Ĩ.7 The only authenticated portraits of Frescobaldi date from these years and convey the impression of an artist in his prime. His stated price of twelve (Florentine) lire for the Recercari would have equalled something less than two scudi in Roman currency, since in the 1620s one Roman scudo d’oro in oro was valued at 7.5 lire.
Other letters show Frescobaldi selling his publications from his own house. The surviving catalogues of Roman booksellers confirm that “there is no one other than, who sells it as his own work”: the 1621 inventory of the bookseller Giovanni Domenico Franzini contained only Toccate I, while Franzini’s inventory of 1633 (in fact 1625) included nothing by Girolamo. Ĩ.6 From this we can deduce that by three years after its appearance the Recercari was sold out a reprint had been ordered by Frescobaldi and was expected in about a month. I thought that it was to be found at the booksellers’ but there is no one other than he, who sells it as his own work, therefore be patient if you are not obliged at present. John Baptist our protector they will be finished being printed and I will buy it and will send it to you. Frescobaldi also published single sacred and secular vocal works in anthologies issues by Zanetti (1616, 1618), Robletti (1621, ), and Soldi (1625).Ĩ.5 A letter of from Francesco Toscani in Rome to the young Florentine organist Francesco Nigetti (1608-81), brother of Toscani’s wife Alessandra, gives some idea of Frescobaldi’s relations with the Roman music printing industry: This morning I went to find Girolamo Frescobaldi to ask him about the book of ricercari to buy it and to send it I found that he has none of them but all the same he is about to print a quantity of them and he says that the whole book is seventy pages with some figures, in Rome it will cost 12 lire at least from what he told me I believe that after the feast of St. His output increased in the years 1629 until his death in 1637 – never less than four editions per year – for a total of some fifty-four volumes.
A former apprentice of Zannetti, Paolo Masotti, began publishing in 1626. Frescobaldi’s Liber secundus was one of the comparatively few but significant musical publications of Andrea Fei, one of the printers to Paolo Giordano Orsini, Duke of Bracciano. 1627 in the nobles’ ward of the Santo Spirito Ospedale he is credited with some fifty surviving editions. Soldi was active 1615-1625 until his death at Rome on 13 Jan. Zannetti was succeeded by Luca Antonio Soldi, who maintained a shop in the Santo Spirito complex, where Frescobaldi was hospital organist in 1620-1621. Bartolomeo Zannetti succeeded his brother Luigi (+ 1607) and published regularly from then until his own death in Rome, February 1621 some fifty-three editions survive. Between 16, the year of his death, he is credited with one-hundred-nine surviving volumes of music. Ĩ.4 Robletti was “the most prolific and important among the Roman printers publishing music in the first half of the Seicento” (Franchi, 2006, 1650/1). The bibliographer Saverio Franchi has written of the Roman publishers: … figures like Soldi, Robletti and others, were not simple artisans with their own print-shops, but real musical editors, with a specific and at times cultivated competence, and it should be recognized that they shared, with a contribution that was not only material (that too of primary importance), in the flowering of the musical activity of the period.
FRESCOBALDI VS DENEMO PROFESSIONAL
Unlike the first book of toccatas, written in keyboard intavolatura and engraved on copper plates, the Recarcari and the Capricci (1624) were notated in open score or partitura and printed from movable type, a less expensive if less elegant process.Ĩ.3 The appearance of the Recercari marked Frescobaldi’s entry into the world of professional Roman music publishing, as contrasted with the self-published Toccate. Frescobaldi’s return to the service of Cardinal Pietro Aldobrandini may have occasioned the publication of the Recercari and their dedication to the newly-rehabilitated cardinal. He returned there probably in mid-April of 1615, perhaps in time for Easter on 19 April (having been absent for Passion Sunday and Palm Sunday, 5 and 12 April) and did not leave again until late November of 1628.Ĩ.2 The Recercari et canzoni, comprising ten ricercars and five canzonas, was first issued some time in 1615 (Rome: Zannetti) and reprinted in 1618. “The Great Conjunction is the meeting of the two superior planets in the same degree of the firmament.”Ĩ.1 The failure of Frescobaldi’s Mantuan venture bound him more firmly to Rome.
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