(b Zelo Bon Persico, nr Lodi; d Turin, 18 March 1712). Italian composer. He is first heard of in 1688, when he was living in Milan and was appointed maestro di cappella of Turin Cathedral in succession to Giovanni Carisio, with an annual salary of 1586 lire. He also directed the cathedral choir school (where G.A. Giay was among his pupils), and supervised the administration of the Collegio degli Innocenti and the teaching of music there. His numerous extant sacred works show that he was well-versed in polyphony, had a remarkable sense of rhythm and could achieve a degree of nobility.
Anfitrione di Plauto (op, C. Signoretti), Turin, Regio, 1695, lost, collab. A.D. Lignani, lib Turin, Biblioteca reale
M.-T.Bouquet: Musique et musiciens à Turin de 1648 à 1775 (Turin, 1968)
M.-T.Bouquet: Storia del Teatro Regio di Torino, i: Il Teatro di Corte – dalle origini al 1788 (Turin, 1976)
M.-T.Bouquet: Turin et les musiciens de la cour, 1619–1775: Vie quotidienne et production artistique (diss., Paris-Sorbonne, 1987)
Fasolo, Giovanni Battista
(b Asti, nr Turin, c1598; d Sicily, after 1664). Italian composer and organist. Until recently his music has been attributed to two or three different composers of the same name, but it is now known that there was only one composer. Most of the biographical information on him is found in the titles and dedications of his works. A Franciscan friar, he moved to the south of Italy as a young man. He may have been in Rome between 1627 and 1629; his two collections of arias were published there during this period. After possibly spending some time in Naples he was back in Rome in 1647, when he was named among the pulsatores organorum who accompanied the work of the General Chapter. In 1648 and 1649 he was magister musices of the convent of Santi Apostoli there, but between 1649 and 1652 he had moved to Sicily, where he held the post of maestro di cappellato the Archbishop of Monreale, near Palermo, from 1659 until 1664. However, he must have been in Sicily before this period as he dedicated his Annuale of 1645 to the Prince of Paternò in eastern Sicily.
Both sacred and secular music by Fasolo survives. Of his sacred music, the Annuale, widely known in Italy and Europe, was designed to provide a parish organist with enough responses and independent organ pieces to carry him through the ecclesiastical year. It contains versicles for the Te Deum, 19 hymns, three masses, a Salve regina, and eight settings of the Magnificat as well as eight ricercares (called ricercate), eight canzonas and four fugues. The cyclical presentation of instrumental works based on cantus firmi was then unusual in Italy, although annuals of sacred vocal music had been in fashion earlier in the century. Fasolo’s long preface provides useful information on current trends in organ performing practice. Fasolo set his own texts in his Arie spirituali, which are in the widely current concertato style. This collection mentions religious dramas set to music by Fasolo and performed in Palermo, but the music has been lost.
Fasolo’s earliest printed collections are of secular arias for voice and guitar. The first of these, La barchetta passaggiera, is now lost but a copy was in the possession of Oscar Chilesotti in the early 1900s. The title-page was missing and had been replaced with the handwritten title Misticanza di vigna alla bergamasca. This is, in fact, just the title of the first aria, but it convinced Chilesotti that the composer was a native of Bergamo and therefore a different composer from the Fasolo ‘d’Asti’. Chilesotti left transcriptions of almost the entire collection of arias and these have now been published. Vogel had access to the print in Chilesotti’s possession and wrote that it contained 21 arias. However, a manuscript copy extant at the home of Chilesotti’s descendants in Bassano contains only 18 arias. The first aria, ‘Misticanza di vigna alla bergamasca’, is a comic composition where the characters sing in several foreign languages and various Italian dialects. The other arias set literary texts, two by Chiabrera, one by Guarini. The dialogue in Fasolo’s second collection of secular arias, Il carro di Madama Lucia, follows the usage of the commedia dell’arte, beginning with the lament of Lucia. The resemblances with Francesco Manelli’s Luciata, published in his Musiche varie, op.4 (Venice, 1636), and particularly the shared text of the first piece in each collection, caused some to believe that Fasolo and Manelli were the same person.
Motetti, 2–3vv, con una messa, 3vv [voci pari], bc (org), libro secondo, op.6 (Naples, 1635)
Annuale che contiene tutto quello, che deve far un organista per rispondere al choro tutto l’anno, op.8 (Venice, 1645); ed. R. Walter (Heidelberg, 1965–)
Arie spirituali morali, e indifferenti, 2–3vv … nel fine alcuni dialoghi, 3vv … e due arie, 1v, bc, 2 vn, op.9 (Palermo, 1659)
Magnificat, Beatus vir, 5vv, 16451
Orats, all perf at Palermo, music lost: Il Costantino (P. Corsetto), 1653; L’Amazon d’innocenza, 1656; Il mondo vilipeso, 1657; Da la città felice, 1660; L’Empireo festeggiante, 1661; L’esequie di Santa Rosalia, 1664
La barchetta passaggiera di diversi sonatori e cantori, 1–3vv, gui, op.3 (Rome, 1627), facs. of a MS transcr. by O. Chilesotti (Lucca, 1994)
Il carro di Madama Lucia, et una serenata in lingua lombarda … et altre arie, e correnti francese, 1–3vv, gui (Rome, 1628)
E.Ferrari-Barassi: ‘La Luciata di Francesco Manelli: considerazioni su una perduta stampa della Biblioteca municipale di Breslavia, l'esemplare di un manoscritto berlinese e un componimento del Fasolo’, Quadrivium, ix (1970), 211–42
F.Luisi: ‘“Il carro di Madama Lucia et una serenata in lingua lombarda”: note sull’attribuzione definitiva a Giovanni Battista Fasolo’, Seicento inesplorato: Lenno, nr Como 1989, 481–96
M.Donà: Foreward to Giovan Battista Fasolo e la ‘Barchetta Passaggiera’ (Lucca, 1994)
C.Bacciagaluppi: ‘G.B. Fasolo “Fenice de' musici ingegni”’ Rivista internazionale di musica sacra, xix/2 (1998), 5–66