Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?
cytuj
pobierz pliki
RIS BIB ENDNOTEWybierz format
RIS BIB ENDNOTEBernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?
Data publikacji: 2020
Kwartalnik Młodych Muzykologów UJ, English Issues, Issue 47 (4/2020), s. 25 - 68
https://doi.org/10.4467/23537094KMMUJ.20.042.13915Autorzy
Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?
The 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.
Source Edition
Pasquini, B., Opere per Tastiera Vol. VI. London, Bl Ms. Add. 31501, I, E. Bellotti, ed. (Il Levante: Latina, 2006).
References
Bach, C.P.E., Versuch über die wahre Art das Clavier zu spielen, part I(1st edn, Christian Friedrich Henning: Berlin, 1753), part II (1st edn, George Ludewig Winter: Berlin, 1762).
Bellotti, E. Porter, B., ‘Pasquini e l’improvvisatione. Un approccio pedagogico’, in A. Carideo, ed., Atti Pasquini Symposium. Convegno Internazionale, Smarano, 27–30 Maggio 2010 (Giunta della Provincia Autonoma di Trento, Assessorato alla Cultura, Rapporti Europei e Cooperazione: Trento, 2012).
Bonaventura, A., Bernardo Pasquini (Società Tipo-Litografica: Ascoli Piceno, 1923).
Borgir, T., The Performance of the Basso Continuo in Italian Baroque Music (University of Rochester Press: Ann Arbor, 1987).
Buelow, G.J., Thorough-Bass Accompaniment According to Johann David Heinichen (University of Nebraska Press: Lincoln–London, 1986).
Cafiero, R., ‘The Early Reception of Neapolitan Partimento Theory in France: A Survey’, Journal of Music Theory, 1 (51), 2007.
Durante, F., Bassi e fughe. Un manuale inedito per riscoprire la vera prassi esecutiva della Scuola napoletana del Settecento, G.A. Pastore, ed. (Armelin: Padova, 2003).
Fellerer, K.G., Der Partimento-Spieler. Übungen im Generalbass-Spiel und in gebundener Improvisation (Breitkopf & Härtel: Leipzig, 1940).
Florimo, F., La scuola musicale di Napoli e i suoi conservatori. Con uno sguardo sulla storia della musica in Italia (Forni: Napoli, 1880).
Gingras, B., ‘Partimento-Fugue in Eighteenth-Century Germany: A Bridge Between Thoroughbass Lesson and Fugal Composition’, Eighteenth-Century Music, 1 (5), 2008.
Gjerdingen, R.O., ed., Monuments of Partimenti, http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/index.htm, accessed 9 June 2019.
Gjerdingen, R.O., Music in the Galant Style (Oxford University Press: New York, 2007).
Händel, G.F., Aufzeichnungen zur Kompositionslehre. Aus den Handschriften im Fitzwilliam Museum Cambridge, A. Mann, ed. (Bärenreiter: Kassel, 1978).
IJzerman, J., Harmony, Counterpoint, Partimento: A New Method Inspired by Old Masters (Oxford University Press: New York, 2018).
Ledbetter, D., ed. and introd., Continuo Playing According to Händel: His Figure Bass Exercises (Clarendon Press: Oxford, 1990).
Moelants, D., ed., Partimento and Continuo Playing in Theory and in Practice (Leuven University Press: Leuven, 2010).
Morelli, A., La virtu in corte. Bernardo Pasquini (1637–1710) (LIM Libreria Italiana Musicale: Lucca, 2016).
Paraschivescu, N., Die Partimenti Giovanni Paisiellos. Wege zu einem praxisbezogenen Verständnis (Schwabe Verlag: Basel, 2019.
Paraschivescu, N., ‘Francesco Durantes Perfidia-Sonate. Ein Schlüssel zum Verständnis der Partimento-Praxis’, Zeitschrift der Gesellschaft für Musiktheorie, 7 (2010).
Renwick, W., The Langloz Manuscript: Fugal Improvisation Through Figured Bass (Oxford University Press: New York, 2001).
Sanguinetti, G., The Art of Partimento: History, Theory, and Practice (Oxford University Press: New York, 2012).
Sanguinetti, G., ‘The Realisation of Partimenti: An Introduction’, Journal of Music Theory, 1 (51), 2007.
Schwenkreis, M., ed., Compendium Improvisation. Fantasieren nach historischen Quellen des 17. und 18. Jahrhunderts (Schwabe Verlag: Basel, 2018).
Stella, G., ‘Partimenti in the Age of Romanticism: Raimondi, Platania, and Boucheron’, Journal of Music Theory, 1 (51), 2007.
Tour, P. van, Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples, Studia Musicologica Upsaliensia (Uppsala Universitet: Uppsala, 2015).
Informacje: Kwartalnik Młodych Muzykologów UJ, English Issues, Issue 47 (4/2020), s. 25 - 68
Typ artykułu: Oryginalny artykuł naukowy
Tytuły:
Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?
Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?
Akademia Muzyczna w Krakowie, Świętego Tomasza 43, 31-027 Kraków
Publikacja: 2020
Status artykułu: Otwarte
Licencja: CC BY-NC-ND
Udział procentowy autorów:
Korekty artykułu:
-Języki publikacji:
AngielskiLiczba wyświetleń: 1118
Liczba pobrań: 1145