The Frescobaldi Thematic Catalogue Online

The Frescobaldi Thematic Catalogue Online

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Canzoni (1645)

Full Title: Girolamo Frescobaldi, Canzoni alla francese in partitura....Libro quarto (Venice: Alessandro Vincenti, 1645)

Provenance and Date: Venice, 1645
Time Frame: 1600-1650
RISM ID: F 1872

Notes: For modern editions and literature, and for related early editions and manuscripts, see CANZONI (1645) in the Canonical Publications.

+- Compositions in Source

F 10.01 Canzon Prima detta la Rovetta
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 10.02 Canzon Seconda detta la Sabbatina
Composer: Frescobaldi
Key/Signature: D /♭
Scoring: Keyboard
[Full Record]

F 10.03 Canzon Terza detta la Crivelli
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 10.04 Canzon Quarta detta la Scacchi
Composer: Frescobaldi
Key/Signature: C /♭
Scoring: Keyboard
[Full Record]

F 10.05 Canzon Quinta detta la Bellerofonte
Composer: Frescobaldi
Key/Signature: F /♮
Scoring: Keyboard
[Full Record]

F 10.06 Canzon Sesta detta la Pesenti
Composer: Frescobaldi
Key/Signature: G /♭
Scoring: Keyboard
[Full Record]

F 10.08 Canzon Ottava detta la Vincenti
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 10.09 Canzon Nona detta la Querina
Composer: Frescobaldi
Key/Signature: F /♭
Scoring: Keyboard
[Full Record]

F 10.10 Canzon Decima detta la Paulini
Composer: Frescobaldi
Key/Signature: A /♮
Scoring: Keyboard
[Full Record]

F 10.11 Canzon Undecima detta la Gardana
Composer: Frescobaldi
Key/Signature: G /♮
Scoring: Keyboard
[Full Record]

+- Canonical Publications

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]