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autographs, dated 1740, in the Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana. Thus, our recording is based on
in Rome (shelf mark Musica M 24/4, see RISM-OPAC, library siglum I-Rli), and are once first-hand sources.
again in Partimento form. In contrast to the notation of the two anonymous Masses, the
composer’s autograph copy contains rather exact performance instructions for the basic Gaetano Franzaroli (before 1700 - after 1756) occupies a special place in the line of Roman
one-line notation of the versets: Chiti generally writes a melodic bass voice to which he composers and organists at the time of Johann Konrad Wörle. He must have been well
adds relatively rich continuo figures. From the structure of the voice part, it is apparent acquainted with the organ builder for the following reason: in 1735 Wörle had installed
whether a homophonic or a polyphonic texture was intended. At one point, Chiti the new organ at Santa Maria Maddalena in Rome, and he serviced and maintained it
designated an imitative section by a brief two-line notation that also indicated when for the rest of his life. This was the organ – Wörle’s most renowned opus – that Gaetano
the later voice was to enter. However, he mostly used changing clefs for this purpose. The Franzaroli played in ca. 1756, especially on feast days. His playing was admired by many
art of the organist consists in transforming the composer’s intention into a polyphonic listeners. Therefore, it is inconceivable that the organ builder Wörle and the organist at
texture that does justice to the textual content of the verses; to produce attractive music Santa Maria Maddalena did not know each other, or that they had not met on repeated
requires great compositional skill as well as an individual sense of creativity. occasions. We find in the following publication by Pietro Tommaso Cacciari OCarm
(1693–1768) a report not only that Franzaroli was closely attached to Wörle’s organ at
Girolamo Chiti (1679 Siena - 1759 Rome) was a Catholic clergyman whose activities in Santa Maria Maddalena, but also that Franzaroli had already been an excellent organist
Rome can be dated from 1713. After he had served for several years as maestro di cappella in his youth: Della vita virtù e doni sopranaturali del venerabile servo di Dio P. Angiolo Paoli
for the Church of Santa Maria in Aquiro (Rione Colonna), he was appointed as director of Carmelitano [(1642–1720)] dell’Antica Osservanza. Libri III. Con un appendice de’Miracoli
music at the Basilica of San Giovanni in Laterano (St. John Lateran). Chiti remained in this […], Rome 1756, pp. 322–324. One of the miracles of Father Angiolo Paoli OCarm, who
honourable position – which is at most only surpassed by the post of maestro di cappella was beatified in 2010, stands in connection with Gaetano Franzaroli. The latter, as a boy
at St. Peter’s – until the end of his life. Chiti is the author of ca. 3,000 sacred compositions in Rome, is supposed to have spontaneously accompanied a singer on the organ, even
and numerous theoretical treatises. He was a member of the Congregazione dei Musicisti though the singer at first refused to allow this, having doubts about the young player’s
di S. Cecilia (the Caecilian Confraternity of Musicians), served three times between 1720 ability. But Father Angiolo Paoli had trust in Gaetano’s skill and also prayed to Heaven that
and 1737 as Guardiano della sezione dei maestri (section leader of the musical directors), the endeavour might succeed. As a result, the singer relented, and exclaimed afterwards:
and was also Primo cappellano custode della Cappella Corsini (first custodian chaplain “Gaetano mio, quanto sei bravo […]! Tu a gloria di Dio, sei ora il più celebre suonatore
of the Corsini Chapel) at St. John Lateran. Chiti, an outstanding personality in his time, che abbia l’Europa (My Gaetano, you are super [...]! To the Glory of God, you are now the
donated his large music collection, which contained his own works as well as those of greatest [organ] player in Europe).” This wonderful event must have taken place between
other composers, to Cardinal Neri Maria Corsini in 1750. This treasure, later named the 1687, the year when Father Angiolo Paoli came to Rome, and 1720, the year when he died
Fondo Chiti, was transferred via the Biblioteca Corsiniana to its present location, the there. Thus, Franzaroli’s youthful period must also lie within these decades. According to
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