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It contains three organ masses and two secular capriccios. Johann Sebastian Bach was among its admirers, and parts of it were included in the celebrated Gradus ad parnassum, a highly influential treatise by Johann Joseph Fux which was in use even in the 19th century.
Fiori musicali was first published in Venice in , when Frescobaldi was working as organist of St. The fiori musicali bit was not uncommon in the early 17th century, used by composers such as Felice Anerio, Antonio Brunelli, Ercole Porta, Orazio Tarditi, and others.
Before Fiori musicali, Frescobaldi seldom published liturgical music. It appeared only once, in Secondo libro di toccate of ; all other keyboard collections by the master concentrated instead on various secular genres canzonas, capriccios, toccatas, and variations. The organ mass was still in its infancy, and composers seldom published such music. Although 16th-century composers did work on liturgical music, the forms they used were a far cry from 17th-century works.
Each mass includes a number of pieces to be played at key moments before and during the service, and several settings of the first section of the Mass ordinary, Kyrie. Neither theme is known to have any connection to the liturgy, and so the role of these pieces in Fiori musicali is unclear. The chant flows in long note values either in the same voice throughout, accompanied by various counterpoints, or is distributed among voices.
The ricercars include some of the most complex pieces in the collection. The Altro recercar of the second mass has three subjects, presented in separate sections and combined in the final part of the piece. The last ricercar of the collection, Recercar con obligo di cantare of the third mass, is similar, only built on two subjects.
Finally, Recercar con obligo del Basso come apare is built on a single subject, but is particularly important for its extended tonal range, quite rare for the period. The subject always appears transposed: first travelling from C to E, following the circle of fifths, then back to C omitting A , then descending, again by the circle of fifths, to E-flat, and finally, returning to C omitting B-flat.
The canzonas of Fiori musicali are somewhat similar to earlier examples by Frescobaldi, although the free, toccata element is less pronounced here. They are all variation canzonas, i. The Capriccio sopra la Girolmeta is also sectional; Frescobaldi here derives two subjects from the folk tune. From Wikipedia, the free encyclopedia.
Girolamo Frescobaldi Bergamasca (Fiori Musicali)
FRESCOBALDI BERGAMASCA PDF
Bergamasca, F 12.46 (Frescobaldi, Girolamo)