Joanna Solecka
Kwartalnik Młodych Muzykologów UJ, Issue 47 (4/2020), English Issues, s. 25 - 68
https://doi.org/10.4467/23537094KMMUJ.20.042.13915The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 mm. I and II. This material may serve as encouragement for further studies and performance of these works. They are worthy of becoming part of staple concert repertoires.
Joanna Solecka
Kwartalnik Młodych Muzykologów UJ, Numer 43 (4/2019), 2019, s. 5 - 60
https://doi.org/10.4467/23537094KMMUJ.19.013.11534Partimenti 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).
Joanna Solecka
Kwartalnik Młodych Muzykologów UJ, Numer 41 (2/2019), 2019, s. 23 - 42
https://doi.org/10.4467/23537094KMMUJ.19.005.10812Partimento – Practice or Art?
Partimento practice originated in Italy and the most important centre of this art was Naples. In general, partimento is a kind of an abbreviated form of musical notation. It uses the notation of basso continuo: it provides one voice, which in most cases is the bass part supported with figures of b.c. notation. The figures may be neglected if the performer is supposed to follow the so-called rule of the octave. Practicing partimento was a way to master compositional skills: thorough bass, harmony, counterpoint, form, texture, motivic coherence. Practicing this art was rewarded with an unparalleled fluency in improvisation on keyboard instruments. It was the basic method of composition teaching at the famous conservatories in Naples. The conservatories were founded in the 16th century as orphanages but from the 17th century onward they turned into important professional schools of music. The students of the conservatories attained the highest degree of musical knowledge enabling them to pursue great careers as composers and performers (both in the vocal and instrumental realm) in Italy and abroad. Besides Naples the art of partimento was taught in other Italian cities, e.g. Rome and Bologna. Its influence was also seen in other countries, mostly in Germany.
Besides being exercises, the partimento notation was also included in pieces of music not necessarily intended for teaching purposes. Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti; however, he did not use the word “partimento”. His works for one or two keyboards, written as b.c., were called by him for example “basso”, “basso continuo”, “sonata”, “versetto”. An interesting question nowadays is if partimento is an old-fashion method of teaching or an inspiration for artists seeking for individual ways of own expression.
Joanna Solecka
Kwartalnik Młodych Muzykologów UJ, Numer 47 (4/2020), 2020, s. 27 - 69
https://doi.org/10.4467/23537094KMMUJ.20.017.13203Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini: A Simple Entertainment or an Elaborate Charade?