Influence
Fiori musicali is one of the most influential collections of music in European history. Its contents inspired collections of sacred organ music by Italian composers (Salvatore, Croci and Fasolo), and both the contents and the layout were an influence on Sebastian Anton Scherer's Op.2, Operum musicorum secundum, published in 1664. Also in 1664, Bernardo Storace used a theme from Frescobaldi's Ricercare con l'obbligo di cantare la quinta parte senza tocarla for his triple fugue. Frescobaldi's move from secular to sacred composition was echoed in Johann Caspar Kerll's similar move in his Modulatio organica (1683). Most importantly, Frescobaldi's collection was studied by Henry Purcell and Johann Sebastian Bach (the latter copied the entire work for his own use). Bach's followers and admirers such as Carl Philipp Emanuel Bach, Johann Kirnberger, and Johann Nikolaus Forkel all knew the collection and regarded it highly. Jan Dismas Zelenka arranged parts of Fiori musicali for orchestra. Anton Reicha included a fugue on a theme from Fiori musicali in his experimental 36 Fugues of 1803.
Perhaps most importantly, pieces from Fiori musicali were used as models of the strict style in the highly influential 18th century counterpoint treatise, Gradus ad Parnassum by Johann Joseph Fux. Although Fux evidently held Palestrina in the highest regard, his own sacred a cappella works are more influenced by Frescobaldi's instrumental pieces.
Read more about this topic: Fiori Musicali
Famous quotes containing the word influence:
“Important as fathers are, their influence on children shouldn’t be exaggerated just because they were ignored so long. There is no evidence that there is something especially good about fathers as caretakers. There are no areas where it can be said that fathers must do certain things in order to achieve certain outcomes in children. The same goes for mothers.”
—Michael Lamb (late–20th century)
“The adolescent does not develop her identity and individuality by moving outside her family. She is not triggered by some magic unconscious dynamic whereby she rejects her family in favour of her peers or of a larger society.... She continues to develop in relation to her parents. Her mother continues to have more influence over her than either her father or her friends.”
—Terri Apter (20th century)
“A husband who submits to his wife’s yoke is justly held an object of ridicule. A woman’s influence ought to be entirely concealed.”
—Honoré De Balzac (1799–1850)