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 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.