We have added this What's New page to inform visitors of recent noteworthy additions and revisions, and major work in progress or planned.
Added on 15 February 2016
- Page references to Vol. XI of the Opere complete (2014), the final volume in the series based on works originally published in Frescobaldi's lifetime, have been entered. It contains Frescobaldi's Liber secundus diversarum modulationem (Rome, 1627), a large collection of motets for one to four voices with bassus ad organum. The only surviving copy, in the British Library, lacks the part book with second cantus and altus parts, as a result of which 17 of the 31 pieces are incomplete. The edition includes a reconstruction of the missing parts by the editors, Marco Della Sciucca and Marina Toffetti.
Added on 26 September 2015
- Additional information has been added regarding the Novello MS (formerly listed as Osborn MS), including the presence of attributions and dates, which points to an origin in Brussels c. 1650 (see Dirksen ). The manuscript contains a fragment from Canzona seconda from the Second Book of Toccatas (F 3.14), and is therefore one of the earliest sources for this publication from Northwestern Europe.
Added on 28 August 2015
- A new source containing several Frescobaldi attributions has been added to the database with the short title "Innsbruck." The manuscript survives in private hands, but a photocopy from c. 1980 can be seen in the Innsbruck Tiroler Landesmuseum Ferdinandeum with the signature M12416. The MS appears to have been compiled by the organist Elias de Silva (c. 1665-1732) some time after 1702, and also includes works by Johann Jacob Fischer, Froberger, Kerll, Krieger, Merula, Murschhauser, Bernardo Pasquini, Speth, Steingriebler, and Johann Jacob Walter. Siegbert Rampe dates the manuscript to after 1702. An edition by Ernst Kubitschek of all the unpublished works is forthcoming in the Denkmäler der Tonkunst in Österreich. The Frescobaldi works include two canzonas from Toccate II, four canzonas from the Fiori musicali, and one capriccio from Froberger's 1658 autograph (Capriccio V), entitled "Canzon" in the manuscript and attributed to Frescobaldi, as well as two works that thus far have not been identified in other sources: a lengthy, sectional "Phantasia" in the manner of a Frescobaldi capriccio (F 16.75)––although stylistically not quite convincing––and a short verset (17.45) for which the attribution appears rather implausible. I would like to thank Dr. Frank Gratl for his assistance during my visit to the Tiroler Landesmuseum and Christopher Stembridge for sharing his transcriptions, notes, and ideas regarding the manuscript.
- We welcome the appearance of the 1624 Capricci volume in Stembridge's new Bärenreiter edition of Frescobaldi's keyboard works, truly a Frescobaldi edition for the twenty-first century, and we have added page references to this edition in the catalogue.
Added on 12 October 2014
- The F numbers introduced by the FTCO are gradually becoming used elsewhere. They appear in the recent revision (July 2014) of the "Girolamo Frescobaldi" article and Works List in Grove Music Online, and also by most items in the Frescobaldi Compositions list of the IMSLP/Petrucci Music Library.
Added on 9 October 2014
- We are grateful to Bob van Asperen for having pointed out that the theme of the Balletto F 13.22 in the Frescobaldi autograph Paris 64 resembles that of Froberger's variation set Die Maÿerin (FbWV 606) and of Johann Adam Reincken's Schweiget mir von Weibern nehmen. More details are given in the entry for this piece. The apparent connection of a tune in a Frescobaldi manuscript with a presumably German song set by Froberger is interesting.
- Van Asperen also drew our attention to the liner notes for his recording of the Durezze in the Oldham MS (F 15.29), in which he makes a case that the author migth be Giovanni De Macque, rather than Frescobaldi. We made a note of this in our comments to the piece, but decided not to change the listed attribution, "possibly by Frescobaldi."
- A recently issued CD featuring the pianist Sandro Ivo Bartoli, The Frescobaldi Legacy, Brilliant Classics 9417 (2012), presents six piano adaptations listed on our page with the same title, The Frescobaldi Legacy, as well as two adaptations, by the early twentieth-century virtuoso pianists Harold Bauer and Samuil Feinberg that had not been listed there, but that now have been added.
Added on 26 June 2014
- As noted in our entry of 1 April 2012 below, some of the scribal identifications made by Christine Jeanneret and the resulting attributions have been disputed by Claudio Annibaldi; see Annibaldi (2012-1) and (2012-2). Responses to these two articles have been published by Frederick Hammond (2012), by Jeanneret (2013), and by Étienne Darbellay (2013), but the matter is far from settled. We have noted these disagreements in the comments to the disputed manuscripts, and have changed the attributions from "probable" to "disputed," pending further study.
Added on 14 December 2013
- A new entry, F19.08H, has been added to the "homage" pieces: a "Courante Baldescha" that appears in a collection of pieces for Spanish (baroque) guitar by Antonio Carbonchi, published in Florence in 1640 and notated––unusual for Italian guitar music––in French tablature. Although no specific work by Frescobaldi has been identified as model, several phrases are reminiscent of correnti by Frescobaldi, and we may therefore be dealing with a work deliberately written "in the style of Frescobaldi." Dinko Fabris drew attention to the possible connection of this work to Frescobaldi; thanks are also due to Gary Boye for assistance with the transcription of the tablature.
- Work continues on the reformatting of many examples, which due to a software problem ended up with oversized staves. It may take some time before all examples are converted, but in the process we are also able to make occasional small corrections.
Added on 1 October 2013
- A major update to the "Frescobaldi" article in the New Grove Online has been prepared, which will include F numbers in the works list and in a few references in the text.
- The third volume of the new Bärenreiter Frescobaldi edition, edited by Christopher Stembridge with the collaboration of Kenneth Gilbert, has been issued. It presents the text of TOCCATE II, with a comprehensive critical report on all known copies of both the 1627 and 1637 editions. Page references will be added to the entries corresponding to the pieces in this volume (F 3).
- Several sources have been added to the database, none of major importance: Brussels II.3326, Osborn (Yale), Oxford 258, Paris D 4065, Paris 819-2, and Trent M1092.
- The motets F 13.36, 13.37, and 13.38 are now attributed to Virgilio Mazzocchi (see 1 April 2012, below).
Added on 19 August 2012
- We inserted additional information, sources, and editions for the three fugues F 18.06S, 18.07S, and 18.08S by Gottlieb Muffat, misattributed to Frescobaldi.
Added on 27 April 2012
- A hitherto unknown early source for the Fantasie (1608) has been added to the sources database. Wolfgang Schönsleder's musical treatise Architectonice musices universalis, published in 1631 in Ingolstadt, was brought to our attention by Eric Bianchi of Fordham University for its several references to Frescobaldi. The treatise includes fifteen compositional examples credited to him, which have been identified as excerpts from Fantasias 1, 2, 3, 6, 8, 9, and 10. To our knowledge these are the earliest examples of Frescobaldi's music to appear in print north of the Alps, although copies from the Fantasie do appear in several early North-European manuscripts.
Added on 1 April 2012
- In a brief article forthcoming in the February 2012 issue of Early Music, Claudio Annibaldi disputes some of Christine Jeanneret's identifications of Frescobaldi's handwriting and authorship. He has promised a more detailed discussion, to be published in the journal Il Saggiatore Musicale. Annibaldi's claims will affect a number of entries in this catalogue. Among the more important of the disputed identifications are the hands in Barb. Lat. 4181 and Barb. Lat. 4182 (and, by implication, of the author of their contents), and the authorship of the motets F 13.36, 13.37, and 13.38, which according to Annibaldi are the work of Virgilio Mazzocchi. We have added references to Annibaldi's article, but have decided not to alter the status in the catalogue of the works in question, pending study of the arguments presented in his forthcoming studies. If we decide that the assignment of those works is no longer tenable, we will modify the entries accordingly, but the works will not be dropped from the catalogue (see What's Included). Similarly, their F numbers will not be altered, except for the possible addition of the suffix S (see F Numbers).
- We encountered more detailed information on on the genesis Frescobaldi's most frequently performed––if spurious––composition, the Toccata for violoncello and piano (F18.05S), in a DMA dissertation on Gaspar Cassadó by Nathaniel J. Chaitkin, accessible online at http://www.cello.org/Newsletter/Articles/cassado/chapter2.htm. Appropriate references have been added to the composition entry.
- We continue to add new items to the bibliographies of editions and literature and to correct typographical and other errors.
Added in November 2011
- Two variation sets have been added to the Compositions: F15.60, Sonata prima [Partite sopra la Romanesca], and F 15.61, Sonata seconda [Partite sopra la Monica]. Both are found in Turin Foa 8, which also contains copies of Frescobaldi's published variations sets, including those on the Romanesca, F 2.13, and on la Monica, F 2.14. Both "sonatas" include variations that have elements in common with the published sets, but since they appear anonymously in the MS, they have drawn little attention.
- Thanks to the generosity of Maestro Marcello Garofalo, who loaned us a photocopy of the Garofalo MS, we were able to enter all the incipits, page numbers, etc. for this MS. (Present location of the MS is unknown.)
- An incipit has been added to F 15.29, the "Duresse de frescobaldi" in the Oldham MS. Bruce Gustafson kindly provided us with a transcription of this elusive work.
- On the F Numbers information page we have added the following statement: The F numbers will never be changed, and hence they can be used to uniquely identify a work on concert programs, recordings, new editions, etc.
- We are gradually converting all incipits to a uniform format, including notation software (Sibelius--some older incipits were set in Wolfgang), staff size, and editorial policies with respect to accidentals.