Girolamo Frescobaldi


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Frescobaldi, Girolamo

 

Baptized circa Sept. 19, 1583, in Ferrara; died Mar. 1, 1643, in Rome. Italian composer and organist.

Frescobaldi, who gave concerts in various countries of Europe, was appointed organist at St. Peter’s in Rome in 1608. He composed numerous works for organ (fantasies, toccatas, canzoni, and ricercari), harpsichord (preludes, fugues, and partitas), and voice. Frescobaldi enriched the organ repertoire and laid the foundations for free polyphony by defining a new approach to the use of melody and developing the fugue. The founder of the Italian school of the organ, he was later referred to as the Italian Bach. Frescobaldi, whose students included the German organist J. J. Froberger, influenced succeeding generations of organists.

REFERENCES

Druskin, M. Klavirnaia muzyka. Leningrad, 1960.
Berenzi, A. Per G. Frescobaldi nel terzo centenario. Cremona, 1908.
Machabey, A. Frescobaldi Ferrarensis (1583–1643). Paris, 1952.

I. A. MEDVEDEVA

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March 7: Barbara Baird, organist at First Congregational Church and on the harpsichord faculty at the UO, playing Girolamo Frescobaldi, Franois Couperin, J.
Mass featuring Messa Della Madonna of Girolamo Frescobaldi, 7 p.
Of "uncertain authenticity" are two very brief praeludia (seven and eight measures in length) and a set of fifty-six versets in the eight church tones, which Rampe reasonably suggests was probably partly compiled and partly composed by Ebner and copied by his son Johann Ferdinand Ebner; in any case, nine of the versets are by or adapted from Froberger and Girolamo Frescobaldi.
Frederick Hammond's book on Barbarini patronage is as painstakingly researched as his lengthy and well-known studies on Girolamo Frescobaldi, a Roman composer whose last decade was spent in the orbit of Pope Urban VIII and his nephews.
The program will include works by Josquin Desprez, Giovanni Palestrina, Claudio Monteverdi and Girolamo Frescobaldi.
Froberger's association with Girolamo Frescobaldi, as student of the Roman organist, adds further luster to his career.
Bach, Dietrich Buxtehude, Girolamo Frescobaldi, Nicolaus Bruhns, Sigfrid Karg-Elert, Thodore Dubois and others.
Concerning Bartok's interest in baroque style, Nissman points out that his attention to canonic and fugal techniques coincided with his emersion in the works of Girolamo Frescobaldi, Domenico Zipoli, Jean-Philippe Rameau, and Francois Couperin, composers whose music he was editing for a Budapest publisher and including on his own piano recitals during his busy concert tours of 1926-31.
Their program will include music by Claudio Monteverdi, Carlo Gesualdo and Girolamo Frescobaldi.
Familiarity with non-English keyboard music led Blow to incorporate music by Girolamo Frescobaldi into his compositions; perhaps he was following Roger North's advice: "He that hath most musicall passages drawne off from the musick of others and in most variety to be put together with extempory connection, is the best furnished for voluntary" (Roger North on Music: Being a Selection from His Essays Written during the Years c.
The complete works (Opere complete) of Girolamo Frescobaldi appearing as part of the series Monumenti musicali italiani of the Societa Italiana di Musicologia is more than merely a confirmation of recent scholarship; by its choice and presentation of repertory it shapes our idea of who Frescobaldi "was" as a composer.
Kerll's keyboard works comprise one of the significant repertories of the second half of the seventeenth century, drawing on the heritage of Girolamo Frescobaldi and Froberger, updated to conform to the characteristics of the middle Baroque.