Music-selling in seventeenth-century Rome: three ... - Patrizio Barbieri

132 Patrizio Barbierihave also emerged concerning a considerable number of authors unknown to modernrepertories and editions now lost or with scores that were unknown: of theselatter, we should particularly point out several music performances of the Barberiniperiod, such as Chi soffre speri, La Genoinda, S. Bonifazio, Il Sant’Eustacchio by VirgilioMazzocchi, and Il martirio de’ santi Abundio &c by his brother Domenico (§ 2.1).ABBREVIATIONSAS Roma, Archivio di StatoAV Roma, Archivio storico del Vicariato, parish registersI: Appendix I: entry no.II: Appendix II: entry no.III: Appendix III: entry no.inv. 1676 oscar mischiati, Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798,Firenze, Olschki, 1984, pp. 244–263 (inv. Franzini 1676)Inventories (Appendices I, II, III. IV):In the transcription, all supplementary information is indicated in square brackets. Where possible, thecompositions are identified (in some cases, several editions belong to the chronological period considered).If the publishing location is not stated, Venice is inferred. The mark ‘[?]’ means that identificationof the work is not possible, while the sign ‘[*]’ indicates that the composition does not appear in theworks consulted. 4 Unknown or unidentified authors on the other hand are marked ‘[**]’. The mark ‘?’in front of a work or author’s name suggests possible identification. In cases where reading is defective,missing letters have been replaced by dots (e.g.‘Mon…..di’)1. The Franzini’s activity through their inventories: a chronology, 1568–1690The first evidence of the Franzini’s presence in Rome, a family originating fromthe province of Brescia, is found in 1568. 5 The activity of Girolamo – whose bookshopwas located on Via del Pellegrino, the street then favoured by booksellers – goesback at least to 1572. In partnership with Giorgio Ferrari (of Cremona) and DomenicoBasa (from the Veneto), he also managed the Stamperia del Popolo Romano,4. First and foremost, the following RISM repertories: Einzeldrucke vor 1800, ed. by KarlheinzSchlager et al., 11 vols., Kassel, Bärenreiter, 1971–92; Recueils imprimés, XVI e -XVII e siècles, i, ed. by FrançoisLesure, München-Duisburg, G. Henle Verlag, 1960; Écrits imprimés concernant la musique, i-ii, München-Duisburg, G. Henle Verlag, 1971. To these have to be added: robert eitner, Biographisch-BibliographischesQuellen-Lexicon […], 10 vols., Leipzig, Breitkopf & Haertel, 1900–1904; saverio franchi, Drammaturgiaromana, i, Roma, Edizioni di storia e letteratura, 1988; saverio franchi, Annali della stampa musicale romanadei secoli XVI-XVIII […] in collaborazione con Orietta Sartori, i/1, Roma, ibimus, 2006; arnaldomorelli, Alessandro Scarlatti maestro di cappella in Roma ed alcuni suoi oratori. Nuovi documenti, “Note d’archivioper la storia musicale”, ii, 1984, pp. 117–44: 136–139 (Rome, Hospital of S. Giacomo, inventoryof music books, year 1657); giuseppe ottavio pitoni, Notitia de’ contrapuntisti e compositori di musica, ed.Cesarino Ruini, Firenze, Olschki, 1987; cesarino ruini, “Edizioni musicali perdute e musicisti ignotinella Notitia de’ contrapuntisti e compositori di musica di Giuseppe Ottavio Pitoni”, Musicologia humana.Studies in honor of Warren and Ursula Kirkendale, ed. Siegfried Gmeinwieser, David Hiley, Jörg Riedlbauer,Firenze, Olschki, 1994, pp. 417–442; claudio sartori, I libretti italiani a stampa dalle origini al 1800, Cuneo,Bertola & Locatelli, 1990; emil vogel, alfred einstein, françois lesure, claudio sartori, Bibliografiadella musica italiana vocale profana pubblicata dal 1500 al 1700, Pomezia, Staderini-Minkoff, 1977.5. AS, 30 Not. Cap., uff. 33, vol. 17, f. 733v, 22.11.1568: a debt of 17.50 scudi is recorded in favour ofone Cesare de Franzinis of Brescia.