%0 Journal Article
%T Partimenti Bernarda Pasquiniego – studium realizacji wybranych Bassi ze zbioru Sonate per uno o due Cembali con il basso cifrato
%A Solecka, Joanna
%J Kwartalnik Młodych Muzykologów UJ
%V 2019
%R 10.4467/23537094KMMUJ.19.013.11534
%N Numer 43 (4/2019)
%P 5-60
%K Bernardo Pasquini, partimento, basso continuo, harpsichord, fugue
%@ 2956-4107
%D 2019
%U https://ejournals.eu/czasopismo/kmmuj/artykul/partimenti-bernarda-pasquiniego-studium-realizacji-wybranych-bassi-ze-zbioru-sonate-per-uno-o-due-cembali-con-il-basso-cifrato
%X 
	Partimenti by Bernardo Pasquini – Realisation of Selected Bassi from Sonate per uno o due Cembali con il basso cifrato

	
	Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti, albeit he did not use the word “partimento”. He titled his works for one or two keyboards, written in the form of basso continuo, as Basso, Basso continuo, Sonata, Versetto etc. One of his manuscripts that include partimenti, entitled Sonate per uno o due Cembali con il basso cifrato, is held in the British Library of London, under the signature number Ms. Add. 31501, I. Two works from this collection, Basso Continuo [II] and [Basso IV], are realised by the Author as fully composed pieces and presented below. The realisation of these Partimenti intends to engage a polyphonic texture according to the rules of basso continuo and counterpoint adequate to the aesthetics and techniques of the music from the Baroque era. Realisations represent different genres of instrumental music of the 18th century, they apply counterpoint (fugue, fughetta and imitation texture) or freer techniques (figurative sonata, polyphonic fantasia).