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Girolamo Frescobaldi, the Caravaggio of musical figures
Having had the good fortune from the beginning to study with Luzzasco Luzzaschi, one of the greatest organists of the time in the service of the Duke of Ferrara Alfonso II d'Este, he quickly became a virtuoso of the harpsichord and organ, as testified by Agostino Superbi in a report of 1620 where it can be read that "already in his early youth he played the most remarkable organs of the city and did great things".

Frescobaldi began his career in the service of the noble and wealthy Ferrara Bentivoglio family and in a short time, thanks to Enzo Bentivoglio's relations with the Vatican, he began to be called by the most powerful cardinals and prelates of Rome, holding positions as a musician in the most rich in Italy including Mantua, Ferrara and Florence.

Over time, his fame grew to such an extent that he was called to the Vatican to serve Pope Urban VIII.

Confirming the skill achieved by the Maestro, the seventeenth-century historian Libanori writes that, after hearing him for the first time at the organ of St. Peter's in the Vatican, "the ancient and highly celebrated organists themselves were astonished, and not a few touches of envy ”.

The corpus of works that Frescobaldi wrote during his existence is ponderous: almost all of his compositions were written for the keyboard.

He has published two precious books of Toccate printed on copper plates (Toccate and Partite of tablature of cymbal, Libro Primo - 1616 and Il Secondo Libro di Toccate, Canzone, Versi d'Hinni, Magnificat, Gagliarde, Correnti et other Partite - 1637 ), the First Book of Fantasie a quattro (1608), a book by Ricerche et Canzoni Franzese (1618), the First Book of Caprices made on different Subjects, et Arie (1624), the Musical Flowers (1635), while for ensemble he wrote a book of Madrigals (1608), the First Book of Songs for several voices (1628) and two books of Musical Arias for voice and basso continuo (1630).

He died in 1643 in Rome and his fame was celebrated and passed down through his pupils throughout Italy and Germany for many decades.

His greatest merit was that of having brought "feelings" into keyboard music: in fact at that time the music was mainly composed using very complex and elaborate contrapuntal architectures which, however, brought it to a level of abstraction very far from the sensitivity of common man. Frescobaldi, like his predecessors, used counterpoint to create finely inlaid compositions with wisdom and elegance, but he was the first to combine this type of writing with the world of emotions, those that in the seventeenth century were commonly called "affections".

Drawing a parallel with another great contemporary artist, it can be said that like Caravaggio, pioneer of a new way of using light, Frescobaldi created a new language that was not only perfect from a contrapuntal point of view, but also from an expressive one, using musical figures in an incomparable way. 

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