The Frescobaldi Thematic Catalogue Online

F 13.15 [Toccata]
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: Keyboard
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F 13.16 Corrente
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: Keyboard
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F 13.17 [Balletto]
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
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F 13.18 La Monica
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
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F 13.19 Corrente
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
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F 13.20 Allamana
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
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F 13.21 Ciaccona [fragment]
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
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F 13.22.01 Balletto
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
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F 13.22.02 Balletto, 2a parte alio modo
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
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F 13.23 Sarabanda
Composer: Frescobaldi
Key/Signature: G / #
Scoring: Keyboard
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F 13.24 Aria detta la Frescobalda
Composer: Frescobaldi
Key/Signature: E /♮
Scoring: Keyboard
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F 13.25 Toccata
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
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F 13.26 Corrente
Composer: Frescobaldi
Key/Signature: C /♮
Scoring: Keyboard
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F 13.27 Toccata [fragment]
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
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F 13.28 Toccata
Composer: Frescobaldi
Key/Signature: D /♮
Scoring: Keyboard
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F 13.29 Toccata avanti la Romanesca
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
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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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Darbellay (2010)
Darbellay, Étienne. “The Manuscript Chigi Q.IV.24 of the Biblioteca Apostolica Vaticana as Frescobaldian Source: New Criteria for Authenticity.“ In Fiori Musicali: Liber Amicorum Alexander Silbiger, edited by Claire Anne Fontijn and Susan Helen Parisi, 23-37. Detroit Monographs in Musicology/Studies in Music. Sterling Heights, MI: Harmonie Park Press, 2010.
Date Published: 2010
Pages:
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Hammond (2020)
Hammond, Frederick. Girolamo Frescobaldi: An Extended Biography. http://girolamofrescobaldi.com, updated 1/2020.
Date Published: 2020
Pages:
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Jeanneret (2005)
Jeanneret, Christine. “Un cahier d’ébauches autographe inédit de Frescobaldi (F-PN, Rés. Vmc 64).” Recercare 17 (2005): 135-159.
Date Published: 2005
Pages:
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Jeanneret (2009)
Jeanneret, Christine. L'œuvre en filigrane: Une étude philologique des manuscrits de musique pour clavier à Rome au XVIIe Siècle, Historiae Musicae Cultores, 116. Florence: Olschki, 2009.
Date Published: 2009
Pages: 211-236
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Paris 64
Frescobaldi, Girolamo. Compositioni inedite per organo o clavicembalo “Paris 64” (Paris Rès. Vmc. 64), ed. Cristina Pisano, Convivio Musicale 91. Padua: Armelin Musica, 2012.
Date Published: 2012
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