Frescobaldi's Rules for the Keyboardist
English Translations from Frescobaldi's Prefaces
Experience and trial are the true masters, not the vanity of the ignorant.
— From the preface to Fiori Musicali
At the end of my interview with Ton Koopman, he mentioned two primary sources from the Baroque that might serve as an introduction for a keyboardist. The first was L'art de toucher le clavecin by François Couperin. For harpsichordists (and pianists) this is required reading. Koopman’s second recommendation, however, was a deeper cut: Frescobaldi’s prefaces to his own music.
An accurate English translation of these priceless paragraphs was hard to find. Koopman mentions the poor translations in Bärenreiter, and the only website I could find where the text is presented in English was— aptly— girolamofrescobaldi.com. Without wishing to detract from Mr. Hammond’s commendable and thorough work on that site—though at times difficult to access and occasionally imprecise—I have undertaken my own translations. A summary follows after the text.
From: Toccate e partite d’intavolatura di cimbalo (Book 1, 1615)
To the reader:
The beginnings of the toccatas should be played adagio1, and the chords should be arpeggiated. As the piece proceeds, attention should be paid to distinguishing the separate sections, taking them more or less strictly according to the character of their effetti2, which becomes apparent in performance.
In rapid passages (doppi) likewise one should proceed slowly, so that they may be articulated more clearly; and in leaps, the final note before the leap should always be resolute, and played quickly.
It is advisable always to pause on the final note of a trill and of other effetti, such as leaps or stepwise motion, even if it be a 16th-note or 32nd-note; and cadences should generally be drawn-out (sostengano) considerably.
In the partitas, a correct proportionate tempo should be taken, and since some contain rapid passages, one should begin with a comfortable beat, as it is not suitable to start fast and then proceed sluggishly; rather, each section should be carried through at the same tempo; and there is no doubt that the perfection of playing consists primarily in understanding the tempi.
From: Toccate e partite d’intavolatura di cimbalo (the 1616 publication. The preface, pictured, expands on similar points made in the earlier print.)
To the reader:
Having recognized how pleasing is the manner of playing with cantabile affect and with variety between sections, it has seemed fitting to present in print the following instructions, offered with the same affection with which I submit these modest labors of mine; declaring that I give precedence to the merit of others, and that I recognize the worth of each individual. May the affection with which I offer this to the diligent student and courteous reader be well received.
Foremost: The manner of playing ought not to be bound to strict beat. As we see in modern madrigals, though they are difficult, they are made easier through the use of a sometimes languid, sometimes swift, tactus —even if it means suspending the beat in the air—according to their affetti, or the sense of the words.3
In the toccatas I have taken care not only that they contain a wealth of diverse sections and affetti, but also that each may be played separately from the others; thus the performer, without being obliged to complete the entire book, may end wherever it best pleases him.4
The openings of the toccatas should be played adagio and with arpeggiation; so too with the suspensions or dissonances, or in the middle of the piece, one may re-strike notes so as not to leave the instrument silent; the performer may resume striking the chords at his discretion.5
On the final note of trills or scalar or leaping passages, a pause should be made—even if the note is an 8th-note, a 16th, or is rhythmically dissimilar to the following one—because such a pause will prevent one passage from being confused with the next.
Cadences, even if written rapidly, must be sustained; and as one approaches the conclusion of a passage or cadence, the tempo should be drawn out more slowly.
The separation and closure of passages occurs when a consonance in both hands appears, written in half-notes. When a trill is in one hand, but the other hand proceeds with passagework, it should not be played matching note for note, but rather the trill should be rapid, and the passagework slower and expressive; otherwise, it would produce confusion.6
When passages of 8ths and 16ths occur simultaneously in both hands, the tempo should not be too fast; and the hand playing 16ths should make them somewhat dotted—not the first, but the second should be dotted, and so forth. Alternating: one: not dotted, the next: dotted.7
Before executing double passages in both hands in 16ths, a pause should be made on the preceding note, even if it is a quick note; then the passage should be played decisively, to display the agility of the hand more effectively.
In the partitas, when there are both passaggi and affetti, it is advisable to take a broad tempo; this should likewise be observed in the toccatas. Other sections, not involving passagework, may be played with a somewhat lively beat, referring the guidance of the tempo to the good taste and refined judgment of the performer— in which lies the spirit and the perfection of this manner and style of playing.
The passacaglias may be played separately, according to the performer’s preference, adjusting the tempo of each section accordingly— and the same applies to the ciacconas.8
From: Il primo libro di capricci (1624)
To the students of this work:
Since performing these pieces may prove laborious for some, with their varied tempi and variations, and since it seems that many have abandoned the practice of reading in open score9, I wish to advise that, in those passages which may not appear governed by the usual rules of counterpoint, one should first seek the affetto of the passage and the composer’s aim regarding the delight of the ear to achieve the manner of playing required.10
In the compositions titled Capricci, I have not employed a style as easy as in my Ricercari, yet the difficulty should not be judged before they are properly practiced on the instrument, where—through study—the appropriate affetto will be recognized. Likewise, having pursued both ease and charm together, I believe it fitting for the performer that, should the works seem fatiguing, one may begin and end at any passage that pleases, provided it concludes in the same key.
Beginnings should be played adagio, to give more spirit and grace to what follows; cadences should be held for some time before proceeding. In tripla (three notes to a beat) or sesquialtera (three notes to two beats) if the meter is broad, they should be taken slowly; if smaller, somewhat more lively.11 If they are in three quarter notes, more lively still; if six over four, give them their due by letting the beat proceed briskly.12
In certain dissonances, it is fitting to pause and arpeggiate, so that the next passage comes out with greater spirit.13
All this I say with all modesty, submitting to the good judgment of learned performers.
From: Fiori Musicali (pictured, 1635)
To the reader:
Having always desired (through the talent God granted me) to bring joy to others with my efforts, especially to those who study this profession, I have always shown my intention through my printed works—tablatures and scores of various inventions and caprices—as a sign of my devoted affection, so that all may see and benefit from my labors.
In this book I will say only that my principal aim is to serve organists, having composed works in styles that may be played in Mass and Vespers, and that those who know how may profit greatly from these compositions.
They will find: Versets, Canzoni, and Cadences; Ricercars (which, if too long, I consider of great value to players); and I encourage not just playing them, but understanding them compositionally. For one must know not only how to play, but to compose in this manner.14 Experience and trial are the true masters, not the vanity of the ignorant.
In the Toccatas, when trills or passages occur, play them adagio, and in certain parts where needed, allegro. In trills and ornaments, proceed slowly, easing into tempo, unless the Toccata requires liveliness— according to the taste of the player.
The beginnings of all Toccatas, whether in common or triple time, should start adagio, then pass into more lively sections as seems appropriate.
In the Kyries, some may be played with a brisk beat, others more slowly—this is left to the judgment of the player.
Other verses, though written for Kyries, may serve different purposes as the performer prefers.
In canti fermi, even if tied over, they should not hinder the hands—they may be broken for convenience, if done with skill.
A summary:
Expressive freedom is the central idea, but finding the proper tempo in which the rhetoric of the affetti speak properly is paramount. This pulse, however, is flexible. He favors expressiveness over precision in technical passages. To me, these tenets imply a great deal of rubato while playing, allowing the melodic shapes to speak in their own time— he refers to the way music is sung. Still, he shares all these rules flexibly, deferring to the good taste of the player before proposing dogma. We recall:
“Break any of these rules sooner than say anything outright barbarous.” -Orwell
I welcome improvements in my translations (you can view the original prints here.) Engraved 17th-century Italian is elaborate, ornate, and often indirect. Many translators have missed or even inverted the intended meaning. Those were my own italics on “experience and trial…” as I can comfortably say that any real understanding of these rules will come from playing (and re-playing) this wonderful music yourself.
Thanks for reading! -e.s.
P.S. Leave your favorite recordings of Frescobaldi in the comments!
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Adagio, etymologically means, ‘at ease’ or, comfortable— not simply, ‘slow.’ Some passages marked adagio may move quite quickly.
Effetti and affetti are not the same in this period, though it is debatable if Frescobaldi intended a difference in these prefaces. Even Hammond, at one point, translates Effetti as Affetti. Effetti refer to ornaments and other ‘effects.’ The Affetti, however, differ from the Passaggi. Passaggi are the virtuosic passagework: runs, arpeggios, et cetera. Affetti are the rhetorical figures, the expressive shapes—indeed the odd melodic shapes— which help form the sentiment of a section.
I have seen this paragraph poorly translated. A bad translation says just the opposite, that these keyboard works should not have a moveable pulse.
The toccatas usually end in the same key as the following one, hence it’s possible to play many back-to-back. Frescobaldi gives his permission to string together your own set.
I have taken great liberty in translating this confusing paragraph. The connoisseur either approves or rejects it. A typical translation is ‘in the middle of the piece, the chords may be struck together’ — batteranno insieme— but this triggers my instincts: one doesn’t usually play chords together on the harpsichord, and there is no reason to do this in the middle of the piece as opposed to the beginning or end. The confusing language aside, the meaning of this passage is probably the freedom to re-strike whichever notes in a chord, be it tied or dissonant with other parts, if the sound is beginning to fade.
I particularly like this point. One is reminded of Mozart and Chopin’s playing: rhythmic freedom between hands, expression over precision.
Swing!
I believe this is Frescobaldi’s permission to play selections, not the entity, of his famous, Cento Partite sopra Passacagli.
This volume is presented in open score, in four separate clefs.
Once more, the affetti dictate the pace of the music. Music for the ‘delight of the ear’ might as well be a musician’s maxim.
No doubt this advice will become practical when working through the music. Hammond, I believe, mistakenly translates ‘broad’ and ‘smaller,’ as ‘major’ and ‘minor.’ The Italian is indeed maggiori and minori but here they refer to meter, not tonality.
I am grateful to the work of Andrew King for providing guidance about tripla and sesquialtera.
Source-based permission to milk the dissonances.
This echoes J.S. Bach’s instructions in his Honest Method, where the playing of the inventions is not the end, but rather, the beginning of one’s own education.
Good catch! I probably had entirety in my inner ear, but certainly meant entity, as I feel like I'm confronting some sort of monster when I play it. ;)
Very interesting, thank you.
I found this wonderful site by Lorenzo Ghielmi also very informative in relation to both Bach and Frescobaldi.
From Frescobaldi to Bach:
https://lorenzoghielmi.com/johann-sebastian-bach-e-girolamo-frescobaldi/