◆ 吉罗拉马·弗雷斯科巴尔迪（Girolamo Frescobaldi ,1583--1643）◆
　
　　吉罗拉马·弗雷斯科巴尔迪是早期意大利巴洛克音乐管风琴作曲家和演奏家。1607年开始在罗马任管风琴师，相传曾有3万人聚集在圣彼得广场聆听他的演奏。

　　从1608年6月被选为罗马圣彼得大教堂管风琴师以后，终生在此职位上从事音乐活动。他的主要创作体裁是管风琴曲与古钢琴曲。

　　他是新管风琴乐派的创立者，其作品被视作复调音乐的典范之作，巴赫也手抄其后期名作《音乐的花束》（1635年出版）进行学习。

　　他的音乐风格特点是，具有戏剧性的创新，大胆采用半音变化而不失逻辑性与结构性。他是首先发展对单一主题创作的新原则的作曲家之一。这个新原则逐渐代替了早期管风琴音乐迅速展示多个主题的手法。对德国（特别是南部）的管风琴学派发展起了重大影响。他对欧洲，特别是德国的管风琴音乐产生了深远的影响。

关于Girolamo Frescobaldi更详细的英文介绍：

　　Student of Luzzaschi, teacher of Froberger, and possibly Kerll, Frescobaldi became organist at Rome's Accademia di Santa Cecilia in 1604 . Following a trip to Brussels (1607-1608) Frescobaldi became organist at St. Peter's, Rome, where he served until his death except for six years in the court of Florence (1628- 1634). Frescobaldi is remembered mainly as a composer of works for harpsichord and organ: toccatas, capriccios, ricercars, fantasias, canzonas. Though not truly a contemporary of J. S. Bach, Frescobaldi (who died 42 years before Bach's birth) was identified by Carl Philipp Emanuel as a composer whose works his father had admired. A copy of Frescobaldi's "Fiori musicali" acquired by Bach in 1714 was lost during World War II.

　　Frescobaldi must be accounted one of the most important keyboard composers of the first half of the 17th century. He was born in Ferrara, where the musical tastes of the ruling duke, Alfonso II d'Este, attracted musicians of great distinction. Moving to Rome at the beginning of the new century, he was under the patronage of Guido Bentivoglio, who took him in 1607 to Brussels, an important centre of keyboard music in the northern European tradition. In 1608 he became organist at St. Peter's in Rome,where he remained until his death, with a brief absence for promised employment in Mantua in 1615 and a subsequent period of six years serving the Medici in Florence.

　　(1583 - 1643). Italian musical composer, was born in I 583 at Ferrara. Little is known of his life except that he studied music under Alessandro Milleville, and owed his first reputation to his beautiful voice.  

　　He was organist at St Peter's in Rome from 1608 to 1628. According to Baini no less than 30,000 people flocked to St Peter's on his first appearance there. On the 20th of November 1628 he went to live in Florence, becoming organist to the duke. From December 1633 to March 1643 he was again organist at St Peter's.

　　But in the last year of his life he was organist in the parish church of San Lorenzo in Monte. He died on the 2nd of March 1644, being buried at Rome in the Church of the Twelve Apostles. Frescobaldi also excelled as a teacher, Frohberger being the most distinguished of his pupils.

　　Frescobaldi's compositions show the consummate art of the early Italian school, and his works for the organ more especially are full of the finest devices of fugal treatment.

　　He also wrote numerous vocal compositions, such as canzone, motets, hymns, &c., a collection of madrigals for five voices (Antwerp, 1608) being among the earliest of his published works

　　弗雷斯科巴尔迪的键盘曲中，经塞戈维亚改编后用吉它演奏的有《咏叹调与变奏》、《意大利风库朗》、《帕萨卡里亚》等。  

　　《咏叹调与变奏》（Aria con Variazioni）为键盘乐器而作的。本曲最早由塞戈维亚改编成吉它独奏曲，定为e小调，4/2拍子。虽然原曲曲名题为“咏叹调”（Aria），但实质上是“帕蒂塔”（partita）。在意大利早期的出版物上，帕蒂塔不是组曲之意，而是指变奏（到十七、十八世纪，帕蒂塔才兼有组曲与一连串变奏这两种词义）。最早的曲名是《弗雷斯科巴尔迪的咏叹调》（Aria detta la Frescobalda）。至于为什么添上自己的名字迄今不详，估计它包含用本人自己创作的主题作的变奏曲之意。本曲的键盘曲乐谱通常附有1至5的顺序号；因此从“主题与变奏”的角度来看，这是由主题与四个变奏组成的乐曲。全曲采用对位法处理，变奏时节奏自由，旋律多采，并不严格保持主题结构的小节数。但是，各个变奏的和声进行基本相同。

　　原曲d小调，它的第二曲（第一变奏）6/4拍子。第三曲（第二变奏）3/2拍子。第四曲（第三变奏）4/2拍子，结构与主题相同。第五曲（第四变奏）6/4拍子，采用明显的复调音乐型的织体定法，比较开朗，悠闲。塞戈维亚的吉它改编曲更改原曲顺序，按原曲的主题、第一变奏、第三变奏、第二变奏、主题（再现）的顺序排列，省去了原曲中的第五曲（第四变奏）。