Wednesday 30 March 2016

The Saltarello....

Blogger Ref  http://www.youtube.com/Searle8




https://www.youtube.com/watch?v=G-RglCdlLEA


A "modern" arrangement of the Saltarello...




The saltarello is a musical dance form originally from Italy. The first mention of it is in Add MS 29987, a fourteenth-century manuscript probably of Tuscan origin, now in the British Library.[1] It was played in a fast triple meter and is named for its peculiar leaping step, after the Italian verb saltare ("to jump"). This characteristic is also the basis of the German name Hoppertanz or Hupfertanz ("hopping dance"); other names include the French pas de Brabant and the Spanish alta or alta danza.[1]


History[edit]



Saltarello rhythm.[2]
The saltarello enjoyed great popularity in the courts of medieval Europe. During the 15th century, the word saltarello became the name of a particular dance step (a double with a hop on the final or initial upbeat), and the name of a meter of music (a fast triple), both of which appear in many choreographed dances. Entire dances consisting of only the saltarello step and meter are described as being improvised dances in 15th century Italian dance manuals. (The first dance treatise that dealt with the saltarello was the 1465 work of Antonio Cornazzano.) A clearer, detailed description of the this step and meter appears in a 16th-century manuscript in the Academia de la Historia in Madrid.[3] During this era, the saltarello was danced by bands of courtesans dressed as men at masquerades. The saltarello gave birth to the quadernaria in Germany, which was then fused into the saltarello tedesco (German saltarello) in Italy.[citation needed] This "German saltarello", in contrast to the Italian variety, was in duple time and began on the downbeat, and was also known by the name quaternaria.[4]
In 1540, Hans Newsidler published an Italian dance under the name Hupff auff (introductory skip), and identified it with a parenthetical subtitle: "saltarella".[5]

Saltarello as a folk dance[edit]

Although a Neapolitan court dance in origin,[contradiction] the saltarello became the typical Italian folk dance of Ciociaria and a favorite tradition of Rome in the Carnival and vintage festivities of Monte Testaccio. After witnessing the Roman Carnival of 1831, the German composer Felix Mendelssohn incorporated the dance into the finale of one of his masterpieces, the Italian Symphony. The only example of a saltarello in the North is saltarello romagnolo of Romagna.
The saltarello is still a popular folk dance played in the regions of Southern-Central Italy, such as Abruzzo, Molise (but in these two regions the name is feminine: Saltarella), Lazio and Marche. The dance is usually performed on the zampogna bagpipe or on the organetto, a type of diatonic button accordion, and is accompanied by a tamburello.

Medieval saltarelli[edit]

The principal source for the medieval Italian saltarello is the Tuscan manuscript Add MS 29987, dating from the late 14th or early 15th century and now in the British Library. The musical form of these four early saltarelli is the same as the estampie.

Saltarello in classical music[edit]

Sources[edit]

  1. ^ Jump up to: a b Meredith Ellis Little ([n.d.]). "Saltarello", in: Deane Root (ed.), Grove Music Online. Oxford Music Online. Oxford; New York: Oxford University Press. Accessed June 2015. (subscription required).
  2. Jump up ^ Alfred Blatter (2007). Revisiting Music Theory: A Guide to the Practice. Abingdon; New York: Routledge. p 28. ISBN 9780415974394.
  3. Jump up ^ Curt Sachs (1937). World History of the Dance, translated by Bessie Schönberg. New York: W. W. Norton & Company Inc. p 323.
  4. Jump up ^ Curt Sachs (1937). World History of the Dance, translated by Bessie Schönberg. New York: W. W. Norton & Company Inc. p 294.
  5. Jump up ^ Curt Sachs (1937). World History of the Dance, translated by Bessie Schönberg. New York: W. W. Norton & Company Inc. p 324.

Monday 14 March 2016

In Dulci Jubilo



Blogger Ref  http://www.youtube.com/Searle8




https://www.youtube.com/watch?v=eIUlEUWKloM


...and the "original" In Dulci Jubilo, a classic of Early Music



https://www.youtube.com/watch?v=mni9D_lea-M





In Dulci Jubilo / On Horseback
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"In Dulci Jubilo"

Netherlands single cover (the UK version has no unique cover)
Single by Mike Oldfield
B-side"On Horseback"
Released14 November 1975 (1975-11-14)[1]
Format7-inch vinyl
RecordedNovember 1974–October 1975
GenreFolk
Length2:51
LabelVirgin Records
Writer(s)Traditional
Producer(s)Mike Oldfield
Mike Oldfield singles chronology
"Don Alfonso"
(1975)
"In Dulci Jubilo"
(1975)
"Portsmouth"
(1976)
French single cover
"In Dulci Jubilo Christmas EP"
Single by Mike Oldfield
from the album Elements - The Best of Mike Oldfield
Released19 November 1993 (1993-11-19)
FormatCD
GenreClassical, Folk
LabelVirgin Records
Producer(s)Mike Oldfield
Mike Oldfield singles chronology
"Moonlight Shadow" (reissue)
(1993)
"In Dulci Jubilo" (reissue)
(1993)
"Hibernaculum"
(1994)
"In Dulci Jubilo" / "On Horseback" is a single by musician Mike Oldfield, released in 1975 (see 1975 in music). The prominently festive single features an instrumental version of a Christmas carol, "in dulci jubilo", as well as the finale-song from Oldfield's Ommadawn album, "On Horseback".


Details[edit]

Mike Oldfield's "In Dulci Jubilo" is an instrumental version of the German traditional Christmas carol of the same name, known best in England as "Good Christian Men Rejoice". Mike Oldfield had recorded another version of this song as the B-side to his previous single, "Don Alfonso", which did not chart, playing all instruments himself. Later, he felt a better version could be done, and re-recorded it in October 1975 at the Manor, but incorporating some of the previous version's backing tracks recorded November 1974 at the Beacon, his home studio.
The new version features Leslie Penning on two recorders and kortholt, Mike Oldfield on acoustic and electric guitars, piano and ARP string synthesiser, and William Murray on snare drum.[2] Oldfield's decision to re-record the song proved to be a good move; it appeared in Christmas season playlists on radio across Europe, charting at number 4 in the UK,[3] and is one of his most re-issued short songs. It also charted at number 7 in the Irish Singles Chart and at number 2 on the Dutch Top 40.
The song's authorship shown in the track listing below is how it appears on a recent compilation CD. Most editions from the 1970s and 1980s credit it to R. L. Pearsall, arr. Oldfield. Bach and Pearsall both wrote arrangements of it, but the song dates further back than either composer. Italian pressings of the single from 1975 credit it to J. S. Bach.
"On Horseback" features Mike Oldfield on vocals, accompanied by a children's chorus credited as the Penrhos kids. It previously appeared as an untitled song at the end of Oldfield's 1975 album Ommadawn, banded separately but merely listed as part of "Ommadawn part two" on the label. The album's liner notes refer to it as "the horse song on side two". Virgin Records recognised this song could also be a contender as a Christmas hit, and was already being played on radio before it was issued as a single; therefore the UK single's label bore a large "A" on each side to encourage radio play of both sides. A large "A" is often used to mark promo records, and copies are often misidentified as promos, but all have this mark.
This record's success as a Christmas single encouraged Oldfield to issue a similar instrumental piece, Portsmouth, the following year.
On 27 July 2012 at the 2012 Summer Olympics opening ceremony Mike Oldfield performed renditions of Tubular Bells, "Far Above the Clouds" and "In Dulci Jubilo" during a segment about the NHS. This rendition appears on the soundtrack album Isles of Wonder.

Music video[edit]

A music video was made for this song, and can be found on the DVD Elements – The Best of Mike Oldfield. It is probably the only non-recent Mike Oldfield video that is still shown occasionally on television. The video splits the screen in up to 9 thumbnail frames, each showing Oldfield miming playing a different instrument. Oldfield's face is not shown in frames where he is seen playing an instrument he did not play on the record. The music video was directed by Bruce Gowers.

Charts[edit]

Chart (1975)Position
Belgium (Ultratop 50 Flanders)[4]4
Irish Singles Chart[5]7
Netherlands (Dutch Top 40)[6]3
Netherlands (Single Top 100)[7]2
UK Singles (Official Charts Company)[8]4

Track listing[edit]

UK 7-inch single[edit]

  • "In Dulci Jubilo" (J. S. Bach / M. Oldfield) – 2:49
  • "On Horseback" (music: M. Oldfield; lyrics: M. Oldfield / W. Murray) – 3:25
Virgin VS-131
The UK edition has "In Dulci Jubilo" marked as side "A".[9] It was also issued in other European countries, excluding France.[10]

UK 12-inch promo single[edit]

  • "An Excerpt From Ommadawn - Part I" (M. Oldfield) – 7:18
  • "An Excerpt From Ommadawn - Part II" (M. Oldfield) – 3:25
Virgin VDJ-9
Side 2 is actually "On Horseback". Issued in a generic cover for promo records.[10]

USA 7-inch single[edit]

  • "Theme From Ommadawn" (Oldfield)
  • "On Horseback" (music: M. Oldfield; lyrics: M. Oldfield / W. Murray) – 3:25
Virgin (dist. CBS) ZS8-9505
Also issued in Canada.[10]

Canada 7-inch single[edit]

  • "Theme From Ommadawn" (Oldfield)
  • "In Dulci Jubilo" (J. S. Bach / M. Oldfield) – 2:49
Virgin (dist. CBS) ZS8-9509
Re-issue with alternate B-side.[10]

France 7-inch single[edit]

  • "Ommadawn" (Oldfield) – 3:28
  • "In Dulci Jubilo" (J. S. Bach / M. Oldfield) – 2:49
Virgin (dist. CPF Barclay) 640079 : 1st ed. 1975
Virgin (dist. Polydor) 2097 930: 2nd ed. 1977
This single has been re-issued in 1977 with another picture sleeve. The B-side has been called "In Dulce Jubilo", and credited to "R.L. Pearsall, arrt Mike Oldfield". The A-side is an edited version of the end of Ommadawn part 1. This may not be the same excerpt from Ommadawn used on North American singles.

In Dulci Jubilo EP[edit]

  1. "In Dulci Jubilo" (J. S. Bach / M. Oldfield) – 2:49
  2. "Wonderful Land" (Jerry Lordan) – 2:48
  3. "Portsmouth" - (traditional, arr. Oldfield) 2:01
  4. "Vivaldi Concerto In C" – 3:52
Released in 1993 on CD.

References[edit]

  1. Jump up ^ "Singles - "In Dulci Jubilo"". Amadian. Retrieved 2010-08-19. 
  2. Jump up ^ Boxed album liner notes, 1976, Virgin Records
  3. Jump up ^ "everyHit.com". everyHit.com. Retrieved 2009-02-27. 
  4. Jump up ^ "Ultratop.be – Mike Oldfield – In dulci jubilo" (in Dutch). Ultratop 50. Retrieved 2013-04-08.
  5. Jump up ^ Irish Charts
  6. Jump up ^ "Nederlandse Top 40 – Mike Oldfield search results" (in Dutch) Dutch Top 40. Retrieved 2013-04-08.
  7. Jump up ^ "Dutchcharts.nl – Mike Oldfield – In dulci jubilo" (in Dutch). Single Top 100. Retrieved 2013-04-08.
  8. Jump up ^ "Archive Chart: 1976-01-17" UK Singles Chart. Retrieved 2013-04-08.
  9. Jump up ^ Mike Oldfield: "In Dulci Jubilo" at Discogs (list of releases)
  10. ^ Jump up to: a b c d "Mike Oldfield's Tubular World". Rainer Muenz. Retrieved 2009-02-27. 

Friday 11 March 2016

Miscellaneous Selection of Folk, and Rock Medieval Music


Blogger Ref  http://www.youtube.com/Searle8



https://www.youtube.com/watch?v=O4QzxVXF_9M&index=75&list=PLAC_1Iwj0a3C5HaDCyh16TZlTysNafgwR





https://www.youtube.com/watch?v=iohFqNHl2BI&index=18&list=PLAC_1Iwj0a3C5HaDCyh16TZlTysNafgwR






https://www.youtube.com/watch?v=qqUiRX1nw2o&index=91&list=PLAC_1Iwj0a3C5HaDCyh16TZlTysNafgwR



https://www.youtube.com/watch?v=jIcxGcmMrr8




Corvinia

Blogger Ref  http://www.youtube.com/Searle8




The following are examples of Rock + Early Music by Corvinia. This appears to be a Romanian group but it has not been possible to get more detailed info about them so far. RS




https://www.youtube.com/watch?v=E_8yOx2ilUo



https://www.youtube.com/watch?v=lllPovxUBAw



https://www.youtube.com/watch?v=eRDqftu7oKc



https://www.youtube.com/watch?v=dw8atlecCZ0



https://www.youtube.com/watch?v=aQZ-ri2roWI




A castle of square plan surrounded by a water-filled moat. It has round corner towers and a forbidding appearance.

Rock meets Early Music....

Blogger Ref  http://www.youtube.com/Searle8


Some Examples....



https://www.youtube.com/watch?v=t14DZdHJE1w


Rock Medieval jam-out!



https://www.youtube.com/watch?v=J-Bs2ia6bPI




https://www.youtube.com/watch?v=0EcC2DGy5YQ




https://www.youtube.com/watch?v=mJ9LhiGgeR8


Rock and Roll...











a color photograph of members of the group the Strokes performing on stage










 

Tuesday 8 March 2016

Girolamo Frescobaldi - Fantasia

Blogger Ref  http://www.youtube.com/Searle8





https://www.youtube.com/watch?v=MQfpqVbiMFw





https://www.youtube.com/watch?v=ds2OuZmHhKg


The above are from ubelfior's Landini in Los Angeles channel  which has been featured on this blog earlier on with some interesting, and unusual interpretations of Landini.





From Wikipedia, the free encyclopedia
        
Girolamo Frescobaldi
Girolamo Alessandro Frescobaldi (Italian: [dʒiˌɾɔːlamo fɾeskoˈbaldi]; also Gerolamo, Girolimo, and Geronimo Alissandro; September, 1583[1] – 1 March 1643) was a musician from Ferrara, one of the most important composers of keyboard music in the late Renaissance and early Baroque periods. A child prodigy, Frescobaldi studied under Luzzasco Luzzaschi in Ferrara, but was influenced by a large number of composers, including Ascanio Mayone, Giovanni Maria Trabaci, and Claudio Merulo. Girolamo Frescobaldi was appointed “organist” of St. Peter's Basilica, a focal point of power for the Capella Giulia (a musical organisation) from 21 July 1608 until 1628 and again from 1634 until his death.[2]
Frescobaldi's printed collections contain some of the most influential music of the 17th century. His work influenced Johann Jakob Froberger, Johann Sebastian Bach, Henry Purcell, and countless other major composers. Pieces from his celebrated collection of liturgical organ music, Fiori musicali (1635), were used as models of strict counterpoint as late as the 19th century.


Life[edit]

Ferrara, Frescobaldi's birthplace, in 1600
Frescobaldi was born in Ferrara, Italy. His father Filippo was a man of property, possibly an organist, since both Girolamo and his half-brother Cesare became organists.[3] (There is no evidence that the Frescobaldi of Ferrara were related to the homonymous Florentine noble house.) Frescobaldi studied under Luzzasco Luzzaschi, a noted composer of madrigals and an organist at the court of Duke Alfonso II d'Este. Although Luzzaschi's keyboard music is relatively unknown today (much of it has been lost), contemporary accounts suggest he was both a gifted composer and performer, one of the few who could perform and compose for Nicola Vicentino's archicembalo.[4] Contemporary accounts describe Frescobaldi as a child prodigy who was "brought through various principal cities of Italy"; he quickly gained prominence as a performer and patronage of important noblemen. Composers who visited Ferrara during the period included numerous important masters such as Claudio Monteverdi, John Dowland, Orlande de Lassus, Claudio Merulo, and Carlo Gesualdo.
In his early twenties, Frescobaldi left his native Ferrara for Rome. Reports place Frescobaldi in that city as early as 1604, but his presence can only be confirmed by 1607. He was the church organist at Santa Maria in Trastevere, recorded as “Girolamo Organista”, from January to May of that year.[5] He was also employed by Guido Bentivoglio, the Archbishop of Rhodes, and accompanied him on a trip to Flanders where Bentivoglio had been made nuncio to the court. It was Frescobaldi's only trip outside Italy.[6] Although the court at Brussels was musically among the most important in Europe at the time, there is no evidence of Peeter Cornet's or Peter Philips' influence on Frescobaldi. Based on Frescobaldi's preface to his first publication, the 1608 volume of madrigals, the composer also visited Antwerp, where local musicians, impressed with his music, persuaded him to publish at least some of it. While abroad, Frescobaldi was elected on 21 July 1608 to succeed Ercole Pasquini as organist of St. Peter's Basilica in Rome.[7] Frescobaldi remained in Flanders, however, through the summer and did not return to Rome until 29 October (delaying his arrival with an extended stay in Milan to publish another collection of music, the keyboard Fantasie).[8] He took up his duties on 31 October and held the position, albeit intermittently, until his death.[9] He also joined Enzo Bentivoglio's musical establishment after the latter settled in Rome in 1608, although he grew estranged from his patron after an affair with a young woman.[10] A scandal involving competition between Bentivoglio and the Medici family eventually forced him to leave his position.
Between 1610–13 Frescobaldi began to work for Cardinal Pietro Aldobrandini. He remained in his service until after the death of Cardinal Aldobrandini in February 1621.[11] On 18 February 1613 he married Orsola Travaglini, known as Orsola del Pino.[12] The couple had five children: Francesco (an illegitimate child born on 29 May 1612), Maddalena (an illegitimate child born on 22 July 1613), Domenico (8 November 1614, poet and art collector), Stefano (1616/7), and Caterina (September 1619).[13]
In October 1614, Frescobaldi was approached by an agent of the Duke of Mantua, Ferdinando I Gonzaga. Frescobaldi was given such a good offer he agreed to enter his employ. However, at his arrival in Mantua the reception was so cold that Frescobaldi returned to Rome by April 1615.[14] He continued publishing his music: two editions of the first book of toccatas and a book of ricercars and canzonas appeared in 1615. In addition to his duties at the Basilica and the Aldobrandini establishment, Frescobaldi took pupils and occasionally worked at other churches. The period from 1615-28 was Frescobaldi’s most productive time. His major works from this period were instrumental pieces including: a second version of the first book of toccatas (1615-6), ricercars and canzonas (1615), the cappricios (1624), the second book of toccatas (1627), and a volume of canzonas for one to four instruments and continuo (1628).[15]
St. Peter's Basilica gave Frescobaldi permission to leave Rome on 22 November 1628. Girolamo moved to Florence, Italy into the service of the Grand Duke of Tuscany, a Medici. During his sojourn there he was the highest paid musician and served as the organist of the Florence baptistery for a year.[16] He stayed in the city until 1634; the period resulted in, among other things, the publication of two books of arias (1630). The composer returned to Rome in April 1634, having been summoned into the service of the powerful Barberini family, i.e. Pope Urban VIII,the highest prize offered to any musician.[17] He continued working at St. Peter's, and was also employed by Cardinal Francesco Barberini, who also employed the famous lutenist Johannes Hieronymus Kapsberger. Frescobaldi published one of his most influential collections, Fiori musicali, in 1635, and also produced reprints of older collections in 1637.[18] No other prints followed (although a collection of previously unpublished works appeared in 1645, and in 1664 Domenico Frescobaldi still possessed pieces by his father that were never published). Frescobaldi died on 1 March 1643 after an illness that lasted for 10 days. He was buried in Santi Apostoli, but the tomb disappeared during a rebuilding of the church in the late 18th century. A grave bearing his name and honoring him as one of the fathers of Italian music exists in the church today.[19]

Music[edit]

Facsimile of Aria detta la Frescobalda (1627), the earliest known set of variations on an original theme
Frescobaldi was the first of the great composers of the ancient Franco-Netherlandish-Italian tradition who chose to focus his creative energy on instrumental composition.[20] Frescobaldi brought a wide range of emotion to the relatively unplumbed depths of instrumental music.[21] Keyboard music occupies the most important position in Frescobaldi's extant oeuvre.[22] He published eight collections of it during his lifetime, several were reprinted under his supervision, and more pieces were either published posthumously or transmitted in manuscripts.[23] His collection of instrumental ensemble canzonas, Il Primo Libro delle Canzoni, was published in two editions in Rome in 1628, and substantially revised in the Venice edition of 1634. Of the forty pieces in the collection, ten were replaced and all were revised to various degrees, sixteen of them radically so. This extensive editing attests to Frescobaldi’s ongoing interest in the utmost perfection of his pieces and collections.[24]
Frescobaldi’s compositional canon began with his 1615 publications.[25] One of the publications issued in 1615 was Ricercari, et canzone. This work returned to the old-fashioned, pure style of ricercar. Fast note values and triple meter were not allowed to detract from the purity of style.[26] A second publication of 1615 was the Toccate e partite which established expressive keyboard style. Frescobaldi did not obey the conventional rules for composing, ensuring no two works have a similar structure.[27] From 1615-28, Frescobaldi’s publications connect him with the Congregazione exactly when the group’s activities determined the Roman musical trends.[28]
Frescobaldi’s next stream of compositions expanded their artistic range beyond the keyboard music that he had focused on previously.[29] Frescobaldi's next four publications after 1627 were composed for instrumental and vocal ensembles in both sacred and secular genres.[30] The collections of thirty sacred works of 1627 and forty ensemble canzonas of 1628 are structural opposites. However, both are written in a more traditional style that makes them appropriate for church use.[31] The Arie musicali, published in 1630, were probably composed earlier while Frescobaldi was in Rome. These two volumes utilize keyboard pairs, the romanesca/ruggiero and the ciaconna/passacaglia, within the vocal mode.[32]
In 1635, Frescobaldi published Fiori musicali. This group of works is his only composition devoted to church music and his last collection containing completely new pieces.[33] The Fiori experiments with many types of genres within the liturgical confines of a mass. Almost all of the genres practiced by Frescobaldi are present within this collection except for the popular style.[34] Frescobaldi cultivated the old form of organ improvisation on a Gregorian chant cantus firmus that is best displayed within the Fiori muscali. The organ alternated with the choir on versets and improvised in a contrapuntal style.[35] Works from Fiori musicali were still used as models of strict counterpoint in the 18th and 19th centuries.
Aside from Fiori musicali, Frescobaldi's two books of toccatas and partitas (1615 and 1627) are his most important collections.[36] His toccatas could be used in masses and liturgical occasions. These toccatas served as preludes to larger pieces, or were pieces of substantial length standing alone.[37] The Secondo libro, written in 1627, stretches the conception of the genres included in the first book of toccatas. More variety is introduced with different rhythmic techniques and four organ pieces.[38] Both books open with a set of twelve toccatas written in a flamboyant improvisatory style and alternating fast-note runs or passaggi with more intimate and meditative parts, called affetti, plus short bursts of contrapuntal imitation.
Virtuosic techniques permeate the music and make some of the pieces challenging even for modern performers—Toccata IX from Secondo libro di toccata bears an inscription by the composer: "Non senza fatiga si giunge al fine", "Not without toil will you get to the end." Such short remarks appear also in works from Fiori musicali; one of these refers to a fifth voice that is to be sung by the performer at key moments during a ricercar, and the key moments are left to the performer to find. Frescobaldi's famous note for this piece is ""Intendami chi puo che m'intend' io"—"Understand me, [who can,] as long as I can understand myself". The concept is yet another illustration of Frescobaldi's innovative, bold approach to composition.
Although Frescobaldi was influenced by numerous earlier composers such as the Neapolitans Ascanio Mayone and Giovanni Maria Trabaci and the Venetian Claudio Merulo, his music represents much more than a summary of its influences. Aside from his masterful treatment of traditional forms, Frescobaldi is important for his numerous innovations, particularly in the field of tempo: unlike his predecessors, he would include in his pieces sections in contrasting tempi, and some of his publications include a lengthy preface detailing tempo-related aspects of performance.[39][40] In effect, he made a compromise between the ancient white mensural notation with a rigid tactus and the modern notion of tempo. Although this idea was not new (it was used by, for example, Giulio Caccini), Frescobaldi was among the first to popularize it in keyboard music.
Frescobaldi also made substantial contributions to the art of variation; he may have been one of the first composers to introduce the juxtaposition of the ciaccona and passacaglia into the music repertory, as well as the first to compose a set of variations on an original theme (all earlier examples are variations on folk or popular melodies).[41] Frescobaldi showed an increasing interest in composing intricate works out of unrelated individual pieces during his last years of composing.[42] The last work Frescobaldi composed, Cento partite sopra passacagli, was his most impressive creative work. The Cento displays Frescobaldi’s new interest in combining different pieces that were first written independently.[43]
The composer's other works include collections of canzonas, fantasias, capriccios, and other keyboard genres, as well as four prints of vocal music (motets and arias; one book of motets is lost) and one of ensemble canzonas.

Legacy[edit]

Commemorative plaque at the birthplace of Girolamo Frescobaldi
Contemporary critics acknowledged Frescobaldi as the single greatest trendsetter of keyboard music of their time. Even critics who did not approve of Frescobaldi’s vocal works agreed that he was a genius both playing and composing for the keyboard.[44] Frescobaldi’s music did not lose direct influence until the 1660s, and his works held influence over the development of keyboard music over a century after his death. Bernardo Pasquini promoted Girolamo Frescobaldi to the rank of pedagogical authority.[45]
Frescobaldi's pupils included numerous Italian composers, but the most important was a German, Johann Jakob Froberger, who studied with him in 1637–41. Froberger's works were influenced not only by Frescobaldi but also by Michelangelo Rossi; he became one of the most influential composers of the 17th century, and, similarly to Frescobaldi, his works were still studied in the 18th century. Frescobaldi's work was known to, and influenced, numerous major composers outside Italy, including Henry Purcell, Johann Pachelbel, and Johann Sebastian Bach.
Bach is known to have owned a number of Frescobaldi's works, including a manuscript copy of Frescobaldi's Fiori musicali (Venice, 1635), which he signed and dated 1714 and performed in Weimar the same year. Frescobaldi's influence on Bach is most evident in his early choral preludes for organ. Finally, Frescobaldi's toccatas and canzonas, with their sudden changes and contrasting sections, may have inspired the celebrated stylus fantasticus of the North German organ school.

In popular culture[edit]

The portrait of Frescobaldi above appears in the film Now You See Me.

Media[edit]

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Performed on the Taylor and Boody organ at Marquand Chapel, Yale University

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Performed on the Taylor and Boody organ at Marquand Chapel, Yale University

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Performed by Sylvia Kind on a harpsichord of the type made in the early 20th century

Problems playing these files? See media help.

Notes[edit]

  1. Jump up ^ Sources are in dispute about the interpretation of Frescobaldi's birth and baptism records; 9 September has long appeared in references as his baptism date (which would mean he was born no later than that date, and probably a day or two earlier), but more recent research suggests a birth date of 13 September or 15 September may be more accurate.
  2. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.47, 54, 79. 81.
  3. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.3.
  4. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 7, 10.
  5. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 16, 20.
  6. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 28.
  7. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 31.
  8. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.31, 33.
  9. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.33, 47.
  10. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.30, 40, 41, 43.
  11. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 45.
  12. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 44.
  13. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.44, 58.
  14. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.47, 54.
  15. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 54, 66.
  16. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 71-2.
  17. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 78.
  18. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 83, 86-7.
  19. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 3.
  20. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 8.
  21. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 2.
  22. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.5.
  23. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 274-89.
  24. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 7.
  25. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.4.
  26. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.3.
  27. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 3.
  28. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.64.
  29. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.4.
  30. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 6.
  31. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.6.
  32. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.6.
  33. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 6.
  34. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.6.
  35. Jump up ^ Bukofzer, Manfred F. Music in the Baroque Era from Monteverdi to Bach. 48.
  36. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 66.
  37. Jump up ^ Bukofzer, Manfred F. Music in the Baroque Era from Monteverdi to Bach. 47.
  38. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.5.
  39. Jump up ^ Bukofzer, Manfred F. Music in the Baroque Era from Monteverdi to Bach. 48, 50.
  40. Jump up ^ Artz, Frederick B. From the Renaissance to Romanticism: Trends in Style in Art, Literature, and Music, 1300-1830. 143.
  41. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.5.
  42. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies.7.
  43. Jump up ^ Silbiger, Alexander, ed. Frescobaldi Studies. 7.
  44. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi.93.
  45. Jump up ^ Hammond, Frederick. Girolamo Frescobaldi. 93-95.

References[edit]

  • Domenico Morgante, Girolamo Frescobaldi, in "Dizionario Enciclopedico Universale della Musica e dei Musicisti" (DEUMM), Le Biografie, vol. III, Torino, UTET, 1986.
  • Hammond, Frederick. Girolamo Frescobaldi. Cambridge MA: Harvard University Press, 1983. 1-96. ISBN 0-674-35438-9
  • FREDERICK HAMMOND (1–7, bibliography), ALEXANDERSILBIGER (8–15, work-list): 'Frescobaldi, Girolamo Alessandro, §1: Ferrara, Rome and Flanders, 1583–1608', Grove Music Online (Accessed December 4, 2006), <http://www.grovemusic.com/shared/views/article.html?section=music.10219.1>
  • Artz, Frederick B. From the Renaissance to Romanticism: Trends in Style in Art, Literature, and Music, 1300-1830. Chicago: The University of Chicago Press, 1962. 143-205.
  • Bukofzer, Manfred F. Music in the Baroque Era from Monteverdi to Bach. New York: W.W. Norton & Company, Inc., 1947. 43-54.
  • Silbiger, Alexander, ed. Frescobaldi Studies. Durham: Duke University, 1987. 1-10.

External links[edit]

Media related to Girolamo Frescobaldi at Wikimedia Commons

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