Page 38 - Booklet

Cacciari (p. 322), Franzaroli was supposed to have begun his musical training when still On the basis of this knowledgeable, contemporary description of Franzaroli’s
very young with the “very famous” organ teachers Giovanni Verterchi and Biagio Scacci. accomplishments, the three pieces entitled Arpeggio or Basso (CD 2, Track 2-4)
However, these persons still remain to be identified. demonstrate in an archetypical way the skill of this composer, organist, pedagogue and
expert on Wörle’s masterpiece instrument at Santa Maria Maddalena. They are found in
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Up to now we know neither Franzaroli’s birth date nor his death place – not even the a calligraphic manuscript collection of undoubted 18 -century Italian provenance that
years when these events took place. It has only been determined that in 1700 he was a holds 83 exercise pieces by Franzaroli. This manuscript belongs to the Santini Library in
member of the Caecilian Confraternity in Rome. Since membership in this society was Münster, housed today in the Münster Diocesan Library (shelf mark SANT Hs 1540, see
obligatory for church musicians in Rome, Franzaroli must have already been employed RISM-OPAC, library siglum D-MÜs). The Roman priest Fortunato Santini (1778–1861) had
by a church there at that time. From 1700 to 1709, a certain Ferdinando Franzaroli was compiled a collection of choice examples of Italian music, and this has been located
also a member of this society; perhaps he was Gaetano’s father or another relative. It at Münster since 1862. Although Franzaroli’s Partimenti have the title Bassi Per Bene
is confirmed that, beginning in May 1716, Franzaroli was the organist at Santo Spirito in Accompagnare Al Cembalo, thus indicating the harpsichord, they can be performed
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Sassia (Rione Borgo). In 1737, he was not only the organist, but also worked as a composer just as well on the organ, since keyboard instruments were interchangeable in the 18
at this church. This information is provided by the following libretto title: S. Tomaso century, as long as the compositions were playable on the available instruments. Both
d’Aquino. Cantata a quattro voci posta in musica dal Sig. Gaetano Franzaroli, organista di S. of the Arpeggio pieces are in two sections. They begin in the style of a prelude, and then
Spirito in Sassia […], Rome 1737 (text by Stefano Giansimone, see the copy in the Biblioteca continue immediately with a fugue (although not indicated in the title). The notation
del liceo musicale di Bologna). But, in 1737 Franzaroli also experienced a career change: the is again in skeletal form only, with long passages set over a figured bass line. Thus, the
music ensemble of Santo Spirito in Sassia was closed down, and so he lost his position. indication Arpeggio is to be regarded as a directive to play the notes of the chords in the
The next verification of his activities is to be found in the caption for a drawing that was indicated harmonies not in solid form, but more or less quickly one after the other.
produced by the Roman artist, painter and caricaturist Pier Leone Ghezzi (1674 Rome - 1755
Rome). The complete portrait shows Franzaroli sitting on a stool, teaching music to two Already in 1737, Gaetano Franzaroli had been portrayed in a caricature drawn by Pier Leone
girls. The caption on this picture identifies him as the extraordinarily skilled organist at Ghezzi: the virtuoso musician is depicted wearing a cape and a biretta-like hat. He is
Santa Maria Maddalena, a composer, teacher of a great many pupils, and above all as the standing in front of a harpsichord, with his hands in a delicate playing position and his
incomparable performer of capriccios (“per sonar di capriccio non ha l’eguale”; quotation back turned to the viewer (see the picture in Rostirolla 2001, no. 180).
from Giancarlo Rostirolla, Il “Mondo novo” musicale di Pier Leone Ghezzi, Milan 2001, p. 376;
see no. 261 there for the illustration of this portrait). Further indications point to an acquaintanceship and perhaps even to friendship
between Gaetano Franzaroli and Johann Konrad Wörle, again based on their joint place
of activity. In ca. 1741/42, Wörle built a positive organ (this instrument has not survived)
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