Early Music Alte Musik piq 8553547-48 1 Girolamo FRESCOBALDI 1 Keyboard Music Fantasie Book I Ricercari Canzoni Francesi
Sergio Vartolo Harpsichord and Organ m Girolamo Frescobaldi (1583-1 643) Fantasie Book I Ricercari Canzoni Francesi
As is apparent from their dates, the Farrtasie and (perch4 con la sperie~rzaaserd ir~rparato,che per dor Ricercari come at the beginning of Frescobaldi's giisto all'v~ri~~ersaledelle genti, quest0 nrodo 2 pil creative career. The Farrtnsie were published in Milan galante, bench2 rirerro scieiitifico). after his return from a stay in Flanders in the entourage The use of the harpsichord could be inferred also of Cardinal Bentivoglio. From the dedication, dated from the regular absence of ties, always missing in Ferrara, 8th November 1608, to Francesco Borghese, themes with long note values. In any case the Duke of Regnano and General of the Holy Church, harpsichord is to be preferred when performing they seem to he the prb~refatiche (first efforts) that Frescobaldi, in spite of his title of Vatican organist Frescobaldi had accomplished in Rome for the (discussed in Sergio Vartolo, "Girolamo Frescobaldi: entertainment of the dedicatee. In fact the Ricercari too appunti srflla miisica per strririlento a tastiera" in are described as pririro e picciolo parto dell'ingegno Nriova Rivista Mrisicale Italinna, N (1994). pp.620 - nlio (the first little part of my creative talent) in the 663). In the records of the time the continual presence dedication to Cardinal Aldohrandini, who, although he of Cardinals, principally [Dell Monte and Montalto, at was responsible for the destruction of Ferrara and its secular gatherings, sheds some light on the apparent refined civilisation, had also been the recipient of the contrast between the position of Vatican organist and dedication of the Madrignli a 1, 2 e 3 soprani, the the chamber music of Frescobaldi, who indicates masterpiece of Frescobaldi's teacher, Luzzaschi. specifically where the organ is to be used. The In the Failtasie the apparent choice of instrument liturgical part of the second Libro di Toccate reveals a and the aim of relieving Borghese, whose ears had probable request for this on the part of the hierarchy often deigned to honour the composer (orecchi si sorro that would lead to the single volume clearly intended degnati di far pi0 ~olte[onore nlla riratro di for the organ, the Fiori M~isicaliof 1635, in the Frescobaldi]) of his heavy cares, would seem to Preface of which Frescobaldi, in apparent opposition indicate a non-liturgical chamber work, better suited to to his other publications (Stanrpe d'inta~'olatsra,ed iir the harpsichord than the organ. The cultivated taste of Partitmu), declared explicitly that the principal aim the second part of the sixteenth century and the first was to give pleasure to organists (principalfine 2 di part of the seventeenth was inclined towards music for giovare alli Organisti). This naturally does not prevent entertainment based on counterpoint rather than the the use of the organ but it is important to confm that, lighter form of dance music. Pietro della Valle, in a contrary to common belief, the organ was not the letter to Lelio Guidiccioni (1640) clearly states that the principal instrument intended by Frescobaldi, first style of Frescobaldi, probably referring to the including for the Fantasias. Fantasie, the Ricercari and the Toccatas of Book 1 of For this reason it should be pointed out that if the 1615, were much more pleasing to Guidiccioni himself composition of the Fa~rtasiasmay appear, from the than the more modem galanterie alla n~oderirathat did dedication, to precede the journey to Flanders, not please him so much (a VS. ~ioripince mrrto), nevertheless one may not unreasonably suppose that developed by the composer in the appendix to the first Frescobaldi could have performed them on the organ Libro di Toccate of 1637, because, through experience as well as on the harpsichord during his stay there. We he had learned that to give pleasure to everyone, this learn this from Frescobaldi himself in the dedication of manner is more fashionable, although less scientific 13th June 1608 to his 'most honoured patron' Cardinal 8.553547-48 Guido Bentivoglio, legate to the Netherlands and author important organs. The first, built by Gillis Brebos in of the three-part volume Della gzrerra di Fia~idra(Of 1565-7,had two manuals (C to a""), with the following the War in Flanders, published by Francesco Baha in stops, as reported by M.A.Vente: Venice), of the first book of Madrigals: Great Organ: 'I came to Anfwerp 117itlitlte per~riissionof Your Bordone 16'. Prestant 8'. Holpijp 8'. Octaaf 4,Open Illtrstrious Lordship to see this city, arid to tty oirf a set Fluit 4'. Gedechte Pluit 4'. Superoctaaf 2', Gemshom of Madrigals that I had been coniposi~igthere is 2', Quintfluit 1 113'. Siffluit 1'. Mixtuur IV, Scherp VI, Brrtssels, in the house of Your Illustrious Lordship Cornet (from d'), Trompet 8', Schalmei 4,Zink 4'. through 11~hornI fo~rrtdnt>*self iri Flanders, arid I have Bmshverk: satisfied with equal pleasure the orze and tlte other of Quintadena 8', Holpijp 2'. Cymbel, Kromhoorn 8', these desires of ntine; it has ltapperied ~neari~~~liilethat Regaal8' or 4' these nzzrsical gentlenten iiave ssho%~~~igreat approval of Manual-Pedal Coupler, Manual Coupler, Tiemulant, rny composition and have ~siththe greatest i~r~portunity Harp, Rossignol, Uccelli, perhaps Tamburo. persuaded rrie to agree to theirprrblimtiori,' A second organ with two manuals, built in 1572, is still It is legitimate to imagine that analogously with the preserved in the same cathedral. For this reason the Madrigals, published at Antwerp in 1608, the Fantasie choice of the present recording to perform some too would have been submitted to the attention of the Faritasie and Ricercari on an organ built in Italy by a local musicians, who would probably have Flemish Jesuit is especially significant. The organ used recommended the publication, which took place also in brings together particular features in its construction, 1608 in Milan, a place unusual in the list of published design, as well as Italian and Flemish sounds. This is the works by Frescobaldi but probably a staging-post magnificent instrument preserved in the Church of the between Rome and Flanders. Holy Spirit in Pistoia, built in 1664 by the Jesuit Willem The period in Flanders was certainly very important Hermans, a native of Flanders, bom there in 1601, and for Frescobaldi, who had inherited from Luzzaschi the excellently restored by the organ-builder Riccardo highest respect for that generation of Flemish musicians Lorenzini between 1990 and I995 and very well who had contributed so much to the development of conserved by Maestro Andrea Vannucchi, whom I must counterpoint in Italy, Arcadelt, Willaert and, above all, thank for his kind permission to allow me the use of the Luzzaschi's master, the divine Cipriauo de Rore, a instrument. native of Anhverp. The restoration in recent years of a number of It may well be supposed and is highly probable that instruments in central Italy has necessitated the curiosity of Frescobaldi to visit the city would have reconsideration of the particular stylistic features of late stemmed from the stories of Luzzascbi about the Renaissance and Bamque Italian organ construction, as Flemish master, (whose extraordinary fame brought, in well as of the registration and performance of music of the mid-sixteenth century, the enthusiastic writing of the same period. On the one hand we have an active Ms.Bourdenet or Bourdeney: W the learned Cipriario interest in the recent initiatives in organ-building in the Rore, he will never die nor rvill another szrch be 80171, matter of the restoration and construction of instruments the ori$ C~priarioin the 11urld.. . ) who had left him a under North European inspiration, while there are at the very rich collection of his teachings, expounded also same time discussions of standards of registration based verbally and probably through performance on local uniquely on the Renaissance art of organ-building in organs, on which, some years later, John Bull was to Lomhardy and on the reading of its principal document, perform. In the cathedral in Anvers there were then two the Arte Orgariica of Costanzo Antegnati, also published in 1608. real Mixtur, the high specification of the manual and Some years ago I recorded on an English organ, therefore not in the Spanish style, the flute in XI1 in the built by R.Dallam about 1653, in France, an entire upper register, the presence of Trombe and of the programme of Italian music, using registration Cornetto 4 file (on the necessity of bringing out the certainly not in accordance with Antegnati but as upper voice, see the instructions of Fasolo, who in the Frescobaldi himself would have done at the manual of Aiiiirmle of 1645 advises that the upper part should be organs that were not Italian or, in any case, not of played with the right hand, repeating the suggestion in Lombard manufacture. In Rome the organ of Luca the course of the work), the Voce Umana with reeds in Blasi, built for the jubilee of 1600 in the years 1597-99 the bass, the Musetto and the presence of a bass in St John Lateran, certainly known and played by flautino. However, a careful reading of the Arte Frescobaldi, preserves elements (Trombone 12') that Orgarlica reveals 'anomalous' indications, never much partly lie outside the characteristics of the instrument used by players, of registrations such as XXII to that for years was believed to be the only Italian type. provide a concerto of cornetti or the registrations to The organ of Hermans is certainly anomalous in its provide a double chorus between soprano and bass specifications from the accepted traditional point of with the pedals. This demonstrates that the aesthetic of view but is absolutely in line with the trend of organ- Italian organs was deliberately conceived, for building that we meet in the instruments preserved, for academic reasons, as the antithesis of organ-building example, in Rome and in L'Aquila. The specification, methods North of the Alps as well as being forcibly which reflects a particular attention to the 'concerto' relegated to a limbo of simplicity and aesthetic purity sound, is as follows: that was certainly artificial and did not correspond to Principale, reality in all its many aspects. Ottava, Another important element must be stressed in the xv , present recording of the Forzrasie and Ricercari. It is =, clear that these publications include elements that m, Frescobaldi would use and develop in subsequent XXVI - XXIX - xxxnI works, in particular in the Capricci, certainly the most Musetto soprano 8' important and finished of his compositions, in which Cornetto soprano 4 file the subjects treated in the Faritasie and Ricercari are Flantino basso 1' qualified as ascending and descending hexachords or Flauto 8' as la sol fa re irii (with which Josquin Desprez Flanto in XI1 soprano 2' 213 lamented the debts of Ascanio Sforza). The notes in Trombe basse 8' solmisation of the Faritnsias and Ricercari openly Trombe soprane 8' include the name of the popular melody that is their Voce Umana bassa 4'. ancia origin (Rriggero, Basso Fianieriga). Contrabbassi 16' al pedale The fusion of the forn~sof Faritasia and Ricercare Tastiera di 45 note (Dol-do5) con prima ottava corta. appears clearly in the structure of Frescobaldi's Divisione tra bassi e soprani fa#3lso13. Capricci, where sections in which the theme is Pedaliera scavezza di 9 tasti unita alla tastiera. transformed and expanded in the manner of the 2 Usignoli, Tamburo e Tremolo. Farltasia alternate with others in which counterpoint is The player used to the Italian organ will find quite used in the form of the Ricercare. It is in fact in the anomalous the presence of an eight-foot FIauto and a Preface to the Capricci, which, it will be seen later, are 8.553547-48 4 always issued together with the Ricercari and were of the two melodies of Bach's Qrrodlibet (a term that is perhaps first intended as a second book of Ricercari, synonymous with that of Capriccio) coincides, that the major difficulty appears in relation to the moreover, with that used by Frescobaldi together with Ricercari, a stylistic and performing difficulty the beloved Ruggero in the last Capriccio: borrowed from the Farrtasie: 'In tlrese compositiorrs Bergarnasca and Krairt rrrid Riibe. The last war has called Capricci, I have not kept to a style as easy as deprived us of the copy made by Bach of the Fiori that in nty Ricercari'. The compositional form of the Musicoli, preserved in Berlin (where there exists, Farrtasie influences more directly the Capricci in however, a copy of the Farrtasias made by Bemardo structure: the theme or themes are broadly stated in the Pasquini) but the incontrovertible analogies between opening and then progressively made quicker the Ricercari and the work of Bach show that the latter rhythmically and melodically, given in triplets and very probably had had the chance of knowing the treated chromatically to end in the form of an Alla principal publications of Frescobaldi. The theme of breve in the final section. The technical device of Ricercare IV, in fact, is none other than a very slight augmentation and others employed in some profusion modification of the name of Bach himself: mi re fa sri in the Fantasie are not used as fully in the Capricci in (E D F E = H A C H), while the theme of the last which appear instead (as in the subsequent Car~zorii Ricercare is almost identical with that of the Frrgue in frarrcesi of the Fiori Musrcali) rhythmically free C minor, BWV 871, in The Well-Tentpered Clavier, in clausulae in toccata form that we see borrowed from which - a rare occurrence in the whole work - the the Canzorrifroncesi of the book of Ricercari, in a theme is augmented as Frescobaldi does in a procedure return to the enriched origins of a synthesis of all of which he makes considerable use in the Ricercari compositional experience. and in the Fantasie. The realisation of the polyphonic texture must In Fantasia III of interest is the use in the bass of G seek to bring out the themes through the phrasing, sharp and low E: the extension of the cadence suggests highlighting them with a particularly appropriate toych a short octave (scavem) but with double keys (D as G.B.Fasolo clearly indicates in the preface to his sharp F sharp, E G sharp). organ work Attrerale (Venice, 1645): '. . . grve delight In Fantasia VII the presence of two D sharps at by distinguishing the subjects of the firgrres bars 40 and 44 suggests a keyboard with double keys. [counterpoint] striking the keyboard with a staccato A chromatic-enharmonic archicembalo was built for smoke (di polso battertdolo, accid spicchi); tlris wiN Alfonso 11 (perhaps the Trasuutino preserved in the also be done hr ftrgues [subjects] over the four Museo Civico of Bologna); Bottrigari reports that acco~npa~r~~irigparts'.InRicercari we can see how J.S. Luzzaschi and Frescobaldi played on it 'not without Bach, the last great master of counterpoint,relied, both great study' ('non lofa se non con gra~idestrrdio'). For for ideas and themes, on Frescobaldi's work. The this Fantasia in the present recording the instrument is connections between the two musicians seem to me to tnnedin mean-tone with all sharps. be brought out in the Goldberg Variations, where the In Fantasia VI there is a marvellous technical final Canon, the Qriodlibet,quotes and combines with transformation of the fist theme at bar 46. I have comic and very skilful self-irony, two secular regularised a probable chromatic anomaly at bar 55 melodies, as Frescobaldi himself does in the two and a rhythmic one at bar 60. The syncopated rhythm Capricci at the end of the Fiori Mrtsicali. In particular, at bars 63 and 64, as it were alla francese that in the last of these there is play on his name Girolamo characterizes the endmg (bars 93 and 95) is of interest. with the title of the melody Girornetta-Girolnleta.One In Fantasia VIII the second theme anticipates the 8.553547-48 La Sol Fa Re Mi of the Caprrccr and is stated in th~s Partite 6. This is set in the alto as an ostinato, fom in bars 80 and 81. That Frescobaldi is imitating progressively augmented, passing through a Josquin's joke seems clear in the Fantasia sopra sol la transformation into triplet rhythm of three crotchets, re of the Secondo Libra (a manuscript superbly copied minor and major according to the classification of the in 1649) of his pupil Froberger in which lascia fare mi Capricci. At bar 14 are the notes LA Sol Fa Re Mi (A G is clearly written under each entry. FD E). The whole of Fantasia IXis based on sharps. Ricercare VII has a theme, in the tenor, that is In Fantasia X the second theme anticipates the actually the last part of Rriggero ('e pir) se pi2 si Capriccio on the cuckoo. psore', without the last note), progressively Ricercare II is in three sections with four different augmented. In his Ricercata of the Otta~lotono sopra themes in each. The second and fourth themes are the Rrrggiero in Book I, Trabaci also uses a fragment of the inversion respectively of the first and third, while the song ('siiro alla morte'). first theme of the third section is practically a Ricercare VIII. The prefaces and titles of retrograde version of the second theme of the upper Frescobaldi often seem to justify'the highly critical part of the second section. The fust theme of the fist Doni, who accuses him of being illiterate. In this case section returns constantly in the Capricci and Fiori the misundertanding of the word 'rrscir' is made clear Musicali as the fifth part (see Ricercare M). The third by the lack of the same word in the very concise title of section develops in ascending and descending scales the fust edition: 'ob(b)ligodi riorr rimi di grado', which that anticipate the hexachords of the Capricci. means that in the Ricercare ( the only one in which the Ricercare III has a first theme that is the same as word 'ob(b)ligo' is left) there is no movement by step the first of Fantasia IX. The scheme followed offers hut only by leap. three sections in the first of which the first theme is Ricercare IX has four subjects of which the first is elaborated, in the second the second theme and the another much favoured by Frescohaldi, who was to first, and in the third section aU three themes together. compose a wonderful Capriccio on it and similarly a Ricercare N has an accompanying theme E D F E magnificent Canzona in the Messa della Madonna of (= H A C H), which, slightly modified, suggests the the Fiori Musimli, the Bassa Fiarnerrga. The fourth name of Bach, and very probably served as an theme already contains the idea of the much favoured inspiration to the latter. It is subdivided into three parts theme from the fifth part of the song, present in in which the theme is combined with various Ricercare II and then elaborated in the Capricci and in countersubjects and progressively augmented. In the the Ricercare con obbligo della qsirrta parte of the fust section the theme appears in diminution, while in Messa della Madonna. the second the chromatic countersubject is combined Ricercare X has a theme augmented in the upper with its opposite. part and then stated again in the final part with a Ricercare Vhas three themes, which are presented rhythmic intensification of dramatic effect. The theory in succession in the first section. The first part that Bach took the theme of the Fugue in C minor from elaborates the first theme only and the second and third the second hook of The Well-Tempered Clovier is similarly the other two themes. In the last section the reinforced by the augmentation that is relatively three themes are comhined. infrequent in the two hooks. Ricercare VI has a theme found in the appendix to I am indebted for the study of technical devices to the first book of Toccate (1637). where it appears as the excellent and very fuU preface by Alda BeUasich to Capriccio Fro Jacopkro sopra /'Aria di Rriggero the Snvini- Zerboni edition of the Faritasie. The five admirable Carlzorli Frnrlcesi develop the mixture of genres, the name that replaces that of varied melodic and rhythmic scheme of the theme Ricercore. alternating with duple and triple time episodes ending with toccata-like episodes which, as we have seen from Sergio Vartolo the Fa~ltasie,become characteristic of the Capricci (as in the Canzo~liof the Fiori M~rsicali),justifying in the E~rglish1,ersion by Keith Arzdersor~
Sergio Vartolo
Sergio Vartolo studied music, organ and harpsichord at the Conservatorio di Bologna and graduated from the University of the same city. Since 1970 he has performed throughout Europe as harpsichordist, organist, conductor, stage director and singer. His recordings have been awarded the Preis der Deutschen Schallplattenkritik (Frescobaldi Toccatas), Choc du Monde de la Musique (Frescobaldi Capriccios) and Diapason d'Or (Luzzaschi Madrigals). Until June 1998 he held the post of Maestro di Cappella at the Basilica of S. Petronio in Bologna. He currently teaches harpsichord at the Conservatorio di Venezia.
The present release concludes Sergio Vartolo's recordings for Naxos and Tactus (see http://gfhandel.org~leissa~vartololvartolo.html)of the complete keyboard works of Frescobaldi published in his lifetime. In order of publication these are: I1 Prirrio Libru clelle Frrrltrlsie 1608 Ricercriri e Carlzorli F,uncesi 1615, reissued in 1618 and 1626, 1628, 1642 ( from 1626 together with the Capricci) Toccate e Partite Libro 11615, reissued in 1616,1628, 1637 N Prbso Libro rli Capricci 1624, reissued in 1626,1628,1642 ( from 1626 together with the Ricercori) Toccate Libro 11 1627, reissued in 1637 Fiori M~isicali1635 Girolamo Frescobaldi (1583-1 643) Fantasie 1 Buch Ricercari Canzoni Francesi Wie man es an den Jahreszahlen erkennen kann, rrrodertm, die ihm ubrigens selbst nicht hesonders stammen die Fatrtasie (1608) und die Ricercari (1615) zusage (a ITS. Iron piace tarrto). Mit der Bezeichnung aus den ersten Schaffensjahren Frescobaldis. Die ,,enter Stil" bezieht sich der Verfasser allem Anschein Farrmsie (das Wort ist als Mehrzahl von Furrmsia zu nach auf Frescobaldis Farrtasie, Ricercari und auf die verstehen) sind in Mailand erschienen, nach der Toccaten des ersten Libro di Tuccate aus dem Jahr Ruckkehr Frescobaldis von einem Aufenthalt in 1615. Frescobaldi hat sich allerdings auch der Flandern im Gefolge des Kardinals Bentivoglio. Die galarrterie alla rrrodertra zugewandt, im Anhang zu Sammlung ist Francesco Borghese, Herzog von einem Neudmck des ersten LiDro cli Toccate, der 1637 Regnano und Generaloberer der Heiligen Kirche, erschien - und zwar aus dem Grund, weil er aus zugeeignet, die Widmung tragt das Datum ,,Femra, den Erfahrung gelernt habe, daR dieser Stil zwar weniger 8. November 1608". Die Fatrtasie stellen offensichtlich, gelehrt, aher eben moderner sei, wenn man jedemann so geht zumindest aus der Widmung hervor, prirrre erfreuen will (perch6 corr la sperierrza averd ir!rparato, firticlre (erste Versuche) Frescobaldis dm, die er in Rom che per dar grrsto all'rrrri~~ersaledelle genti, qrresto unternommen hat. Allerdings bezeichnete der alodo 2 pi2 golarrte, berrcl~drrrerro scietrtifico). Komponist auch seine Ricercari als prhno e piccolo DaR die Farrtasie auf dem Cembalo zu spielen sind, parto ~lell'irrgeg~ronrio (ein erster kleiner Teil meines konnte man auch daraus schlieaen, daR im Notenhild schopferischen Talents), zu lesen in seiner Widn~ungan nirgends Haltebogen zu finden sind, sie fehlen auch in Kardinal Aldobrandini. Demselhen Manne hatte Themen, die aus langen Notenwerten bestehen. ubrigens Frescobaldis Lehrer Luzzaschi sein Frescobaldis Titel ,,Vatikanorganist" mag auf anderes Meisterwerk, die A4adrignli a 1, 2 e 3 soprani, hindeuten - bei der Auffiihrung seiner Werke ist das gewidmet, obwohl der Kardinal fur die Zerstorung Cembalo in jedem Fall vorzuziehen (ausfuhrlich Ferraras und somit fur die Vernichtung der hoch erortert in Sergio Vartolo: Girolarrlo Frescobaldi: entwickelten Kultur dieser Stadt verantwortlich war. apprrrrti srrlla nrrrsica per strrrrrretrto a tastiera. In: Frescobaldis Farrtasie waren zur Unterhaltung des Nuova Rivista Musicale Italiana, N (1994), Seiten 620- Widmungstragers gedacht, er wollte Francesco 663). In den Dokumenten aus dieser Zeit werden Borghese, dessen Ohren oftmals geruhten den wiede~holtNamen von Kardinalen im Zusammenhang Komponisten zu ehren (oreccl~isi sotlo degtrati di far mit weltlichen Werksanunlungen erwahnt (besonders pi2 11olte ionore olla 11mrro