The Frescobaldi Thematic Catalogue Online

F 1.01 Messa sopra l’aria della Monica
Composer: Frescobaldi (disputed)
Key/Signature: G /♭
Scoring: C, C, A, A, T, T, B, B, Bc
[Full Record]

F 1.02 Messa sopra l’aria di Fiorenza
Composer: Frescobaldi (disputed)
Key/Signature: G /♮
Scoring: C, C, A, A, T, T, B, B, Bc
[Full Record]

F 2.01 Toccata prima
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 2.03 Toccata terza
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 2.04 Toccata quarta
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 2.05 Toccata quinta
Composer: Frescobaldi
Key/Signature: E /♮
Scoring: Keyboard
[Full Record]

F 2.06 Toccata sesta
Composer: Frescobaldi
Key/Signature: E /♮
Scoring: Keyboard
[Full Record]

F 2.07 Toccata settima
Composer: Frescobaldi
Key/Signature: D /♭
Scoring: Keyboard
[Full Record]

F 2.08 Toccata ottava
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 2.09 Toccata nona
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 2.10 Toccata decima
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 2.12 Toccata duodecima
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
[Full Record]

F 2.13 Partite sopra l’aria della Romanesca.
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 2.14 Partite sopra la Monica
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 2.15 Partite sopra Ruggiero
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 2.15.01 Partite sopra Ruggiero. Prima parte
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 2.16.01 Partite sopra Folia. Prima parte
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 2.17 Corrente prima
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: Keyboard
[Full Record]

F 2.18 Corrente seconda
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 2.19 Corrente terza
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 2.20 Corrente quarta
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 3.01 Toccata prima
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 3.02 Toccata seconda
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 3.03 Toccata terza per l’organo da sonarsi all’elevazione
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: Keyboard
[Full Record]

F 3.04 Toccata quarta per l’organo da sonarsi all’elevazione
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 3.05 Toccata quinta sopra i pedali per l’organo, e senza
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 3.06 Toccata sesta per l’organo sopra i pedali, e senza
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 3.09 Toccata nona
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 3.10 Toccata decima
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: Keyboard
[Full Record]

F 3.11 Toccata undecima
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 3.12 “Ancidetemi Pur” d’Arcadelt passaggiato
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 4.08 Capriccio VIII cromatico con ligature al contrario
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 4.09 Capriccio IX di durezze
Composer: Frescobaldi
Key/Signature: D /♭
Scoring: Keyboard
[Full Record]

F 4.12 Capriccio XII sopra l’aria di Ruggiero
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 5.02 Ahi bella sì, ma cruda mia nemica
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: C, C, A, T, B
[Full Record]

F 6.02 Fantasia seconda sopra un soggietto solo
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 6.04 Fantasia quarta sopra doi soggietti
Composer: Frescobaldi
Key/Signature: A /♭
Scoring: Keyboard
[Full Record]

F 6.05 Fantasia quinta sopra doi soggietti
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 6.06 Fantasia sesta sopra doi soggietti
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 6.07 Fantasia settima sopra tre soggietti
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 6.08 Fantasia ottavo sopra tre soggietti
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 6.09 Fantasia nona sopra tre soggietti
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 6.10 Fantasia decima sopra quattro soggietti
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 6.12 Fantasia duodecima sopra quattro soggietti
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 7.06 A piè della gran Croce [Sonetto spirituale. Maddalena alla Croce]
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: C, Bc
[Full Record]

F 8.01a Canzona 1 detta la Bonvisia, canto solo
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, Bc
[Full Record]

F 8.02a Canzona 2 detta la Bernardinia, canto solo
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: C, Bc
[Full Record]

F 8.03b Canzon 2, canto solo
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: C, Bc
[Full Record]

F 8.04a Canzona 3 detta la Lucchesina, canto solo
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, Bc
[Full Record]

F 8.05a Canzona 4 detta la Donatina, canto solo
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, Bc
[Full Record]

F 8.06a Canzona 5 detta la Tromboncina, basso solo
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: B, Bc
[Full Record]

F 8.07a Canzona 6 detta l’Altera, basso solo
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: B, Bc
[Full Record]

F 8.08a Canzona 7 detta la Superba, basso solo
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: B, Bc
[Full Record]

F 8.09a Canzona 8 detta l’Ambitiosa, basso solo
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: B, Bc
[Full Record]

F 8.10a Canzona 9 detta la Gualterina, a due canti
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, C, Bc
[Full Record]

F 8.11a Canzona 10 detta la Henricuccia, a due canti
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: C, C, Bc
[Full Record]

F 8.12a Canzona 11 detta la Plettenberger, a due canti
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: C, C, Bc
[Full Record]

F 8.13a Canzona 12 detta la Todeschina, a due canti
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: C, C, Bc
[Full Record]

F 8.14a Canzona 13 detta la Bianchina, a due canti
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: C, C, Bc
[Full Record]

F 8.15a Canzona 14 detta la Marina, a due bassi
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: B, B, Bc
[Full Record]

F 8.16a Canzona 15 detta la Lievoratta, a due bassi
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: B, B, Bc
[Full Record]

F 8.17a Canzona 16 detta la Samminiata, a due bassi
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: B, B, Bc
[Full Record]

F 8.18a Canzona 17 detta la Diodata, a due bassi
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: B, B, Bc
[Full Record]

F 8.19a Canzona 18 detta la Masotti a due, canto e basso
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: C, B, Bc
[Full Record]

F 8.20a Canzona 19 detta la Capriola a due, canto e basso
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, B, Bc
[Full Record]

F 8.21a Canzona 20 detta la Liparella a due, canto e basso
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, B, Bc
[Full Record]

F 8.22a Canzona 21 detta la Tegrimuccia a due, canto e basso
Composer: Frescobaldi
Key/Signature: D /♭
Scoring: C, B, Bc
[Full Record]

F 8.23a Canzona 22 detta la Nicolina a due, canto e basso
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: C, B, Bc
[Full Record]

F 8.24a Canzona 23 detta la Franciotta a due, canto e basso
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: C, B, Bc
[Full Record]

F 8.25a Canzona 24 detta la Nobile a 3, due bassi e canto
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, B, B, Bc
[Full Record]

F 8.26a Canzona 25 detta la Garzoncina a 3, due bassi e canto
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, B, B, Bc
[Full Record]

F 8.52 Canzon 13 a 4
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: C, A, T, B, Bc
[Full Record]

F 8.53 Canzon 21 a 5
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: C, C, A, T, B, Bc
[Full Record]

F 8.54 Canzon 29 a 8
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: C, C, A, A, T, T, B, B, Bc
[Full Record]

F 9.01 Recercar primo
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 9.02 Recercar secondo
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 9.03 Recercar terzo
Composer: Frescobaldi
Key/Signature: E /♮
Scoring: Keyboard
[Full Record]

F 9.04 Recercar quarto sopra mi, re, fa, mi
Composer: Frescobaldi
Key/Signature: A /♭
Scoring: Keyboard
[Full Record]

F 9.05 Recercar quinto
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 9.06 Recercar sesto sopra fa, fa, sol, la, fa
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 9.07 Recercar settimo sopra sol, mi, fa, la, sol
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 9.08 Recercar ottavo, obligo di non uscir mai di grado
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 9.09 Recercar nono con quattro soggetti
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 9.10 Recercar decimo, sopra la, fa, sol, la, re
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 9.11 Canzon prima [Primo tono]
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 9.12 Canzon seconda [Primo tono]
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 9.13 Canzon terza [Secondo tono]
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 9.14 Canzon quarta [Sesto tono]
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 11.24 Jesu Rex admirabilis
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: C, C, T. Bc
[Full Record]

F 11.40 Peccavi super numerum
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: C, C, T. Bc
[Full Record]

F 11.42 Ego sum panis vivus
Composer: Frescobaldi
Key/Signature: D /♭
Scoring: C, C, T. Bc
[Full Record]

F 15.26 Capriccio
Composer: Frescobaldi (probably)
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

F 15.57 Jod manum suam
Composer: Frescobaldi (possibly)
Key/Signature: D /♮
Scoring: C, Bc
[Full Record]

F 15.58 O vera digna hostia
Composer: Frescobaldi (possibly)
Key/Signature:
Scoring: C, B, Bc
[Full Record]

F 16.73b In te Domine speravi
Composer: Frescobaldi (doubtful)
Key/Signature: B♭/♭♭
Scoring: C, C, A, A, T, T, B, B
[Full Record]

F 17.30 Deh’ lasciatemi in preda al mio tormento
Composer: Frescobaldi (doubtful)
Key/Signature: C /♮
Scoring: C, vn (?), Bc
[Full Record]

F 17.30 Deh’ lasciatemi in preda al mio tormento
Composer: Frescobaldi (doubtful)
Key/Signature: C /♮
Scoring: C, vn (?), Bc
[Full Record]

F 17.95 [8 versetti]
Composer: Frescobaldi (doubtful)
Key/Signature:
Scoring: Keyboard
[Full Record]

F 18.07S Fuga II
Composer: Gottlieb Muffat
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 18.08S Fuga III
Composer: Gottlieb Muffat
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 19.01.01H Balletto
Composer: Frescobaldi
Key/Signature: E /♮
Scoring: Keyboard
[Full Record]

F 19.01.02H Balletto 2o
Composer: Ferrini
Key/Signature: E /♮
Scoring: Keyboard
[Full Record]

F 19.13H A Double Vers
Composer: John Blow
Key/Signature: C /♮
Scoring: Keyboard
[Full Record]

F 20.01L Magnificat a 4 Chori del 2do tono [lost]
Composer: Frescobaldi
Key/Signature:
Scoring:
[Full Record]

F 20.02L Misericordias Domine a 18 [lost]
Composer: Frescobaldi
Key/Signature:
Scoring:
[Full Record]

F 20.03L Plaudite jubilae Deo a 12 [lost].
Composer: Frescobaldi
Key/Signature:
Scoring:
[Full Record]

CANZONI (1645)
Notes: The CANZONI (1645) were published posthumously, and in his preface, the publisher Alessandro Vincenti states that he obtained the pieces only after the composer’s death. He designated the volume as Libro IV, perhaps thinking of the Recercari et canzoni of 1615 and the ensemble canzoni published in 1628 and 1634. Some have questioned the connection between Frescobaldi and these canzonas because of a number of anomalous features [Silbiger (1980-1), 188-189], but most scholars accept them as authentic.
[Full Record]

CAPRICCI (1624-1642)
Notes: The entire content of RECERCARI was appended to the second, 1626 edition of the CAPRICCI. Furthermore, one work from the 1624 edition, F 4.07, was removed. No changes of content were introduced in the subsequent editions of 1628 and 1642, although the later editions differ in small details; see Darbellay (1988). A photographic copy of Capricci (1624) can be seen at: http://imslp.info/files/imglnks/usimg/a/ae/IMSLP88760-PMLP181692-Frescobaldi_CapricciBook1.pdf
[Full Record]

FANTASIE (1608)
Notes: The first of Frescobaldi’s canonic keyboard publications was never republished in his lifetime and only a single copy is extant (in Bologna). Fewer manuscript copies survive than for any of the other publications. One of those copies, Berlin L121, was formerly believed to be in the hand of Bernardo Pasquini but that attribution has now been discredited.
[Full Record]

FIORI MUSICALI (1635)
Notes: The FIORI MUSICALI was the last entirely new publication that Frescobaldi saw through the press. A photographic copy can be seen at https://s9.imslp.org/files/imglnks/usimg/1/19/IMSLP363773-PMLP181690-frescobaldi_fiori_musicali_1635.pdf
[Full Record]

RECERCARI (1615-1642)
Notes: The Recercari (1615), containing 10 recercars and 5 canzonas, were republished in 1618 without change of content. In 1626 the contents of the Recercari and the Capricci were published together (see CAPRICCI (1624-1642)) and this joint publication appeared in a new edition in 1642.
[Full Record]

TOCCATE I (1615-1637)
Notes: The two volumes of TOCCATE were widely distributed and often copied. Their composition and publication histories are, however, complex and confusing. Some of the reported “editions” are merely reprints with a new or updated title page. On the other hand, surviving exemplars of a single edition are not always identical. The following three editions of TOCCATE I are considered distinct sources because of significant differences in their content, as shown here after their short titles: Toccate I (1615): F 2.01 to F 2.12 and F 2.35 to F 2.37, Toccate I (1616): F 2.01 to F. 2.20, Toccate I (1637): F 2.01 to F 2.34. A second edition was issued in 1618 and a third one in 1628, but their content does not differ from the edition of 1616. More details in the cited references, particularly in Darbellay (1988), Hammond (1983) and (2002), Silbiger (2014) and in the critical commentary to the Stembridge 1.2 edition.
[Full Record]

TOCCATE II (1627-1637)
Notes: See the Notes on TOCCATE I.(1615-1637).The following two editions of Toccate II are considered distinct sources here because of differences in their content, as shown below: Toccate II (1627): F 3.01 to 3.40, Toccate II (1637): F 3.02 to 3.38. (F 3.39 and F 3.40 were removed.)
[Full Record]

Arie musicali II (1630)
Girolamo Frescobaldi, Secondo libro d’arie musicali per cantarsi nel gravicimbalo, e tiorba. A una, a due, e a tre voci (Florence: Gio: Batista Landini, 1630)

Provenance and Date: Florence, 1630
Time Frame: 1600-1650
RISM ID: F 1855
[Full Record]

Arie musicali I (1630)
Girolamo Frescobaldi, Primo libro d’arie musicali per cantarsi nel gravicimbalo, e tiorba. A una, a due, e a tre voci (Florence: Gio: Batista Landini, 1630)

Provenance and Date: Florence, 1630
Time Frame: 1600-1650
RISM ID: F 1854
[Full Record]

Berlin 40615
Berlin, Staatsbibliotek, Mus. Ms. 40615

Provenance and Date: Aspern an der Zaya (Austria), 1655
Time Frame: 1650-1700
Notes: From the Minorite monastery in Aspern an der Zaya (Lower Austria); see Riedel (1987). Inscription on f. 1: “Anno 1655/ Die 19 Aprilis Infra Scripto.”
[Full Record]

Berlin 6612
Berlin, Staatsbibliothek, Mus. Ms. 6612

Provenance and Date: c. 1830
Time Frame: 1700-1800
RISM ID: 452017889
Notes: The title page reads: “39 Ricercari del Sr Girolo Frescobaldi Organista della Basilica di S. Pietro in Roma.” The MS contains 8 ricercars for two voices (F 16.23 to 16.29), 20 ricercars for three voices (F16.30 to F 16.49), and 11 pieces for four voices known from other sources: 7 ricercars from Recercari (1615) (F 9.02 to 9.08), a ricercar also attributed to Froberger (F 18.10S), and 3 capriccios from Capricci (1624) (F. 4.01, F 4.06, and F 4.11). The entire content is identical to that of Brussels II.3908. [Dating from RISM Online catalogue.]
[Full Record]

Berlin SHM IV.82++ [?]
Berlin, Staatliche Hochschule für Musik, IV.82++ [?]

Notes: This appears to be the MS formerly in the Berlin Kgl. akad. Institut für Kirchenmusik, No. 13, as described by Eitner (1904) and Wolf (1919). (Check whether it now resides in the library of the Berlin Universität der Künste.)
[Full Record]

Bologna AA/360
Bologna, Museo internazionale e biblioteca della musica, Mus. AA/360

Provenance and Date: Mantua, 1640-1681
Time Frame: 1650-1700
[Full Record]

Bologna DD/53
Bologna, Museo internazionale e biblioteca della musica, DD/53

Provenance and Date: Bologna, late 17c -early 18c
Time Frame: 1650-1700
[Full Record]

Bologna Q/43
Bologna, Museo internazionale e biblioteca della musica, Q/43

Provenance and Date: 1630s?
Time Frame: 1600-1650
[Full Record]

Bologna Z/259
Bologna, Museo internazionale e biblioteca della musica, Z/259

Provenance and Date:
Time Frame: 1800-1900
[Full Record]

Brussels II.3908
Brussels, Bibliothèque Royale Albert 1, Ms II 3908 Mus Fétis 2005

Provenance and Date: 18c
Time Frame: 1700-1800
RISM ID: 700005900
Notes: Scribe: Gottlob Harrer (1703-1755). The title page reads: “Ricercari del Sr Girolamo Fresco=baldi Organista della Basilica di S. Pietro in Roma.” The MS contains 8 ricercars for two voices (F 16.23 to 16.29), 20 ricercars for three voices (F16.30 to F 16.49), and 11 pieces for four voices known from other sources: 7 ricercars from Recercari (1615) (F 9.02 to 9.08), a ricercar also attributed to Froberger (F 18.10S), and 3 capriccios from Capricci (1624) (F. 4.01, F 4.06, and F 4.11). The entire content of the MS is identical to that of Berlin 6612.
[Full Record]

Canzoni (1608)
Canzoni per sonare con ogni sorte di stromenti a quattro, cinque & otto, con il suo basso generale per l’organo (Venice: Alessandro Raverij, 1608).

Provenance and Date: Venice, 1608
Time Frame: 1600-1650
RISM ID: 160824
[Full Record]

Canzoni (1634)
Girolamo Frescobaldi, Canzoni da sonare a una due tre, et quattro con il basso continuo (Venice, Alessandro Vincenti, 1634)

Provenance and Date: Venice, 1635
Time Frame: 1600-1650
RISM ID: F 1870
Notes: According to Darbellay, Canzoni (1634) was not published until 1635 or, more likely, early 1636.; see Darbellay (2002), 2: vii-xiii (xxxix-xliii). The contents of the three publications of ensemble canzonas, Canzoni (Masotti, 1628), Canzoni (Robletti, 1628), and Canzoni (1634) are related, but not identical, and the relationships are complicated. A canzona may appear in just one, two or all three publications, and the versions may be identical, slightly different, or radically different. Their order also differs in each of the publications. Their order also differs in each of the publications. Canzoni (Robletti, 1628) was published in partitura (open score) format, whereas Canzoni (Masotti, 1628) and Canzoni (1634) were published as sets of partbooks.
[Full Record]

Canzoni (Masotti, 1628)
Girolamo Frescobaldi, In partitura, il primo libro delle canzoni a una, due, tre, e quattro voci per sonare con ogni sorte di stromenti, con dui toccate in fine, una per sonare con Spinettina sola, overo Liuto, l’altra Spinettina è Violino, overo Liuto, è Violino, ed. Bartolomeo Grassi (Rome: Paolo Masotti, 1628)

Provenance and Date: Rome, 1628
Time Frame: 1600-1650
RISM ID: F 1869
Notes: The contents of the three publications of ensemble canzonas, Canzoni (Masotti, 1628), Canzoni (Robletti, 1628), and Canzoni (1634) are related, but not identical, and the relationships are complicated. A canzona may appear in just one, two or all three publications, and the versions may be identical, slightly different, or radically different. Their order also differs in each of the publications. Their order also differs in each of the publications. Canzoni (Robletti, 1628) was published in partitura (open score) format, whereas Canzoni (Masotti, 1628) and Canzoni (1634) were published as sets of partbooks.
[Full Record]

Canzoni (Robletti, 1628)
Girolamo Frescobaldi, Il primo libro delle canzoni ad una, due, trè, e quattro voci. Accomodate, per sonare ogni sorte de stromenti (Rome: Gio. Battista Robletti, 1628)

Provenance and Date: Rome, 1628
Time Frame: 1600-1650
RISM ID: F 1868
Notes: The contents of the three publications of ensemble canzonas, Canzoni (Masotti, 1628), Canzoni (Robletti, 1628), and Canzoni (1634) are related, but not identical, and the relationships are complicated. A canzona may appear in just one, two or all three publications, and the versions may be identical, slightly different, or radically different. Their order also differs in each of the publications. Canzoni (Robletti, 1628) was published in partitura (open score) format, edited by Frescobaldi’s student Bartolomeo Grassi, whereas Canzoni (Masotti, 1628) and Canzoni (1634) were published as sets of partbooks by the composer himself. A photographic copy of this edition can be seen at:
[Full Record]

Cecilia 400
Rome, Conservatorio di musica Santa Cecilia, Ms. A/400

Provenance and Date: Rome (probably), early 18c
Time Frame: 1700-1800
[Full Record]

Chigi Q.IV.24
Rome, Biblioteca Apostolica Vaticana, Chigi, Q. IV. 24

Provenance and Date: Rome, 1636-1637
Time Frame: 1600-1650
Notes: This manuscript is in the hand of Frescobaldi’s assistant, Leonardo Castellani.
[Full Record]

Chigi Q.IV.25
Rome, Biblioteca Apostolica Vaticana, Chigi, Q. IV. 25

Provenance and Date: Rome, c. 1620 - after 1643
Time Frame: 1600-1650
Notes: The compositions in this manuscript were entered by Frescobaldi’s assistant Nicolò Borbone.
[Full Record]

Chigi Q.IV.27
Rome, Biblioteca Apostolica Vaticana, Chigi, Q. IV. 27

Provenance and Date: Rome, 1630-1640
Time Frame: 1600-1650
[Full Record]

Chigi Q.VIII.205-206
Rome, Biblioteca Apostolica Vaticana, Chigi, Q. VIII. 205-206

Provenance and Date: Rome, mostly 1630-1650
Time Frame: 1600-1650
[Full Record]

Cologny T.II.1
Cologny (Geneva), Biblioteca Bodmeriana, Musik T. II. 1 [or MSS 11637 and 11638?]

Provenance and Date: Northern Italy, 1640-1670
Time Frame: 1650-1700
Notes: In addition to the four listed unica, the MS includes F.2.01 and F.2.06, with some variants, and all of Toccate II (1627), except for the versets and four correnti. The four unica and the two pieces from Toccate I are preceded by the statement: “Seguono altre toccate Dell’istess’Autore raccolte dagl’altri Libri.” At one time this MS was believed to be a Frescobaldi autograph, and a page is reproduced in Reimann (1955), but see Darbellay (1975-1).
[Full Record]

Fantasie (1608)
Girolamo Frescobaldi, Il primo libro delle fantasie a quattro (Milan: Simon Tini, & Filippo Lomazzo, 1608)

Provenance and Date: Milan, 1608
Time Frame: 1600-1650
RISM ID: F 1855
[Full Record]

Florence 2358
Florence, Biblioteca del Conservatorio, Ms. D. 2358

Provenance and Date: Medici (Florence), late 17c
Time Frame: 1650-1700
Notes: This MS is sometimes listed erroneously as Florence, Biblioteca del Conservatorio, Ms. D. 2534.
[Full Record]

Garofalo
New York, former private collection Garofalo,

Provenance and Date: Early 18c
Time Frame: 1700-1800
Notes: This manuscript, probably dating from the early eighteenth century, was acquired “from an intinerant second-hand bookseller” by the noted composer and conductor Carlo Giorgio Garofalo (1886-1962), and passed on to his son Marcello Garofalo, who in 1983 sold it to the antiquariat of Wurlitzer-Bruck. Its present location is unknown, but Marcello Garofalo still possesses a photocopy of the manuscript. In his 1922 article, Carlo Giorgio Garofalo described the content of the manuscript as containing “27 fughe a 3 e 4 voci, una Sonata col flautina in la maggiore, un’Elevazione in sol minore, [e] 19 canzoni, in capo all prima delle quali leggasi Canzone P.a Frescobaldi.” Marcello Garofalo very kindly placed at our disposal a partial photocopy of the MS (beginning with the alleged Frescobaldi canzonas on p. 57), as well as a copy of an edition that his father had prepared for publication, but which was never published. Among the 19 canzonas are copies of F 4.08, F 10.02, and F 10.11. The other 16 canzonas are not known from other sources. F 16.51 and F 16.62 through F 16.66 might be by Frescobaldi; the others are likely of a later vintage.
[Full Record]

Ghirlandetta amorosa (1621)
Ghirlandetta amorosa, ed. Fabio Costantini (Orvieto: Michel’Angelo Fei & Rinaldo Ruuli, 1621).

Provenance and Date: Orvieto, 1621
Time Frame: 1600-1650
RISM ID: 162114
[Full Record]

Giardino musicale (1621)
Giardino musicale di varii eccellenti autori, dove si contengono sonetti, arie, & vilanelli, a una, e due voci (Rome: Gio. Battista Robletti, 1621)

Provenance and Date: Rome, 1621
Time Frame: 1600-1650
RISM ID: 162115
[Full Record]

Krakow [formerly Berlin] 40316
Krakow, Biblioteka Jagiellonska, Mus. ms. 40316 [formerly Berlin, Staatsbibliothek, Mus. ms. 40316]

Provenance and Date: Brussels, c1609 (for Frescobaldi entries)
Time Frame: 1600-1650
Notes: In late 19c and early 20c literature this MS is referred to by it earlier shelfmark Ms. 191. For many years the MS was believed to have been lost during World War II, although a photocopy was preserved in the Harvard Music Library. In 1982 it was discovered to reside in Krakow. Riedel (1987) states that Krakow 40316 includes 8 fantasias, a toccata, a capriccio, and a “partite,” all by Frescobaldi, but according to the original ToC it contained only 4 fantasias (one now missing because of the missing fols. 61 and 62) and a partite set. The manuscript is in two-staff keyboard notation. Dating from the detailed study by David Smith.
[Full Record]

L’aurata cintia armonica (1622)
L’aurata cintia armonica, arie, madrigali, dialoghi, e villanelle, di diversi eccelentissimi autori, ed. Fabio Costantini (Orvieto: Michel’angelo Fei, e Rinaldo Ruuli, 1622)

Provenance and Date: Orvieto, 1622
Time Frame: 1600-1650
RISM ID: 162210
[Full Record]

Laterano XI n. 8
Rome, Basilica of San Giovanni in Laterano, archivio musicale (Archivio Generale de Vicariato), Mazzo XI no. 8

Provenance and Date: Rome, c. 1639-1341
Time Frame: 1600-1650
[Full Record]

Liber I diversarum modulationum [lost]
Girolamo Frescobaldi, Liber primus diversarum modulationum (1627 or earlier)

Provenance and Date: Rome, 1624-1625?
Time Frame: 1600-1650
Notes: Lost; according to Hammond this is Frescobaldi’s only lost printed collection.
[Full Record]

Liber II diversarum modulationum (1627)
Girolamo Frescobaldi, Liber secundus diversarum modulationum singulus, binis, ternis, quaternisque vocibus (Rome: Andrea Fei, 1627)

Provenance and Date: Rome, 1627
Time Frame: 1600-1650
RISM ID: F 1853
Notes: Published as a set of five part-books: C I, C II, T, B, and Bassus ad Organum. The Cantus II part-book, which also contained the Altus parts, is lost. The edition by Stembridge contains only the complete pieces (15 out of 32), but the not yet published vol. 11 of the PC presumably will contain all pieces.
[Full Record]

Lilia campi(1621)
Lilia campi binis, ternis, quaternis; vocibus concinnata, ed. Giovanni Batista Robletti (Rome: Giovanni Batista Robletti, 1621)

Provenance and Date: Rome, 1621
Time Frame: 1600-1650
RISM ID: 16213
[Full Record]

London 23623
London, British Library, Add. MS 23623

Provenance and Date: Antwerp, 1628-1629
Time Frame: 1600-1650
RISM ID: 20040806350936
[Full Record]

London 34003
London, British Library, Add. Ms. 34003

Provenance and Date: c. 1700
Time Frame: 1650-1700
Notes: Copies from Canzoni (Masotti, 1628)
[Full Record]

London 36661
London, British Library, Add. Ms. 36661

Provenance and Date: England, late 17c
Time Frame: 1650-1700
Notes: The pieces attributed to Frescobaldi are preceded by 8 pieces (a Prelude and 7 Toccatas) attributed to Bernardo Pasquini. The rest of the manuscript consists of English repertory.
[Full Record]

London 40080
London, British Library, Add. Ms. 40080

Provenance and Date: Rome, 1635-1641
Time Frame: 1600-1650
RISM ID: 20040806149605
Notes: Scribe: Nicolò Borbone. On the title page: “Fioretti d[e]l Frescobaldi”
[Full Record]

Madrigali (1608)
Girolamo Frescobaldi, Il Primo libro de madrigali a cinque voci (Antwerp: Pierre Phalèse, 1608)

Provenance and Date: Antwerp, 1608
Time Frame: 1600-1650
RISM ID: F 1852
[Full Record]

Munich 1581
Munich, Bayerische Staatsbibliothek, Mus. Ms. 1581

Time Frame: 1600-1650
Notes: Formerly Codex No 262. Includes copies of F 2.01, F 6.09, and F 9.03-9.06, 9.11-9.13, and F 9.15. Online access to digitial copy at http://daten.digitale-sammlungen.de/0004/bsb00047086/images/
[Full Record]

Munich 5368
Munich, Bayerische Staatsbibliothek, Mus. Ms. 5368

Provenance and Date: Neresheim, 1661-1682
Time Frame: 1650-1700
Notes: Scribe: F. M. Mettenleiter. Inscription on title page: see Schmidt.
[Full Record]

Naples 73
Naples, Conservatorio S. Pietro a Majella, M.S. 34.5.28 olim 73

Provenance and Date: Naples, 1675
Time Frame: 1650-1700
Notes: Includes F 12.17 and F 12.27.
[Full Record]

Nuremberg 33748-V
Nuremberg, Germanisches Nationalmuseum, Ms. 33748-V

Provenance and Date: Northern Italy (probably), c. 1640-1660
Time Frame: 1600-1650
[Full Record]

Oxford 1113
Oxford, Christ Church Library, MS 1113

Provenance and Date: Oxford, 1650s
Time Frame: 1650-1700
Notes: Scribe: William Ellis. Interspersed with the entire content of Toccate I (1616) are anonymous Italianate pieces. A few of those have concordances to Roman sources; see Silbiger (1981-2).
[Full Record]

Paris 819-2
Paris, Bibliothèque nationale, Rés. Vm. 819(2)

Provenance and Date: Germany, after 1661
Time Frame: 1650-1700
Notes: This MS includes first 48 measures of F 9.08.
[Full Record]

Paris Bauyn
Paris, Bibliothèque nationale, Bauyn, Rés. Vm. 674-5

Provenance and Date: Paris, after 1676 (c. 1690?)
Time Frame: 1650-1700
[Full Record]

Practical Harmony (1802)
Muzio Clementi. Clementi’s Selection of Practical Harmony, for the Organ or Pianoforte, 2 (London: Clementi et al., [1802])

Provenance and Date: London, 1802
Time Frame: 1800-1900
Notes: In addition to the three spurious fugues, the collection includes F 2.17, 3.08, 3.14, 3.14, and 3.16, as well as works by A. and D. Scarlatti, J. S. and C. P. E. Bach, Handel, Martini, Albrechtsberger, and Eberlin. Exceptionally, the volume has been entered both as Source and as Modern Edtion.
[Full Record]

Ravenna 545
Ravenna, Biblioteca comunale Classense, 545

Provenance and Date: Ravenna, 1630-1640
Time Frame: 1600-1650
Notes: Inscription on title page: “Libro di fra Gioseffo da Ravenna. Opere di diversi Autori, di Girolamo Frescobaldi, d’Ercol Pasquino, Cesare Argentini, Incert’ Autore”
[Full Record]

Rome Doria 250 B
Rome, Archivio Doria-Pamphili, Fondo musicale, 250/B

Provenance and Date: Rome, 1630-1650
Time Frame: 1600-1650
[Full Record]

Sacri affetti (1625)
Sacri affetti, con testi da diversi eccelentissimi autori, ed. Francesco Sammaruco Romano (Rome, Soldi, 1625)

Provenance and Date: 1625
Time Frame: 1600-1650
RISM ID: 16251
[Full Record]

Scelta di motetti (1618)
Scelta di motetti di diversi eccellentissimi autori à 2, à 3, à 4 et à 5 (Rome: Bartholomeo Zannetti, 1618)

Provenance and Date: Rome, 1618
Time Frame: 1600-1650
RISM ID: 16183
[Full Record]

Selectae cantiones (1616)
Selectae cantiones excellentissimorum auctorum, ed. Fabio Costantini (Rome: Bartholomeo Zannetti, 1616)

Provenance and Date: Rome, 1616
Time Frame: 1600-1650
RISM ID: 16161
[Full Record]

Turin Foa 1
Turin, Biblioteca Nazionale, Raccolte Foà 1 [Vol. X]

Provenance and Date: 1639
Time Frame: 1600-1650
RISM ID: TO026513937
Notes: The Turin MSS Foa 1 through 8 and Giordano 1 through 8, notated in German keyboard tablature, contain some of the earliest copies from the Canonical Publications as well as works on included there. The copies from the publications differ from those in a few small details, most importantly (and interestingly), the addition of frequent cadential embellishments. Felici (2005) provides a tabular summary of the Frescobaldi pieces in the Turin tablatures (Tavola I, pp. 89-95). A digital online copy of Turin Foa 1 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513937&language=it
[Full Record]

Turin Foa 2
Turin, Biblioteca Nazionale, Raccolte Foà 2 [Vol. IX]

Provenance and Date: 1639
Time Frame: 1600-1650
RISM ID: TO026513938
Notes: See Turin Foa 1. A digital online copy of Turin Foa 2 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513938&language=it
[Full Record]

Turin Foa 6
Turin, Biblioteca Nazionale, Raccolte Foà 6 [Vol. XIV]

Provenance and Date: 1640
Time Frame: 1600-1650
RISM ID: TO026513942
Notes: See Turin Foa 1. A digital online copy of Turin Foa 6 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513942&language=it
[Full Record]

Turin Foa 7
Turin, Biblioteca Nazionale, Raccolte Foà 7 [Vol. XV]

Provenance and Date: 1639
Time Frame: 1600-1650
RISM ID: TO026513943
Notes: See Turin Fo1. A digital online copy of Turin Foa 7 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513943&language=itTO026513943
[Full Record]

Turin Foa 8
Turin, Biblioteca Nazionale, Raccolte Foà 8 [Vol. XVI]

Provenance and Date: 1639-1640
Time Frame: 1600-1650
RISM ID: TO026513944
Notes: See Turin Foà 1. A digital online copy of Turin Foà 8 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513944&language=it
[Full Record]

Turin Giordano 1
Turin, Biblioteca Nazionale, Raccolte Giordano 1 [Vol. I]

Provenance and Date: 1637-1640
Time Frame: 1600-1650
RISM ID: TO026513945
Notes: See Turin Foa 1. A digital online copy of Turin Giordano 1 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513945&language=it
[Full Record]

Turin Giordano 3
Turin, Biblioteca Nazionale, Raccolte Giordano 3 [Vol. III]

Provenance and Date: 1639
Time Frame: 1600-1650
RISM ID: TO026513947
Notes: See Turin Foà 1. A digital online copy of Turin Giordano 3 can be seen at http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513947&language=it
[Full Record]

Turin Giordano 6
Turin, Biblioteca Nazionale, Raccolte Giordano 6 [Vol. VI]

Provenance and Date: 1637
Time Frame: 1600-1650
RISM ID: TO026513950
Notes: See Turin Foà 1. A digital online copy of Turin Giordano 6 can be seen at: http://wwwold.internetculturale.it/moduli/digi/digi.jsp?magid=oai:www.internetculturale.sbn.it/Teca:20:NT0000:TO026513950&language=it
[Full Record]

Venice 1299
Venice, Biblioteca nazionale Marciana, Cod. It. IV-1299

Provenance and Date: Venice, 19c
Time Frame: 1800-1900
Notes: Scribe: Bernardo Mantuaner. “Canzoni...del celebre Sig. Geronimo Frescobaldi...ridotte ad un moderna & facile lettura da Bernardo Mantuaner.” The reading of many pieces in this collection are problematic. One is not quite sure whether this is the result of incompetence on the part of the composer or of the copyist, or perhaps both.
[Full Record]

Venice 1727
Venice, Biblioteca nazionale Marciana, Cod. It. IV-1727

Provenance and Date: Venice, 19c
Time Frame: 1800-1900
[Full Record]

Verona MCXXIX
Verona, Biblioteca capitolare, Cod. MCXXIX

Provenance and Date: (Unknown Provenance), 1703
Time Frame: 1700-1800
[Full Record]

Vicenza 2.7.17
Vicenza, Biblioteca civica Bertoliana, Mus. Ms. FF 2.7.17

Provenance and Date: Vicenza, 18c
Time Frame: 1700-1800
[Full Record]

Vienna 18491
Vienna, Österreichische Nationalbibliothek, Ms. 18491

Provenance and Date: Vienna, 1649
Time Frame: 1600-1650
Notes: Inscription: “Regina Clara Im Hoff anno 1649”
[Full Record]

Vienna XIV/713
Vienna, Minoritenkonvent, Musikarchiv XIV, 713

Provenance and Date: after 1683
Time Frame: 1650-1700
Notes: Scribe: Fr. Wolfgang Schwabpaur (after 1683)
[Full Record]

Vienna XIV/717
Vienna, Minoritenkonvent, Musikarchiv XIV, 717

Provenance and Date: c. 1713-1715
Time Frame: 1700-1800
Notes: Scribe: P. Alexander Giessel (?) (c. 1713-1715).
[Full Record]

Vienna XIV/718
Vienna, Minoritenkonvent, Musikarchiv XIV, 718

Provenance and Date: c. 1713-1715
Time Frame: 1700-1800
Notes: Scribe: P. Alexander Giessel (?) (c. 1713-1715).
[Full Record]

Vienna XIV/720
Vienna, Minoritenkonvent, Musikarchiv XIV, 720

Provenance and Date: c. 1713-1715
Time Frame: 1700-1800
Notes: Scribe: P. Alexander Giessel (?) (c. 1713-1715).
[Full Record]

Vienna XIV/721
Vienna, Minoritenkonvent, Musikarchiv XIV, 721

Provenance and Date: c. 1713-1715
Time Frame: 1700-1800
Notes: Scribe: P. Alexander Giessel (?) (c. 1713-1715).
[Full Record]

Vienna XIV/723
Vienna, Minoritenkonvent, Musikarchiv XIV, 723

Provenance and Date: c. 1717
Time Frame: 1700-1800
Notes: Scribe: P. Alexander Giessel (probably before 1717).
[Full Record]