Page:Pratt - The history of music (1907).djvu/230

 '''104. Italian Organists.'''—After 1600 the number of competent players rapidly increased and their equipment became more varied, since both the capacity of the instrument and interest in its music were developing. As styles of writing became better defined, its dignity, with its aptitude for intricate part-writing and for tonal variety, was more appreciated. Gradually the stiff effects of the earlier period were softened by more real melody and a richer harmony, and decorative elements were gradually reduced from undue prominence.

In Italy the leadership plainly fell to Frescobaldi of Rome, one of the noblest geniuses of organ-history, whose influence was widely felt. His works were many and diversified. While adhering to the old modes in ritual pieces, he was enterprising with modern tonality elsewhere. His use of chromatics and modulation was often free, implying the existence of unusually advanced tuning. He discarded the real for the tonal fugue, and revived effective double counterpoint. His pieces abound in technical difficulties, but subordinated to a firm general conception. His style often has an energy and even impetuosity that betokens an absolute mastery of his materials.

Besides Agazzari, Cifra and Ugolini of the Roman school and Banchieri and Bassani of Bologna (see secs. 93-94), the following are notable:—

Girolamo Diruta (d. after 1612), pupil of Merulo and organist from 1597 at Chioggia and from 1609 at Gubbio, besides being a good player and composer, edited an important organ-book (1593-1609), in which, besides valuable specimens of works by several hands, the organ style is for the first time extended to other instruments.

At Ferrara was Alexandre Milleville (d. 1589), French by birth, from 1544 at Modena and from 1575 at Ferrara, with his son Francesco. Antonio Mortaro (d. 1619), successively at Milan, Novara and Brescia, wrote good canzone, etc. (from 1599). Giovanni Paolo Cima of Milan (works from 1606), and his brother Andrea Cima of Milan and Bergamo, a famous player, now known only by vocal works (from 1614), are also noteworthy.

Girolamo Frescobaldi (d. 1644), born at Ferrara in 1583 and a pupil of Luzzaschi, probably began his career at Antwerp, but from 1608 was organist at St. Peter's in Rome, except for brief sojourns at Mantua in 1614-5 and as court-organist at Florence in 1628-33. His playing attracted great admiration, and his works (from 1608) include every variety of form already named, with partite (variations), preludes and dances, many of them meant for either the organ or the clavichord. They are written in the prevalent notation for the latter (a 6-line staff for the right hand and an 8-line for the left), with comparatively little use of the pedals. Among his greater pupils were the Germans Froberger and Tunder.