Alla prima si deve pure l'impegnativo lavoro di revisione redazionale.

(Luigi Ferdinando Tagliavini)

DUE MESSE

for eight voices and thorough bass
Edited by O. Mischiati and L.F. Tagliavini

Calogue number: 7883

IL PRIMO LIBRO DI TOCCATE

From harpsichord and organ tablatures
Edited by E.Darbellay

Catalogue number: 8269
The “First Book of Toccatas” was printed for the first time in 1615 bearing the title: "Toccate e Partite d' Intavolatura di cimbalo di Girolamo Frescobaldi organista di S. Pietro di Roma…. Libro primo, In Roma da Nicolò Borboni, 1615".


In twenty-two years (1615-1637) this first book was published as many as five times, undergoing substantial changes. Besides the twelve Toccatas, this volume presents the fourteen Partitas on a Romanesca melody, eleven Partitas on “Monica’s melody”, twelve Partitas on “Ruggiero’s melody”, six Partitas on la Follia and four Courantes.

IL SECONDO LIBRO DI TOCCATE

From harpsichord and organ tablatures
Edited by E. Darbellay

Catalogue number: 8270
The “Second book of Toccatas” was first printed in 1627 bearing the title "Il secondo libro di Toccate Canzone Versi d'hinni Magnificat Gagliarde Correnti et altre Partite d'intavolatura di cimbalo et organo di Girolamo Frescobaldi organista in S. Pietro di Roma". It is dedicated to Monsignor Luigi Gallo Bishop of Ancona Nunzio di Savoia. Although this volume lacks a preface or notes for the reader, in their place it contains the superb portrait of Frescobaldi (the only one known, and many times reproduced) done in 1619 by Jan Saillant, miniaturist monk and draughtsman, and printed by Christian Sas.


The second volume was reprinted in 1637 with the omission of the Partitas on Ciaccona and on Passacagli present in the 1627 edition. The volume contains eleven Toccatas, six Canzoni, four Hymns, three Magnificats, two Arias, five Galliards, six Courantes, two Partitas, and the reduced tablature of “Ancidetemi pur, grievi martiri” by Arcadelt.

IL PRIMO LIBRO DI CAPRICCI

fatti sopra diversi sogetti ed arie, 1624 
Edited by E. Darbellay

Catalogue number: 8947

IL PRIMO LIBRO DELLE FANTASIE A QUATTRO

Edited by Alda Bellasich

Catalogue number: 10838

THE FIRST BOOK OF FIVE VOICE MADRIGALS (1608)

With, in appendix, other madrigals from the same period
Edited by L.Bianconi and M.Privitera

Catalogue number: 9269
In 1608 the twenty five year old Frescobaldi published with the editor Pierre Phalèse in Antwerpen “The First Book of Madrigals” and with the heir of Simon Tini and Filippo Lomazzo in Milan “The First Book of Four Voice Fantasies”.


Frescobaldi defined these books as “my first efforts” and they were not subsequently reprinted or rearranged. They seem to have the character of an “opera prima”, a public demonstration of solid professionality and talent. “The First Book of Madrigals” is dedicated to Guido Bentivoglio, Archbishop of Rhodos. In the case of a composer destined to prove his genius later, this book of Madrigals may be considered as an “opera zero”, i.e. an isolated work that marks the conclusion of a period of apprenticeship.

ARIE MUSICALI

Volumes I and II
Edited by C. Gallico and S. Patuzzi

Catalogue number: 11247
Girolamo Frescobaldi published his first secular songs in 1621 and 1622, namely the Arias "O bell'occhi, che guerrieri" and "Alla gloria, alli honori" for one voice and "Era l'anima mia" for two voices.


These works, as was usual at the time, appear in collections of pieces by various authors. In 1628 Frescobaldi moved from Rome to Florence to take charge as “organist of the very Serene Grand Duke of Tuscany” as he put it himself. During his five year stay in Florence Frescobaldi in 1630, after various solicitations, finally published two series of Arias, presented here in a single volume. The two collections are dedicated respectively to “the highly Serene Ferdinando II Grand Duke of Tuscany, its very Serene Governor”, and “the Highly Illustrious Governor and my patron noble Lord Roberto Obizi Major Chevalier of the highly Serene Grand Duke of Tuscany”. Beside the 43 Arias in the two series, our edition features the three separate pieces mentioned at the beginning of this presentation.

THE FIRST BOOK OF CANZONI FOR ONE, TWO, THREE AND FOUR VOICES

(from the Roman (1628) and Venetian (1635) editions with the addition of three canzoni from the Raverij collection of 1608) First and second parts
Edited by E. Darbellay

Catalogue number: 11737 A and B
The “First Book of One, Two, Three and Four Voice Canzoni” stems from the composer’s maturity and is now available in a new complete critical edition. Étienne Darbellay headed this new important publication of Suvini Zerboni, dedicated to the works of Girolamo Frescobaldi: The first book of one, two, three and four voice Canzoni from the Rome (1628) and Venice (1635) editions, with the addition of three canzoni published in the Raverij collection from 1608 (2 volumes, Milano, Edizioni Suvini Zerboni, 2002).


This is part of the project of publishing the complete works of Frescobaldi, being the eighth volume of that collection, while it is the twenty-second volume of the Monumenti Musicali Italiani. Darbellay presents the new critical edition as follows: “The Canzoni from 1628 and 1635 are the first set of instrumental pieces the prestigious master of the keyboard Girolamo Frescobaldi did not conceive for his own instrument. This work, from the composer’s maturity – he was 45 at the time – of unequalled dimensions for the epoch is the unchallenged zenith of an old tradition, that of the canzona, which dominates the developement of instrumental music, and is also the prototype of works that are beginning to appear under the name of sonata. Although some pieces prove to be of heterogeneous origin, the overall plan of the work clearly reveals a demonstrative intention that can be placed at the same level as the homogeneous works that precede it. Rather than a fortuitous aggregate of pieces, these Canzoni appear to be a manifesto of the modern concertante style. The progressive number of voices, from works for one voice with basso continuo to clearly polyphonic combinations, is the opportunity to portray that variety of styles so dear to Frescobaldi, from the brilliant virtuoso style of the first pieces to the polyphonic concentration closer to the Capricci that characterises the last pieces. But the uniqueness of the contents, with the enigmatic exception of the last three pieces of the Masotti edition, equals that of the Fantasie from 1607 or the Capricci from 1624. Despite this aspect, the work remains an absolute mystery: two almost simultaneous editions in Rome in 1628, when Frescobaldi was about to leave for Florence, followed by a new edition in Venice after he returned from Florence, probably in 1635, a few months after the publication of the Fiori. This new edition is also a mystery: instead of a re-edition, everything seems to point to it being a “Second volume” which had been aborted. This is the complex historical plot that served as a guideline and an editorial principle in the new complete edition made available today for the great Frescobaldi’s faithful admirers. The two volumes contain all the instrumental Canzoni (including the three that Frescobaldi had published in the Raverij anthology in 1608) in an order based on research on their birth. This order allows an extremely instructive comparison of different versions of works, following step by step their creation, from small and simple changes up to complete remaking. The very strict philological principles which have been respected, implying the examination of all existent copies of each edition, do however not interfere with the legibility and the accessibility of the contents for the modern musician who is not specialized, since the introductory notes contain all the necessary information. The lengthy research, which has yielded the core of the edition, has allowed us to clarify many new elements both as concerns the printing techniques of the epoch and performance practice. For example, for the first time we can find pieces with different harmonic instruments playing simultaneously, such as two or three harpsichords, notated as a combination of different figured basses.