The Frescobaldi Thematic Catalogue Online

F 15.60 Sonata prima [Partite sopra la Romanesca]
Composer: Frescobaldi (probably)
Key/Signature: G /♭
Scoring: Keyboard
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F 15.61 Sonata seconda [Partite sopra la Monica]
Composer: Frescobaldi (probably)
Key/Signature: G /♭
Scoring: Keyboard
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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
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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.
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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.)
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Paris 64
Paris, Bibliothèque nationale de France, Rés. Vmc. ms. 64

Provenance and Date: Rome, 1607-1637
Time Frame: 1600-1650
Notes: Jeanneret (2015) determined this manuscript to be in the hand of Frescobaldi.
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Paris D 4065
Paris, Bibliothèque nationale, Mus. D 4065

Provenance and Date: 18c?
Time Frame: 1700-1800
Notes: A complete and generally accurate copy of Capricci (1626).
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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”
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Spiridion (1670-1677)
Spiridionis a Monte Carmelo, Nova Instructio Pro Pulsandis Organis, Spinettis, Manuchordiis, Etc. Pars Prima (Bamberg: Johann Jacom Immel, 1670); Pars secunda (Bamberg: Johann Georg Seüffert, 1671); Pars Tertia & Quarta (Würzburg: J. Sallver, ca. 1675-77)

Provenance and Date: Bamberg and Würzburg, c. 1671-1677. See Full Citation.
Time Frame: 1650-1700
Notes: Only Pars prima and Pars secunda survive as prints. However, an apparently reliable MS copy of all four volumes survives in Dresden (Sächsischen Landesbibliothek MB 4o 217); see Lamott 1980, 30-31. The treatise includes the complete text of a number of compositions from Toccate I (1637), Toccate II, (1627) and Canzoni (1645)–included in a Adjunctum Frescobaldicum, or identified with the initials HF–as well as well as numerous brief, unattributed excerpts from those publications as examples of cadentie and passaggie. Lamott (1980) believes that all the Frescobaldi excerpts are based on the composer’s publications, even if they are sometimes altered and simplified, and that is the point of view followed here. Darbellay (1988) thinks that they derive from a manuscript transmission independent of the prints. Only a single composition, included in the Adjunctum Frescobaldicum, the Balletto 3, does not derive from the publications, and its attribution is considered doubtful.
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