The Partimenti of Giovanni Paisiello: Pedagogy and Practice 164825036X, 9781648250361

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The Partimenti of Giovanni Paisiello

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Eastman Studies in Music Ralph P. Locke, Senior Editor Eastman School of Music Additional Titles of Interest The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical “Period” Stephanie D. Vial The Career of an Eighteenth-Century Kapellmeister: The Life and Music of Antonio Rosetti (ca. 1750–1792) Sterling E. Murray Consuming Music: Individuals, Institutions, Communities, 1730–1830 Edited by Emily H. Green and Catherine Mayes Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn Irving Godt Edited with contributions by John A. Rice The Music of Carl Philipp Emanuel Bach David Schulenberg The Music of Wilhelm Friedemann Bach David Schulenberg Pierre Cochereau: Organist of Notre-Dame Anthony Hammond Songs without Words: Keyboard Arrangements of Vocal Music in England, 1560–1760 Sandra Mangsen Tempo and Tactus in the German Baroque Julia Dokter Widor on Organ Performance Practice and Technique John R. Near A complete list of titles in the Eastman Studies in Music series may be found on our website, www.urpress.com.

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The Partimenti of Giovanni Paisiello

Pedagogy and Practice

Nicoleta Paraschivescu Translated by Chris Walton

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Translation copyright © 2022 Chris Walton All rights reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2022 University of Rochester Press 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.urpress.com and Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com Originally published in German as Die Partimenti Giovanni Paisiellos. Wege zu einem praxisbezogenen Verständnis, Schwabe Verlag Basel Berlin. www.schwabe.ch. © 2019 by Nicoleta Paraschivescu. ISBN-13: 978-1-64825-036-1 (hardback) ISBN-13: 978-1-80010-547-8 (ePDF) ISSN: 1071-9989 Library of Congress Cataloging-in-Publication Data Names: Paraschivescu, Nicoleta, author. | Walton, Chris, translator. Title: The partimenti of Giovanni Paisiello : pedagogy and practice / Nicoleta Paraschivescu ; translated by Chris Walton. Other titles: Partimenti Giovanni Paisiellos. English | Eastman studies in music ; 184. Description: Rochester : University of Rochester Press, 2022. | Series: Eastman studies in music, 10719989 ; 184 | Includes bibliographical references and index. Identifiers: LCCN 2022007205 (print) | LCCN 2022007206 (ebook) | ISBN 9781648250361 (hardback) | ISBN 9781800105478 (ebook other) Subjects: LCSH: Paisiello, Giovanni, 1740–1816—Criticism and interpretation. | Partimenti. Classification: LCC ML410.P14 P3713 2022 (print) | LCC ML410.P14 (ebook) | DDC 780.92—dc23 LC record available at https://lccn.loc.gov/2022007205 LC ebook record available at https://lccn.loc.gov/2022007206 A catalog record for this title is available from the British Library. Cover image: Posillipo with the Palazzo Don’Anna. Gaspar van Wittel. Photo © Compton Verney, Warwickshire, UK. Cover design: riverdesignbooks.com

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Contents List of Illustrations

vii

Preface and Acknowledgments

ix

Abbreviations xi Preliminary Remarks

xiii

Introduction 1 1 Giovanni Paisiello, Composer and Teacher

11

2 The Sources

38

3 Instruction at the Conservatories

44

4 Paisiello’s Regole (1782)

63

5 Practical Examples from Paisiello’s Circle

94

6 The Practical Application of Partimenti Today

121

Afterword 135 Appendix 1. Incipits and Sources for the Partimenti of Giovanni Paisiello 139 Appendix 2. Concordance for the Sources of Giovanni Paisiello’s Partimenti 153 Appendix 3. Disposizioni à 2 and Disposizioni à 3 on Partimento Gj2319 by Giovanni Paisiello

157

Appendix 4. Partimenti from Giovanni Paisiello’s Regole (1782) 165 Appendix 5. Historical Realizations of Partimenti by Francesco Durante from The Vessella Manuscript and The Gallipoli Manuscript 179 Appendix 6. “Preludio” and “Rondò” in B-flat major by Giovanni Paisiello, Both in the Original Version and in a Suggested Variation by This Author 183

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Appendix 7. Emanuele Imbimbo: Observations sur l’enseignement mutuel (1821) 201 Appendix 8. A Solfeggio Attributed to Giovanni Paisiello in Its Original Version and with a Varied Upper Voice by This Author

207

Appendix 9. Giovanni Paisiello, Regole per bene accompagnare il Partimento, St. Petersburg, 1782

213

Appendix 10. Newly Discovered Partimenti by Giovanni Paisiello 267 Bibliography 291 Index 303

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Illustrations 1

Étienne Giraud, Vue de la ville de Naples du côte de Chiaja comencant depuis le Tombeau De Virgile jusqu’au Château De L’œuf 1771; reproduction from: Cesare De Seta (ed.), Napoli nel Settecento e le vedute di Étienne Giraud, Milan: Edizioni il Polifilo 1977

xiv

2

Giovanni Paisiello, Regole (1782) (US-Cn Case 7Q100), title page, with kind permission of the Newberry Library, Chicago

4

3

Giovanni Paisiello, “Raccolta” (1783) (A-Wn Mus. Hs.12742), p. 32, “Preludio” in B-flat major, with kind permission of the Austrian National Library, Vienna

5

Giovanni Paisiello, Regole (1782) (US-Cn Case 7Q100), p. 38, Partimento Gj2330, with kind permission of the Newberry Library, Chicago

5

4

5

Giovanni Paisiello, Sinfonia from the opera Il barbiere di Seviglia [sic] (printed in ca. 1798) in the Giornale Musicale del Teatro italiano di St. Pietroburgo. Private collection 20

6

Francesco Durante, partimento manuscript (D-MÜs SANT Hs. 1428), folio 2v, with kind permission of the Diözesanbibliothek, Münster 30

7

Francesco Durante, “Maniera Dà ben suonare il Cembalo” (I-Nc M.S. 1897, olim 22.1.20/1), title page, with kind permission of the Biblioteca del Conservatorio San Pietro a Majella, Naples 31

8

Fedele Fenaroli, Regole Musicali Per I Principianti Di Cembalo Nel Sonar Co I Numeri, E Per I Principianti Di Contropunto, Naples 1814, title page. Private collection

34

Étienne Giraud, Vue du palais du Roy de Naples Architecture du célèbre Dominique Fontaine, 1771; reproduction after: Cesare de Seta (ed.), Napoli nel Settecento e le vedute di Étienne Giraud, Milan: Edizioni il Polifilo 1977

43

9

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viii  ❧  illustrations

10

Giovanni Paisiello, Motet Astra coeli scintillate, Naples 1762 (D-HVs Kestner no. 27), with kind permission of the Stadtbibliothek Hannover. Kestner Collection

52

11

Giovanni Paisiello, Regole (1782) (RUS-SPk XVIII-I/P-149), p. 8, with kind permission of the State Conservatory, Research Music Library, St. Petersburg 67

12

Giovanni Paisiello, Regole (1782) (RUS-SPk XVIII-I/P-149), p. 22, with kind permission of the State Conservatory, Research Music Library, St. Petersburg

79

13

Francesco Durante, “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante,” Naples 1754 (F-Prousset), title page. Private collection 96

14

Pietro Pulli, “Solfeggi Del Sig:r Pietro Pulli” (D-MÜs SANT Hs. 3351), title page, with kind permission of the Diözesanbibliothek, Münster

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109

Preface and Acknowledgments It was during my studies at the Schola Cantorum Basiliensis when I first came in contact with the partimenti of Francesco Durante. I wrote my master’s thesis on the sources of his partimenti, and this, in turn, opened the door to a world hitherto unknown to me, particularly to the fascinating cultural environment of the historical city of Naples and its conservatories. This master’s thesis then led me to undertake further research. The fact that I later chose Giovanni Paisiello as the topic of my doctoral thesis was in part due to his links to Francesco Durante and in part a result of my own love for the music of the galant style. I had long been intrigued by what is not actually written in the notes themselves but what was common currency in the music of the time. My research has been enriched by encounters with many wonderful people, to whom I would like to express my thanks here. My two maestri, Robert O. Gjerdingen (Chicago) and Enrico Baiano (Naples), generously shared their knowledge and inspired my own work. My organ teachers Ursula Philippi and Jean-Claude Zehnder, and harpsichord teacher Andrea Marcon, have helped me grow as a musician and always supported and encouraged me. I studied my first partimenti under Rudolf Lutz at the Schola Cantorum Basiliensis. I am also grateful to Ton Koopman and Frans de Ruiter, the supervisors of my research in the docARTES program. I owe special thanks to my colleague and good friend Peter van Tour (Örebro), who kindly put his partimento database and manuscripts at my disposal. My dialogue with him contributed significantly to my work. Giorgio Sanguinetti (Rome), Anthony R. DelDonna (Washington, DC), Nicholas Baragwanath (Nottingham), and Ewald Demeyere (Brussels) were always willing to answer my questions. Christophe Rousset (Paris) and Maxim Serebrennikov (St. Petersburg) kindly provided access to some remarkable manuscripts. I am thankful to Thomas Drescher and Martin Kirnbauer for facilitating the inclusion of the German version of this book in the Scripta series of

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x  ❧  preface and acknowledgments

the Schola Cantorum Basiliensis, published by Schwabe Verlag. I am also grateful to Thomas Hirt and Schwabe Verlag for allowing me to publish this revised English translation of my book. I would like to acknowledge Annemarie Kaufmann and Folker Froebe for their assistance and patience in editing the original German text of this book. Rainer Lüönd provided much-needed help in transferring the music examples from often barely legible manuscripts into modern notation. Special thanks go to Chris Walton for the English translation and to Petya Kaltchev for her editorial work. The Prize of the hibou-Foundation enabled me to release a CD recording of the partimento realizations given in the appendices at the end of this book. The disc includes additional partimenti by Giovanni Paisiello, Francesco Durante, and Giuseppe Dol, along with assorted works by Paisiello for violin and harpsichord. I was thereby able to make these works accessible to a broader public for the first time. This CD, Partimenti napoletani, was released by Sony (DHM) in 2018 (for additional information, please go to www.partimenti.ch). My work was also aided by many other friends, in particular my Swiss “parents” Ruth and Erich Thommen, along with Annemarie and Christian Kaufmann and Max E. Hauck. But my biggest thanks go to my parents, my husband Noel Thomas, and our children Valeria and Robert for their patience, help, and unceasing support over many years; to them, I owe my heartfelt gratitude. Basel, August, 2022

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Abbreviations Archives and Libraries A-Wgm

Vienna, Bibliothek der Gesellschaft der Musikfreunde in Wien

A-Wn

Vienna, Österreichische Nationalbibliothek, Musiksammlung

B-Bc

Brussels, Bibliothèque du Conservatoire royal de musique

B-Lc

Liège, Bibliothèque du Conservatoire royal de musique

CH-Bu

Basel, Öffentliche Bibliothek der Universität Basel

CH-Gc

Geneva, Bibliothèque du Conservatoire de Musique

CH-N

Neuchâtel, Bibliothèque publique et universitaire

D-B

Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Musikabteilung

D-HVs

Hannover, Stadtbibliothek, Musikabteilung

D-MÜs

Münster, Diözesanbibliothek, Santini-Sammlung

D-Rtt

Regensburg, Fürst Thurn und Taxis Hofbibliothek und Zentralarchiv

F-Pn

Paris, Bibliothèque nationale de France

F-Prousset

Paris, The Rousset Collection

GB-Cfm

Cambridge, The Fitzwilliam Museum Reference Library

GB-Lbl

London, British Library

GB-Lcm

London, Royal College of Music

I-Bc

Bologna, Museo internazionale e biblioteca della musica di Bologna

I-Btagliavini

Bologna, Biblioteca privata Luigi Ferdinando Tagliavini

I-Fc

Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini

I-GALc

Gallipoli, Biblioteca Comunale di Gallipoli

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xii  ❧  abbreviations I-Gl

Genoa, Biblioteca del Conservatorio di Musica Niccolò Paganini

I-LEpastore

Lecce, Biblioteca privata Giuseppe A. Pastore

I-Mc

Milan, Biblioteca del Conservatorio Statale di Musica Giuseppe Verdi

I-MC

Montecassino, Biblioteca Statale del Monumento Nazionale

I-MOe

Modena, Biblioteca Estense Universitaria

I-Nc

Naples, Biblioteca del Conservatorio di Musica San Pietro a Majella

I-OS

Ostiglia, Fondo musicale Giuseppe Greggiati

I-PAc

Parma, Biblioteca Palatina, Sezione Musicale

I-PESc

Pesaro, Biblioteca del Conservatorio Statale di Musica Gioachino Rossini

I-Ria

Rome, Biblioteca dell’Istituto di Archeologia e Storia dell’Arte

I-Rsc

Rome, Biblioteca Musicale Governativa del Conservatorio Santa Cecilia

I-Vc

Venice, Biblioteca del Conservatorio di Musica Benedetto Marcello

M-Vnl

Valletta, National Library of Malta

RUS-Mcm

Moscow, The Glinka National Museum Consortium of Musical Culture

RUS-SPk

St. Petersburg, State Conservatory, Research Music Library

US-Cn

Chicago, The Newberry Library

US-Eu

Evanston, Northwestern University Library

Additional Abbreviations Gj

after Robert O. Gjerdingen

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Preliminary Remarks Terms and Titles The terms partimenti, solfeggi, disposizioni, and intavolature are given in Roman type; terms such as partimenti diminuiti and solfeggi diminuiti are in italics. The titles of sources extant only as manuscripts are in quotation marks, whereas published sources are italicized. The titles of Paisiello’s operas vary considerably from one source to the other; the ones used in this book are taken from Michael Robinson’s Giovanni Paisiello, A Thematic Catalogue of His Works (1991). Titles of operas and motets are presented in italics.

Translations Foreign-language quotations are presented in English in the main text and in their original language and orthography in the footnotes.

Music examples Clefs no longer in common use have been replaced with modern clefs. Altered and added accidentals are enclosed in parentheses; corrected or suggested pitches are given in a smaller typeface. Added slurs and ties are written as dotted lines.

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Figure 1. Étienne Giraud, Vue de la ville de Naples du côte de Chiaja comencant depuis le Tombeau

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De Virgile jusqu’au Château De L’œuf, 1771

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Introduction Naples is a paradise: in it, everyone lives in a sort of intoxicated self-forgetfulness. It is even so with me: I scarcely know myself; I seem to myself quite an altered man. —Johann Wolfgang von Goethe, Italian Journey, 1787

In the late eighteenth century, Naples was one of the four largest cities in Europe, surpassed only by London, Paris, and Constantinople.1 It played a leading role not only in the musical life of Italy but of Europe as a whole.2 The principal genre of artistic cultivation in Naples remained opera, which was prominent in courtly entertainment, and contributed significantly to the court’s prestige. For skilled composers, singers, and musicians, opera paved the way to fame, financial success, and an attractive tenure in the employ of royalty. Naples had four opera houses and a small theater that was constructed within the royal palace in 1768. The performance venue for opera seria was the Teatro di San Carlo, which opened in 1737 to replace the older Teatro di San Bartolomeo. It enjoyed a unique status at the time due to its size in comparison to other buildings and its proximity to the royal palace. The four opera houses, in which mainly opera buffa was performed, also contributed to the richly varied musical life of Naples: the Teatro dei Fiorentini, the Teatro Nuovo, the Teatro del Fondo, and the Teatro San Ferdinando.3 The musical primacy of Naples was further enhanced by four conservatories, public and private performance venues, and by the broad support of

1 Villinger, “Mi vuoi tu corbellar”: Die opere buffe von Giovanni Paisiello. Analysen und Interpretationen, 26. 2 Robinson, “The Governors’ Minutes of the Conservatory S. Maria di Loreto, Naples,” 1–97; Cotticelli and Maione, eds., Musik und Theater in Neapel im 18. Jahrhundert. 3 Florimo, La scuola musicale di Napoli e i suoi conservatorii, vol. 4, 33–106; Robinson, Naples and Neapolitan Opera; Cotticelli and Maione, Onesto divertimento, ed allegria de’ popoli.

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2  ❧  introduction

ecclesiastical and aristocratic institutions. Their interaction created an environment in which a significant musical culture could flourish.4 Many famous opera composers, singers, and musicians completed their training at the conservatories of Naples. One such individual was Giovanni Paisiello (1740–1816), who was among the most important opera composers of the eighteenth century. His dramas were performed throughout Europe, and his style influenced many other composers. He attained distinction as a maestro di cappella (director of music) and composer at the most influential European courts, including those of Napoleon Bonaparte in Paris, Ferdinand IV in Naples, and Joseph II in Vienna. From 1776 to 1783, he was maestro di cappella at the court of Catherine the Great in St. Petersburg, where he also taught the Grand Duchess Maria Feodorovna. His collection “Raccolta di Varij Rondeaux e Capricci”—forty-three pieces for harpsichord with violin accompaniment—was composed in 1783.5 Together with his Regole (rules for harpsichordists), which were printed in 1782, they provide an insight into the musical life of the Russian court at the time.6 If we look at the most distinct social groups from eighteenth-century courtly life, we can identify two different worlds. The first was characterized by a growing middle class that whiled away its time with education, art, and travel. Important books and treatises were written for these affluent “connoisseurs and amateurs” or “dilettanti,” remaining influential to the present day, such as the instrumental methods by Johann Joachim Quantz, Carl Philipp Emanuel Bach, and Leopold Mozart. The second world was dominated by craftsmen and artisans (in this case, musicians like Paisiello and his contemporaries) who learned their craft from early childhood onward by reproducing and internalizing models provided by their teachers.7 Of these two contrasting worlds—the financially secure world of the art-loving amateurs and the much larger world of professional craftsmen—the second was home to the musicians who acquired their expertise at the conservatories 4 DelDonna, Opera, Theatrical Culture and Society in Late Eighteenth-Century Naples, 10. 5 This collection comprises two volumes: “Libro Primo [Secondo] Raccolta di Varij Rondeaux, e Capricci col l’Accompagnamento di Violino, per il Piano, e Forte, o Clavicemballo Composte Espressamente Per S:A:I: La Gran Duchessa di Tutte le Russie Dal Sig: Giovani Paisiello Maestro di Capella all’Atual Servizio di S.M.I. L’Imperatrice Catterina II:da 1783” (A-Wn Mus.Hs. 12742). 6 Paisiello, Regole (1782). 7 Gjerdingen, “The Perfection of Craft Training in the Neapolitan Conservatories,” 29–54.

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introduction  ❧ 3

of Naples. An orphan or a fee-paying student who received his training there could hardly afford to purchase a printed book. So, if we are to immerse ourselves in the world of the eighteenth century, it is necessary not only to study the published literature of the time, but also to try to understand its non-verbal teaching traditions. For each printed page of Carl Philipp Emanuel Bach’s Versuch über die wahre Art das Clavier zu spielen, which was written for “connoisseurs and amateurs,” there are countless solfeggio and partimento manuscripts used for the education of composers, singers, and instrumentalists. Solfeggi, partimenti, and counterpoint were central elements in the curriculum of the Neapolitan conservatories. A student had to study solfeggi for at least three years before he was allowed to begin with partimenti. Solfeggi had a propaedeutic function,8 as they enabled students to acquire the basic principles of music and at the same time develop their aural skills. But what are partimenti? The musicologist Giorgio Sanguinetti has described them lucidly as “potential music”: Perhaps a good definition is a metaphor: a Partimento is a thread that contains in itself all or most of the information needed for a complete composition. . . . A Partimento is only potentially music.9

A more comprehensive definition is provided by the musicologist Peter van Tour: “‘Partimento’ is understood as a notational device, most commonly written on a single staff in F clef, either figured or unfigured, applied both in playing and in writing activities, and used for developing skills in the art of accompaniment, improvisation, diminution, and counterpoint.”10 By employing these often unremarkable partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition. They also perfected their keyboard playing skills. The study of partimenti was a fixed component of the curriculum, together with many other subjects, and was also a prerequisite for the study of counterpoint.11 Paisiello’s Regole (1782) and his abovementioned “Raccolta” (1783) were written roughly at the same time. The complex partimento bass lines of the Regole are in stark contrast with the relatively simple pieces of the “Raccolta.” The latter collection was very popular in aristocratic and bourgeois circles, 8 9 10 11

Van Tour, Counterpoint and Partimento, 19. Sanguinetti, “The Realization of Partimenti: An Introduction,” 51. Van Tour, Counterpoint and Partimento, 19. Ibid., chapter 5.

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4  ❧  introduction

Figure 2. Giovanni Paisiello, Regole (1782) (US-Cn Case 7Q100), title page

probably not least because of the ease of performing its pieces. Presumably, the “thin” notation of these keyboard works, composed principally for aristocratic ladies, would have prompted an adept player to invent variations.12 12 As part of his piano duel with Muzio Clementi, Wolfgang Amadeus Mozart had to improvise on a theme by Paisiello. In a letter of January 16, 1782 to his father, he writes: “He [Clementi] improvised preludes and played a sonata—then the Emperor said to me, allons, let’s go. I improvised preludes and played variations. Then the Grand Duchess gave us sonatas by Paesello [sic] (poorly written in his hand) from which I had to play the allegro and he [Clementi] the Andante and Rondò. Then we took a theme from it and played it on 2 Pianofortes.” http://dme.mozarteum.at/DME/ briefe/letter.php?mid=1225&cat=3 (accessed on June 25, 2022). “Er [Clementi] praeludirte, und spiellte eine Sonate—dan sagte der kaÿser zu mir allons drauf los. —ich praeludirte auch und spiellte variazionen.—dan

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introduction  ❧ 5

The difference between the two can be illustrated clearly by comparing a prelude from the first volume of the “Raccolta” (fig. 3) with an excerpt from partimento Gj2330 (fig. 4).13

Figure 3. Giovanni Paisiello, “Raccolta” (1783) (A-Wn Mus.Hs.12742), p. 32, “Preludio” in B-flat major

Figure 4. Giovanni Paisiello, Regole (1782), p. 38, Partimento Gj2330, mm. 1–18

gab die Grosfürstin Sonaten von Paesello her (Miserable von seiner hand geschrieben) daraus musste ich die allegro und er die Andante und Rondò spiellen.—dan namen wir ein thema daraus, und führten es auf 2 Piano forte aus.” 13 The “Preludio” and “Rondò” are realized and ornamented in chapter 6. Partimento Gj2330 by Paisiello is discussed in more detail in chapter 5. The

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6  ❧  introduction

Different variation techniques were an integral part of the curriculum. Sources reveal that it was regarded as a highly effective educational method to let the student execute various upper voices over a given bass line.14 Contemporary reports confirm that learning the art of variation was common practice not only among keyboard players but also singers, as in the case of an opera singer in Naples who sang the same aria five times in a row, each time performing it differently. When Pierre-Jean Grosley traveled through Italy in 1758, he attended the performance of Hasse’s opera Demofoonte in Naples and was intrigued to note the following: We know that in operas in Italy when the aria pleases the audience, the hand clapping that accompanies its end is a signal to begin again. When the orchestra returns to the prelude, the castrato walks around in a circle and sings the aria again, followed by more hand clapping and yet another repeat of the aria. This can sometimes recur five or six times, and in these repeats, the singer will exhaust all resources of nature and art in the variety of nuances that he will apply to his notes, his modulations, and to everything that gives expression. However mild these nuances might be, none of them escapes the ears of the Italians: they comprehend them and savor them with pleasure that in Italy they call the foretaste of the joys of Paradise, which will surely also find an equivalent among nations whose aural organs are less sensitive to harmonic expression.15

abbreviation “Gj” is a reference to Robert O. Gjerdingen and is used in the international register of partimenti. 14 This method was also employed in solfeggi, as documented by another source: “Solfeggi del Sig:r Pietro Pulli” (D-MÜs SANT Hs. 3351). Here the focus was on melodic variations over one and the same bass line (see chapter 5). 15 Grosley, Mémoires, ou observations sur l’Italie et sur les Italiens, données en 1764, sous le nom de deux Gentilshommes Suédois. Traduits du Suédois. Tome second, 256–57. “On sçait qu’aux Opéras d’Italie, lorsque l’Ariette plaît, le battement de mains qui en accompagne la fin, est un signal pour la recommencer. Alors l’Orchestre revient au prélude, le Castrato se repromene circulairement, & reprend l’Ariette qu’un nouveau battement de mains fait recommencer. Cela se répete quelquefois jusqu’à cinq ou six fois; & c’est dans ces reprises, que le Chanteur épuise toutes les ressources de la Nature & de l’Art, par la variété des nuances qu’il répand sur les tons, sur les modulations, & sur tout ce qui tient à l’expression. Quelque légères que soient ces nuances, aucune n’échappe aux oreilles Italiennes: elles les saisissent, elles les sentent, elles les savourent avec un plaisir appellé en Italie, l’avant-goût des joies du Paradis, qui en aura sans doute d’équivalentes pour les Nations dont les organes sont moins sensibles

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introduction  ❧ 7

Similarly, the observations made by Giovenale Sacchi, the first biographer of Farinelli (1705–82), provide an insight into the practice of variation and ornamentation. He stresses how Farinelli himself was familiar with the art of counterpoint: Every morning he sat at the harpsichord for long periods of time and exercised his voice, carefully searching for variations and scrupulously observing in which ones Nature aided him most. And thus, he went to the theater each evening with new passages and cadenzas. But he did not spoil the compositions by adding variations and ornamentation, as most musicians do, for that happens too easily. He indeed knew very well where to add ornamentation and took judicious artistic liberties, for he was versed in the art of counterpoint and was able to write music himself. This he did several times, receiving not little praise from knowledgeable persons.16

Every evening Farinelli had to sing arias for the king of Spain, in which he also practiced the art of variation: “Every evening he sang three or four arias, and what seems hardly credible to say, they were always the same ones. Two were by Signor Hasse: Pallido il sole: E pur questo dolce amplesso. The third was a minuet which he usually varied as he pleased.”17 So far, all forty-six extant partimenti in the autograph and the printed Regole (1782) have been regarded as the core of Paisiello’s pedagogic oeuvre. However, two recently discovered manuscripts shed new light on the

à l’expression harmonique.” For a contemporary translation see Grosley, New observations on Italy and its inhabitants, vol. 2, 234. 16 Sacchi, Vita di Don Carlo Broschi detto il Farinello, 41–42. “Ogni mattina sedeva per lungo spazio di tempo al gravicembalo esercitando la voce, studiosamente ricercando le variazioni, e osservando diligentemente, in che più la natura lo ajutasse. Così ogni sera veniva al Teatro con passaggi nuovi, e cadenze nuove; nè però variando, ed ornando le composizioni le guastava, come la più parte de’ Musici fanno, e troppo è facile a fare; ma egli sapea molto bene collocare gli ornamenti suoi a luogo, e tempo, ed usava della libertà con giudizio, perchè non era ignaro dell’arte del contrappunto, e sapea scrivere da se, come egli fece ancora alcuna volta con lode non mediocre degl’intelligenti.” 17 Ibid., “Cantava ogni sera tre o quattro arie; e ciò, che appena sembra credibile a dirsi, quelle medesime sempre. Due erano del Signor Hasse: Pallido il sole: E pur questo dolce amplesso. La terza era un minuetto, che egli usava di variare a suo piacimento.”

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8  ❧  introduction

partimento works by this composer.18 In addition to what is already known, they contain another forty-one hitherto unknown partimenti as well as a chant donné. Both manuscripts come from the circle of the Talleyrand family,19 who maintained close connections with Paisiello.20 The partimenti in these manuscripts are written in the form of two- and three-part counterpoint exercises (the so-called disposizioni).21 In this form, partimenti served as a tool to learn counterpoint. Two short examples from disposizioni à 2 and à 3 on the partimento bass Gj2319 by Paisiello illustrate just how different two realizations of the same bass line can be (exx. I.1 and I.2). With the aid of such variations over a given bass line, students learned the fundamentals necessary to compose an aria, the string accompaniment of a motet, or the final fugue of a mass. The geographical and temporal reach of the partimenti tradition is impressive and extended well beyond Paisiello’s own time. Today’s most comprehensive database documents some 15,679 individual partimento entries from libraries throughout Europe and the United States.22 In the seventeenth and eighteenth centuries, these partimenti were used to train competencies and skills required of a musician as a performer, improviser, and composer. The close relationship with this artistic practice faded in the background when academic training took over the education of musicians in the nineteenth century. Partimenti were now regarded primarily as the study of practical harmony and an introduction to counterpoint. Nevertheless, essential elements of the partimento tradition persisted into the twentieth century. This book focuses on the partimenti by Giovanni Paisiello, particularly on the first printed edition of his Regole (1782).23 Other significant sources for this study include Paisiello’s two- and three-part disposizioni, whose 18 Both manuscripts were identified by Peter van Tour using UUPart: The Uppsala Partimento Database. 19 The name “Taleyrand” [sic] is written in pencil on the inside cover of the second volume (see chapter 2). Auguste-Louis de Talleyrand-Périgord (1770– 1832) took private lessons with Paisiello (see chapter 1). 20 Both manuscripts bear the stamp “Bibliothèque Impériale.” According to the library, this means that they were acquired during either the First or Second French Empire (1804–15 or 1852–70). 21 These are published for the first time in appendix 10 of this book. Additional fulllength examples of two- and three-part partimenti are provided in appendix 3. 22 Van Tour, UUPart: The Uppsala Partimento Database (accessed on June 28, 2022). 23 See the complete reproduction and translation of the Regole (1782) in appendix 9.

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introduction  ❧ 9 ° b3 & 4

? 3 ¢ b4 œ

∑ œ

œ

œ œ

œ

œ #œ œ œ œ œ

Ϫ

#˙ ™ œ

œ

œ

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#œ

˙™

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œ œ œ œ

Example I.1. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), pp. 18–19, disposizione on partimento Gj2319, mm. 1–5

° 3 œ œ œ #œ &b 4 ‰

˙™

œ œ

˙™

3 &b 4 ˙

? 3œ ¢ b4

œ

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œ œ œ œ #œ œ œ œ œ œ œ œ

œ #œ œ œ œ #œ ˙™ ˙™

˙™ #˙ œ™

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Example I.2. Giovanni Paisiello, Disposizioni à 3 (F-Pn Vmb. ms. 10/2), p. 323, disposizione on partimento Gj2319, mm. 1–5

forty-one newly discovered partimenti are published here for the first time (see appendix 10). I also examine historical realizations of partimenti by Paisiello’s teacher Francesco Durante (1684–1755),24 along with Durante’s partimenti diminuiti and various solfeggi (including the solfeggi diminuiti by Pietro Pulli (ca. 1710–59). Furthermore, I will consider arias and other works by Paisiello and his contemporaries in order to shed new light on the genre-specific context in which Paisiello’s partimenti are situated, thereby broadening the spectrum of possibilities for their realization. In conclusion, different approaches to the realization and ornamentation of a piece are demonstrated, using as examples a prelude and rondo from Paisiello’s “Raccolta” (1783). The present study seeks to provide a detailed picture of the insight gleaned from the sources to aid our understanding of performing music by Paisiello and his contemporaries—music that has often survived only as a sketch. My findings are relevant not just for keyboard players but also for singers and other instrumentalists. There are many aspects to the interplay between partimenti and performance practice, and treating them in an integrative manner could prove of great value for today’s musicians—especially during their formative years. Nowadays, it is not unusual for a student to learn music 24 See chapter 5.

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10  ❧  introduction

without having the slightest understanding of its harmonic background, let alone knowledge of counterpoint. Partimenti are an effective tool for giving young musicians an understanding of the basic relationships through which tonal music is structured. Therefore, my study aims to promote a practical understanding of partimenti and encourage musicians to see the different possibilities of realizing partimenti in a larger context. The partimento tradition enables us to learn a musical language in a holistic manner and to use the skills acquired in a versatile way: varying, ornamenting, and improvising music. Different aspects of music are taught at the same time—thoroughbass, accompaniment, improvisation, composition, and the closely related musical and harmonic structure. Such a concentrated study method led one to a thorough command of the instrument played, and still can today. Thus, it is no coincidence that many partimento collections recommend themselves in their title as a way of learning to play the harpsichord well: “Maniera Dà ben suonare il Cembalo.”25

25 One example is the manuscript by Francesco Durante, titled “Maniera Dà ben suonare il Cembalo Ritrovata Dal Sig.r D. Francesco Durante Proprie di D. Giuseppe Sigismondo” (I-Nc M.S. 1897, olim 22.1.20/1). On the relationship between the title and the function of a manuscript see also Paraschivescu, “Die Partimenti von Francesco Durante unter besonderer Berücksichtigung der Hs. 283 des Istituto Archeologico in Rom,” 9.

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Chapter One

Giovanni Paisiello, Composer and Teacher True music travels straight to the heart, which is the seat of all the passions.1

Giovanni Paisiello A fair amount is known about the life and work of Giovanni Paisiello. The majority of his music has been preserved, including the bulk of his operas and an important body of chamber and church music, among other works. However, until now, his pedagogic oeuvre and teaching activities have been studied only partially. Surviving letters by Paisiello2 and an autobiographical sketch he wrote for the Dictionnaire historique des musiciens by Choron and Fayolle provide an explicit picture of his personality.3 They reflect not only Paisiello’s major artistic achievements but also his “particular talent for establishing political and cultural contacts.”4 There was hardly another composer of the eighteenth century who served so many rulers and demonstrated such a heightened ability to adapt and fulfill his employers’ desires. For instance, in one of his

1 Fenaroli, Partimenti ossia Basso Numerato Opera Completa di Fedele Fenaroli Per uso degli alunni del Regal Conservatorio di Napoli. 2 Panareo, Paisiello in Russia. 3 Choron and Fayolle, Dictionnaire historique des musiciens, artistes et amateurs, morts ou vivants, vol. 1, 112–16. 4 Russo, “Giovanni Paisiello,” col. 1576.

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12  ❧  chapter one

letters, Paisiello points out that Italian was not understood at the Russian court and that the empress preferred operas that were not too long.5 Paisiello received his initial training not far from the place of his birth, Roccaforzata in Taranto. Beginning in 1754, he studied for nine years at the Conservatorio di Sant’Onofrio in Naples. In these years, according to his own testimony, he composed several masses, psalm settings, motets, oratorios, and an intermezzo buffo which he might well have staged at the conservatory, as was the educational custom at the time.6 The years from 1764 to 1776 brought Paisiello commissions from various Italian opera houses. In 1767 alone, he composed four operas: Le ’mbroglie de le bajasse, Lucio Papirio dittatore, Il furbo malaccorto, and L’idolo cinese. The performance of the last in the Teatro Nuovo was such a success that King Ferdinand IV of Naples invited the same company to perform it at court— the first-ever opera buffa to be thus honored. In addition, the opera was performed multiple times in the Palace of Caserta in 1768 and 1769.7 For the marriage of Ferdinand IV in May 1768 to Maria Carolina, archduchess of Austria, Paisiello wrote his Festa Teatrale in Musica Per solennizare le Felicissime Reali Nozze Delle Loro Sacre Maestà. . . . In this work, also called Peleo e Teti in several sources, the newlywed couple, in the guise of two mythological figures, receives the blessings of all the gods of Olympus.8 Tetide’s aria “Già ti vedo” for soprano, oboes, horns, trumpets, and strings seems to have been tailored for the singer Lucrezia Agujari, who was Paisiello’s soloist. Her well-nigh instrumental virtuosity and flexibility within an unusually large range can be shown to great advantage here (see ex. 1.1).9 5 Panareo, Paisiello in Russia, 26 and 42. This fact had an impact on the length of the libretti for the operas that Paisiello composed in Russia. 6 Several contemporary libretti testify to this common practice. Paisiello’s intermezzo buffo has not been found to this day. Of the abovementioned works, the current author has only had access to the motet Astra coeli scintillate, held by the Stadtbibliothek in Hannover (D-HVs Kestner no. 27) and bearing the date 1762 (see chapter 3). 7 Robinson, Giovanni Paisiello, A Thematic Catalogue of His Works, vol. 1, 37. 8 Ibid., 53. 9 In a letter to his wife of March 24, 1770, Leopold Mozart wrote about the abilities of Lucrezia Agujari (1751–83) as follows: “In Parma, Sgra Guari, also called Bastardina or Bastardella, invited us to eat and sang three arias to us. I could not believe that she would sing up to the c Sopraacuto: but my ears convinced me of it. The passages that Wolfg: has written down were in her aria, and she sang it rather more softly than the deeper notes, though as beautifully

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Example 1.1. Giovanni Paisiello, the aria “Già ti vedo,” mm. 57–70, from Festa Teatrale in Musica, Naples 1768

—(continued)

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Example 1.1—concluded

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giovanni paisiello, composer and teacher  ❧ 15

The English music scholar Charles Burney (1726–1814) visited Naples in October 1770. In his Present State of Music in France and Italy he reported as follows on a performance of Paisiello’s opera Le trame per amore at the Teatro Nuovo: This house is not only less than the Fiorentini, but is older and more dirty. The way to it, for carriages, is through streets very narrow, and extremely inconvenient. This burletta was called Le Trame per Amore, and set by Signor Giovanni Paesiello [sic], Maestro di Capella Napolitano. The singing was but indifferent; there were nine characters in the piece, and yet not one good voice among them; however, the music pleased me very much; it was full of fire and fancy, the ritornels abounding in new passages, and the vocal parts in elegant and simple melodies, such as might be remembered and carried away after the first hearing, or be performed in private by a small band, or even without any other instrument than a harpsichord. . . . The ouverture, of one movement only, was quite comic, and contained a perpetual succession of pleasant passages. There was no dancing, which made it necessary to spin the acts out to rather a tiresome length. The airs were much applauded, though it was the fourteenth representation of the opera.10

Burney was clearly impressed because he attended a second performance just a few days later: as the octavin stop of an organ. In short, she sang the trills and everything as wolfg: wrote it down, note for note. Besides, she has a good, deep contralto down to g. She is not pretty but not ugly either; she sometimes has a wild look in her eyes, like people who suffer from epilepsy, and she limps on one foot. But otherwise, she performs well, so has a good character and a good reputation.” http://dme.mozarteum.at/DME/briefe/letter.php?mid=731&cat= (accessed on June 28, 2022). “In Parma hat uns die Sgra Guari oder so genannte Bastardina oder Bastardella zum speisen eingeladen, und hat uns 3 Arien gesungen. daß Sie bis ins c Sopraacuto solle hinauf singen, war mir nicht zu glauben moglich: allein die ohren haben mich dessen überzeuget. Die Passagen die der Wolfg: aufgeschrieben, waren in ihrer Arie, und diese sang sie zwar etwas stiller als die tiefern Töne: allein so schön, wie ein octavin pfeifen in einer Orgel. kurz! die triller und alles machte sie so, wie es der wolfg: hat aufgeschrieben, es sind die näml: sachen von Noten zu Noten. nebst dem hat sie eine gute alt tiefe bis ins g. Sie ist nicht schön, doch eben auch nicht garstig, hat mit den Augen zu zeiten einen wilden Blick, wie die Leute, die der fraiß unterworffen sind, und hincket mit einem fuß. sonst hat sie aber eine gute Aufführung, folglich einen guten Caracter und guten Nahmen.” 10 Burney, The Present State of Music in France and Italy: or The Journal of a Tour through those Countries, 305–6.

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16  ❧  chapter one It pleased me full as much now as before, and in the same places. The ouverture still seemed comic and original, the airs far from common, though in general plain and simple. If this composer has any fault, it is in repeating passages too often, even to five or six times, which is like driving a nail into a plaistered wall; two or three strokes fix it better than more, for after that number, it either grows loose, or recoils.11

Thus, while he praised the “fire and fancy” of the music and its “elegant and simple melodies,” Burney nevertheless found the many repetitions bothersome, as to him, they merely served to lessen the musical tension. In 1776 Paisiello was appointed maestro di cappella at the court of Catherine the Great in St. Petersburg. His close association with the scholar Abbé Ferdinando Galiani (1728–87) undoubtedly played a significant role in receiving this appointment;12 their friendship is documented in a lively correspondence. Paisiello’s position entailed directing the orchestra and singers as well as composing stage works himself.13 During the years he spent in St. Petersburg, Paisiello succeeded in establishing opera buffa as the official genre at court in place of opera seria. His tireless endeavors to reform the court orchestra and restore the city’s smaller theaters to financial health were rewarded by a significant increase in his salary. He nevertheless hoped for a return to Naples, and in 1783 this became a reality when Ferdinand IV appointed him to the post of compositore della musica de’ drammi at his court. Upon returning to Naples, Paisiello’s duties included composing one opera seria per year for the San Carlo theater. Sacred compositions also played a significant role in his new post, while chamber music and other instrumental works were of somewhat lesser importance. All the same, travel reports and letters mention events, especially court functions, where his instrumental music was performed. Thus, when he visited Vienna in 1784, Paisiello was commissioned by Emperor Joseph II to compose the opera Il re Teodoro in Venezia and twelve symphonies (regrettably, the latter no longer exist). In 1787 Paisiello was appointed maestro della real camera in Naples (“[music] master of the royal chamber”), and as the court composer of the Bourbons, he advanced to become the most influential composer in the city. In 1796 he added the post of maestro di cappella at Naples Cathedral to his various titles. 11 Ibid., 309–10. 12 Panareo, Paisiello in Russia, 21–44. 13 Russo, “Giovanni Paisiello,” cols. 1569–70.

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giovanni paisiello, composer and teacher  ❧ 17

Sources that tell us more about Paisiello as a practical musician are especially significant to us. For example, the Austrian diplomat Norbert Hadrava (fl. 1776–91)14 wrote a letter in 1789 to the theologian and composer Paul Schulthesius (1748–1816), then resident in Livorno, telling him of an improvisation session with Paisiello, whom Hadrava had invited to try out Stein’s vis-à-vis piano-harpsichord along with several other musicians:15 Paesiello [sic] promptly decided to unite his imagination with mine. We had barely sat down at our opposite keyboards when an extreme silence descended on all the listeners. I let Paisiello introduce the first idea, which comprised a grave and subsequently suggested an overture in a theatrical style. I answered him heartily, and by answering each other in turn, our ideas multiplied. We changed the tempo, I introduced a new idea, as a second part to the overture, and Paesiello [sic] promptly took this up and spun it out further. In short, we improvised almost half an hour and closed with a fortissimo and with contra-tempi chords such as Paesiello [sic] often uses in his theatrical works. We were both so satisfied with our improvisation that at the end, we did not notice the listeners but gazed at one another in wonder in mutual gratitude for the pleasure of it.16 14 Hadrava acted as the Naples agent for the instruments made by Johann Andreas Stein, and his letters offer us insight into the lively music scene of the city. Little is known about his origins or his education. However, he does mention in one letter that he had taken lessons from Philipp Kirnberger while living in Berlin. The correspondence between Norbert Hadrava and Johann Paul Schulthesius is held today by the Austrian National Library in Vienna (S.M. 8979). See Gialdroni, “La musica a Napoli alla fine del XVIII secolo nelle lettere di Norbert Hadrava,” 75–143. 15 Only two vis-à-vis piano-harpsichords by Stein have survived (these combine a piano and a harpsichord action and have a keyboard at each end). One is held by the Conservatorio San Pietro a Majella in Naples; the other, by the Accademia Filarmonica in Verona. 16 Gialdroni, “La musica a Napoli,” 126. “Paesiello [sic] entschloß sich alsogleich, mit mir seine Fantasien zu vereinigen. Kaum setzten wir sich an die gegenseitige Clawiere, als die äußerste Stille unter denen Zuhörern herrschte. Ich ließ Paesiello [sic] den ersten Gedanken anführen, welcher in einem Grave bestund und eine nachfolgende Ouverture im theatralischen Geschmack andeutete. Ich antwortete ihm mit aller Herzhaftigkeit. Durch abwechselnde Antworten vermehrten sich unsere Ideen: Wir änderten die [sic] Tempo, ich stimte einen neuen Gedanken

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18  ❧  chapter one

Both musicians seem to have known from the outset how to react to each other’s musical ideas. Jean-Benjamin de Laborde writes in his Essai sur la musique ancienne et moderne of Paisiello performing vocal improvisations to his own accompaniment at the harpsichord: “In order to understand [Paisiello’s] true value, you have to be fortunate enough to hear him play and sing all’improviso at the harpsichord. That is true inspiration.”17 As a result of the political upheavals of the day, Giovanni Paisiello accepted an invitation from Napoleon Bonaparte to move to Paris in 1802, where he held the post of maître de chapelle along with other responsibilities. When Napoleon was crowned emperor on December 2, 1804, one of the pieces performed at the coronation ceremony was Paisiello’s Te Deum of 1792 for double choir. In 1806 Napoleon made Paisiello a member of the Légion d’Honneur. That same year, Napoleon’s troops conquered Naples, forcing King Ferdinand IV to flee to Sicily. Napoleon now made his brother Joseph the king of Naples, who in turn appointed Paisiello maestro di cappella, compositore, and maestro della real camera. Joachim Murat, Napoleon’s brother-in-law, confirmed Paisiello in these appointments after he succeeded Joseph on the throne of Naples in 1808. After Ferdinand IV’s return to the throne in Naples in 1815, Paisiello composed only sporadically, and mainly for the Church. He died on June 5, 1816, in Naples. In his autobiographical sketch, Paisiello divides his oeuvre into three phases. The first lasts until his journey to St. Petersburg in 1776; the second comprises his years at the court of Catherine the Great, and the third one begins with his return to Naples in 1784. As already mentioned, opera was Paisiello’s focus throughout his composing career. When he an, als zum zweyten Stück der Ouverture, welchen Paesiello [sic] gleich aufnahm und weiters ausführte. Kurz, wir fantasirten beynahe eine halbe Stunde und beschlossen mit dem Fortissimo und denen Accorden mit contra tempi, wie es Paesiello [sic] häufig in seinen Theaterstücken anbringt. Wir genossen beyde der größten Zufriedenheit unserer ausgeführten Fantasie, so zwar daß wir beyde zu Ende nicht auf die Zuhorer bemerkten, sondern sich gegenseitig anstau[n]ten und gleichsam das Vergnügen beyderseitig sich verdanken wollten.” 17 De Laborde, Essai sur la musique ancienne et moderne, livre cinquième, 209. “Pour comprendre tout ce qu’il [Paisiello] vaut, il faut être assez heureux pour l’entendre jouer & chanter all’improviso sur le clavecin. C’est la véritable inspiration.”

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giovanni paisiello, composer and teacher  ❧ 19

was appointed maestro di cappella in 1796, sacred music assumed increasing importance. In general, vocal music was dominant in Naples at the time—a fact that had already been noticed by Charles de Brosses during his visit to Italy, when he missed no opportunity to attend a musical event: Naples is the capital of the musical world. It has numerous conservatories to train young people in the art, bringing forth some of the most famous composers: Scarlatti, Leo, Vinci, the true god of music; Zinaldo [Rinaldo], Latilla, and my charming Pergolesi. All of them are devoted solely to vocal music: instrumental music reigns instead in Lombardy.18

Paisiello’s chamber music includes works for harpsichord (usually with a violin accompaniment), sonatas, rondos (some of them with a brief prelude), canzonas, and transcriptions from his operas. The last group is the most numerous. His eight harpsichord concertos—six of them written for the princess of Parma, the others during his time in Russia—are notable for their inventive themes and dialogue with the orchestra. Paisiello’s harpsichord works are technically not very demanding overall, presumably in deference to the abilities of those who commissioned them, mostly aristocrats. These works were copied, published, and reprinted innumerable times, meaning that many found their way into the salons of the aspiring bourgeoisie in England, Paris, and St. Petersburg. The transcription of the overture to Paisiello’s Il barbiere di Siviglia shown in figure 5 was first performed in St. Petersburg in 1782 and published there around 1798.19

18 De Brosses, Lettres familières écrites d’Italie en 1739 et 1740, vol. I, 386–87. “Naples est la capitale du monde musicien; c’est des séminaires nombreux où l’on élève la jeunesse en cet art que sont sortis la plupart des fameux compositeurs, Scarlatti, Leo, Vinci, le vrai dieu de la musique; les Zinaldo [Rinaldo], Latilla, et mon charmant Pergolese. Tous ceux-ci ne se sont occupés que de la musique vocale: l’instrumentale a son règne en Lombardie.” 19 This transcription has been included in the second volume of the “Raccolta” (1783); the later print offers proof of the continuing popularity of Paisiello’s works in Russian circles fifteen years after he had left the country.

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20  ❧  chapter one

Figure 5. Giovanni Paisiello, Sinfonia from the opera Il barbiere di Seviglia [sic] (printed around 1798) in the Giornale Musicale del Teatro italiano di St. Pietroburgo

Paisiello’s Teaching Activities at the Russian Court Paisiello taught throughout his career, but there is little documentary evidence of it. However, we know about his contractual obligations as maestro di cappella at the court of Catherine II of Russia from 1776 to 1783, which included teaching. As the successor of Baldassare Galuppi and Tommaso Traetta at the Russian court, Paisiello was afforded a splendid reception just a few weeks after his arrival. In a letter to Abbé Galiani from January 28, 1777, the diplomat Friedrich Melchior Grimm wrote as follows: Paisiello has enjoyed the most brilliant success. Some ten or twelve days ago, we saw his opera Nitteti for the first time. It still grips me so much that it prevents me from sleeping. He did not just enjoy the applause of the empress and her court, but when the clapping ceased, and Her Majesty left her box, the audience offered the maestro three or four more rounds of applause.

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giovanni paisiello, composer and teacher  ❧ 21 The next day, at its second performance, the empress had her director-general of entertainments give a gift of money to Paisiello and all the performers, and during the meal, she sent presents to the main participants. Paisiello received a superb box decorated with diamonds. It was naturally the most beautiful of all the presents given.20

During this time, Paisiello began teaching the Grand Duchess Maria Feodorovna (née Sophie Dorothee von Württemberg, 1759–1828), to whom he dedicated his Regole published in 1782. [Paisiello’s] success was the most brilliant and general possible. On the day of the presentation, there was an academy at court which he directed and in which only his music was heard. The empress, who is not passionately fond of music, was struck singularly by the vigor [nerf ] of his style and the novelty of his ideas. The grand duke and grand duchess, the entire court, were enchanted, and people clapped hands in the throne room as if at a public spectacle. . . . The grand duchess at once took him as her teacher.21

Paisiello’s partimento method is of particular significance, not least because it was the first published work of its kind. In 1783, thus at almost the same time, Paisiello composed his “Raccolta di Varij Rondeaux, e Capricci,” containing forty-three pieces for harpsichord or harpsichord and violin, which has come down to us in two volumes. Most likely, these pieces also served as pedagogical exercises. Some numbers from this collection became so popular outside aristocratic circles that they were copied and reprinted several times, as proven by the copies found in many European libraries today. They reflect the taste of the emerging middle class and the great popularity that Paisiello’s 20 Nicolini, “Dal carteggio dell’ab. Galiani,” 507–8. “Paisiello a eu le succès le plus brillant. Il y a environ dix ou douze jours que nous avons eu pour la première fois son opéra Nitteti. Je le possède assez pour qu’il m’empeche de dormir. Il n’a pas seulement eu les applaudissements de l’impératrice et de la cour; mais, lorsque ces battements sont finis et que S.M. est sortie de sa loge, alors le public bat trois ou quatre fois pour le compte du maestro. Le lendemain de la première representation, l’impératrice fit donner un traitement à Paisiello et tous les acteurs par M. le directeur général des plaisirs, et pendant le repas elle envoya des présents aux principaux acteurs. Paisiello eut une superbe boite garnie de diamants; c’était, comme de raison, le plus beau des présents accordés.” 21 Heartz, Music in European capitals: The Galant Style, 1720–1780, 940. This excerpt is from a letter of December 3, 1776, from Friedrich Melchior Grimm to Abbé Galiani, confirming when Paisiello began teaching in St. Petersburg.

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22  ❧  chapter one

works enjoyed in his lifetime. Moreover, these two collections—Regole and “Raccolta”—offer insight into the pedagogical aspects of the intense musical life at the Russian court in the second half of the eighteenth century. Canzona La Partenza for harpsichord and violin from “Raccolta” (1783)22 is an example of a point of contact between the two collections, with the harpsichord part being occasionally presented as a figured bass.

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22 For further information on this composition see DelDonna, Instrumental Music in Late Eighteenth-Century Naples Politics: Patronage and Artistic Culture, 204–7.

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giovanni paisiello, composer and teacher  ❧ 23

Regrettably, we know nothing about Paisiello’s teaching methods. But a letter from Paisiello to his confidant Abbé Ferdinando Galiani at least conveys a positive image of the educational successes of his aristocratic pupil Maria Feodorovna: “I cannot fail to mention that Her Imperial Highness has done me great honor with the progress she has made in music since I have had the privilege of giving her lessons. She has promised to practice whenever possible during her journey, and I hope she will indeed do that.”23 In this same letter, we learn that the grand duchess and her husband, the future Tsar Paul I, were great lovers of art. Paisiello hoped they would be able to attend performances of his operas during their forthcoming visit to Naples: They are both the greatest lovers of fine arts, so I hope that the two of them will be satisfied in our homeland. They will surely find a way to enjoy themselves. I don’t know if they will be in Naples during the theater season, but if possible, I should like them to see our Socrate and how things are performed in Naples since they especially like opera buffa.24

Two recently discovered sources provide new knowledge about the Regole (1782) and its reception in Russia. There are manuscript annotations in a copy of the Regole (1782) that Maxim Serebrennikov believes to have belonged to Grand Duchess Maria Feodorovna.25

23 Letter from September 18, 1781, Tsarskoye Selo, from Paisiello to Abbé Ferdinando Galiani, quoted here as in Panareo, Paisiello in Russia, 28. “Non voglio mancare però di dirle che S.A.I. la Gran Duchessa mi fa molto onore per il progresso che ha fatto nella musica per il tempo che ho avuto l’onore di darle lezione. Mi ha data parola di esercitarsi quando potrà nel tempo del suo viaggio, onde spero che lo farà.” 24 Ibid., 28. “Sono amantissimi di tutte le belle arti, onde spero che saranno contenti della nostra patria, mentre son sicuro che troveranno da divertirsi. Non so se si troveranno in Napoli nel tempo che i teatri sono aperti, mentre avrei voluto, se fusse stato possibile, fargli sentire il nostro Socrate, e fargli vedere la maniera come si recita in Napoli, perchè sono amantissimi delle opere buffe.” 25 For more information, see chapter 2. I would like to thank Maxim Serebrennikov for providing access to four pages of that copy of the Regole (1782).

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24  ❧  chapter one

Additionally, there is a “Livre de générale basse” (“Book of thoroughbass,” 1786), which is believed to have belonged to the young Russian aristocrat Avdot’ja Ivanova26 and contains a section of Paisiello’s Regole (1782).27 In “Livre de générale basse,” Serebrennikov has also identified pieces by Johann Paul Aegidius Martini, Nicolas Dalayrac, and Nicolas Dezède. Pages five to thirty-one of Paisiello’s Regole (1782) are included here, though the Italian text has been translated into French. According to Serebrennikov’s description, its material is arranged differently from the printed edition, and several sections and explanations are missing. He states that the bass figures in some partimenti are far more elaborate than in the original, but he does not offer detailed comparisons between the two sources. These more elaborate figures were presumably intended to aid beginners. The similarly expansive figures notated in Paisiello’s Harpsichord Concerto in C major were likely made to the same end, as they took into account the abilities of its dedicatee, Signora De Sianavine, one of Maria Feodorovna’s ladies-in-waiting.28

Paisiello’s Pupil: Auguste-Louis de Talleyrand-Périgord After returning to Naples in 1784, Paisiello taught a large number of private pupils from the aristocracy. Among them were Auguste-Louis de TalleyrandPérigord (1770–1832) and his mother Marie-Louise Fidèle, Baronne de Talleyrand-Périgord, who took joint lessons with Paisiello between 1785 and 1799.29 Auguste’s father, Baron General Louis-Marie de Talleyrand-Périgord, was the French ambassador in Naples. The autobiography of the composer

26 Ivanova’s name is given on the title page as the owner of the volume. Today this manuscript is held by the National Library of Russia in St. Petersburg (RUS-SPk F XII, N° 121). 27 For more information, see Serebrennikov, “Book for Thoroughbass (1786) owned by Ms. Avdot’ja Ivanova,” 21–26. 28 “Originale Concerto di cembalo Con più instromenti di Giovanni Paisiello Fatto per S.E. La Sig.ra De Sianavine Dama d’onore di S.M.I. L’Imperatrice di tutte Le Russie,” autograph (I-Nc 19.1.4, olim 19.1.5). This concerto was composed between 1780 and 1783. Its bass figures prove that the harpsichord also played in the tutti sections. 29 The precise dates of their studies under Paisiello are unknown.

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giovanni paisiello, composer and teacher  ❧ 25

Giacomo Gotifredo Ferrari (1763–1842), also a pupil of Paisiello’s, offers a fragmentary, anecdotal account of these lessons:30 At the beginning of that year, the new French ambassador came to Naples with his family, Baron Talleyrand, whose wife played the pianoforte very well. She had already been seduced by the music of Paisiello . . . and paid him many tributes and compliments until he agreed to give her singing lessons, though the composer loathed doing so. It did not take long for him to become the idol of the family, and he was to be found almost solely in the French embassy. In the mornings, he gave lessons to the Baroness, who had arranged for an apartment to be prepared for him so that he could study and compose his music there.31

Elsewhere, Ferrari offers a report on the content and long-term structure of the private instruction he himself received from Gaetano Latilla (1711–88) and later, when he was more advanced, from Paisiello. We may assume that the lessons Paisiello gave chez Talleyrand followed a similar pattern: Latilla possessed a profound knowledge of counterpoint . . . and I considered myself lucky to have such a scholar as my master, who came to me four times a week and remained with me for several hours. He taught me how to write in two, three, and four voices: first using the scale, then with leaps of a third to an octave, with ligatures and simple modulations, and then to write canons, fugues, and church music. Thus, I continued for a year, with no more than two lessons per week, for I had Paisiello, who from time to time corrected my arias, duets, and concertante pieces that I had already written. I also went to all rehearsals for his new works, and after the third evening, I took over the position of maestro at the harpsichord in order to practice. And he was very happy to let me do so, as it meant he could go to bed and sleep.32 30 Ferrari, Aneddoti piacevoli e interessanti occorsi nella vita di Giacomo Gotifredo Ferrari. 31 Ibid., 195. “Nel principio di quell’anno giunse a Napoli colla sua famiglia un nuovo ambasciator di Francia, il Barone Talleyrand, la cui sposa sonava il pianoforte molto bene: sedotta già dalla musica di Paisiello . . . gli fece mille onori e finezze, a segno che lo indusse a darle lezione di canto, il che quel compositore detestava di fare: e non passò molto tempo ch’ei divenne l’idolo di quella famiglia nè si trovava più che all’ ambasciata di Francia: andava la mattina a dar lezione alla baronessa, la quale gli aveva fatto preparare un appartamento per istudiare e scrivervi la sua musica.” 32 Ibid., 136–37. “Latilla sapea profondamente il contrappunto . . . e mi trovai poscia felice d’aver un maestro dotto, che veniva da me quattro volte la settimana, e che restava meco per ore intere. M’istruì egli col farmi disporre le voci

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26  ❧  chapter one

From 1802 onward, Auguste Talleyrand served under Napoleon and, in 1808, was appointed the French ambassador to Switzerland. He wrote to Paisiello in 1810, asking for copies of his works that had been published in Naples.33 In 2008 the music library of the Talleyrand family was offered up for sale by the music antiquarian Dr. Ulrich Drüner in Stuttgart. It was an impressive collection, consisting mainly of manuscripts by Paisiello, though there were many first editions of works by Haydn, Mozart, and Beethoven. The collection included an additional study book, described in Drüner’s catalog as a volume of studies for vocal and instrumental music.34 Drüner states that the title of the piece “Motivo a due soggetti” is in Paisiello’s handwriting, and the rest of the pages were written most likely by Marie-Louise Fidèle. Ulrich Drüner affirms that the volume contains studies by two pupils, one more advanced and one a beginner, probably the Talleyrand mother and son.35 According to a graphological analysis by Alessandro Lattanzi, however, despite Drüner’s assumption, the words “Motivo a due soggetti” are not in Paisiello’s handwriting.36 Possibly, this manuscript dates from the early lesa due, tre, e quattro parti; prima colla scala, poi co’ salti di terza sino all’ottava, con legature e modulazioni semplici, indi con canoni, fughe, e musica da chiesa. Continuai così per un anno dopo che non presi più che due lezioni per settimana, avendo allora Paisiello, che di tempo in tempo mi correggeva arie, duetti e pezzi concertati, ch’io già scriveva: andava inoltre alle prove di tutte le sue nuove opere, e dopo la terza sera prendeva il posto del maestro che stava al cembalo per far pratica, e colui era molto felice di cedermelo per andarsene a letto.” 33 Gagliardo, Onori funebri renduti alla memoria di Giovanni Paisiello, 175. “Dear Maestro, I need you: because I need strings as given in the enclosed note. But more than strings, I need to know whether your music is being published in Naples, and if so, what these editions cost. If the expense is not excessive, I should like to have the complete collection of your works” (Bern, November 7, 1810). “Caro Maestro Ho bisogno di voi: perchè ho bisogno di corde musicali come dall’annessa nota. Ma più delle corde ho bisogno di sapere se si stampa la musica a Napoli, e quanto costano le stampe. Se la spesa non fosse eccessiva vorrei completare tutta la collezione delle opere vostre.” 34 Bibliothèque nationale de France: F-Pn “Fonds Talleyrand” (box 11 C 1). 35 Drüner, Die Musiksammlung Talleyrand, 28. 36 Expert’s report by Alessandro Lattanzi, at the request of the present writer: Lattanzi points out that letter similarities and script flow are not enough to identify one’s penmanship as they vary depending on the wear of the pen and the psychological condition of the writer. Far more crucial are “the dot, how

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giovanni paisiello, composer and teacher  ❧ 27

sons received by Auguste Talleyrand, who was fifteen at the time. It contains numerous indications that they are the work of a beginner (who may even have been Auguste’s mother). It is over 200 pages in length and contains a great variety of exercises and sketches. Some of them are purely instrumental and have been corrected by a different hand. Most of the pieces, however, are for voice with a bassline, and have a text underlay. One work that we have been able to identify is the aria “Giuro che ad altro mai” from the opera La Lodoïska by Simon Mayr (1763–1845), premiered in 1796 in Venice. While admittedly little direct evidence has survived on Paisiello’s lessons with the Talleyrands, the two volumes with disposizioni in two and three parts, based on partimenti of Paisiello, suggest a close connection between him and the Talleyrands, not least because the cover page of one of the volumes bears the name “Taleyrand” [sic].

Partimenti, Solfeggio, and Disposizioni At the end of his Libro Primo, Fedele Fenaroli (1730–1818)37 added an Avvertimento dell’Autore (an author’s note) containing the following sentence that is crucial to understand partimenti and their purpose: “In order to master the harpsichord completely, one has to undergo a thorough study of scales, cadences, dissonances, and the progressions of the bass .  .  . and this enables one to perform partimenti with ease.”38 Thus, the practice of

the pen is placed on the paper, and the direction of the letters,” since the way one starts to write and the direction of the letters are almost always identical. 37 Fedele Fenaroli was one of the central figures in the generation of Neapolitan musicians who rose after Francesco Durante. He was one of Durante’s last pupils at the Conservatorio di Santa Maria di Loreto and in 1777 was appointed primo maestro. After the last two conservatories in Naples were merged in 1806, he played a major role in the restructuring of the newly emerged Real Collegio di Musica. There he taught counterpoint and shared its direction with Giovanni Paisiello and Giacomo Tritto until 1813. He first published his Regole Musicali Per I Principianti Di Cembalo in 1775. 38 Fenaroli, Partimenti ossia Basso Numerato, 56. “Per aver l’intero possesso del clavicembalo, bisogna studiar bene le scale, le cadenze, le dissonanze e i movimenti del basso . . . per cosi eseguire con facilità i Partimenti.” Alongside many well-known names, such as Spontini and Piccini, the subscription list of this edition also includes “M.lle Charlotte de Talleyrand (Paris).”

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28  ❧  chapter one

partimenti was founded on a comprehensive mastery of harpsichord playing, specifically the ability to accompany, vary, and improvise. At first glance, partimenti often seem simple and didactic in intent, for they comprise just a bass line with or without figures. However, some partimenti also have composed-out, two-part passages, and in partimenti diminuiti, the composer gives instructions on how specific passages are to be performed. Thus, partimenti become a practical guide that allows considerable leeway to the performer: its techniques and conventions are communicated and acquired as a kind of “learning by doing.” Partimenti deepen the performer’s understanding of compositional, harmonic, and formal connections, enliven the imagination, and serve to stimulate one’s own creativity. It hardly does justice to describe partimento practice as a “niche area of basso continuo,”39 as “music for solo basso continuo,” or as an “early form of the etude.” Nevertheless, we find just such views expressed in scholastic publications in recent years. For example, Giulia Nuti writes: “Partimenti were part of the general training of the harpsichordist . . . this technique was then incorporated in playing basso continuo with the regole d’accompagnamento.”40 Giorgio Sanguinetti, however, explains the difference between partimento and basso continuo as follows: Obviously, thoroughbass and partimento are strictly related; in a way, we may consider partimento as a specialization of basso continuo. Both share the same basic principles, but at a certain point in their development, they took separate paths. A partimento is a solo piece whose goal is teaching composition via improvisation, whereas the aim of basso continuo playing is accompaniment; consequently, considerations concerning the accompaniment of a singer are likely to be encountered in a continuo treatise, but not in partimento instructions.41

Thomas Christensen emphasizes this differentiation by referring to statements made by Johann Mattheson and Jean-Jacques Rousseau: Mattheson repeatedly reiterated that a continuo realization was only a kind of Handsachen demanding knowledge of keyboard playing, but in no way commensurate with the art of composition. In Mattheson’s view, composition was a 39 This and the subsequent quotations are taken from Grampp, “Partimenti— Musik für Generalbass solo, Teil 1: Johann Matthesons Große GeneralbassSchule,” 23. 40 Nuti, The Performance of Italian Basso Continuo, 79. 41 Sanguinetti, The Art of Partimento: History, Theory, and Practice, 98.

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giovanni paisiello, composer and teacher  ❧ 29 Setz-Kunst requiring mastery of counterpoint and harmony, to be sure, but above all, the ability to invent melodies. This had as much to do with a continuo player supplying chords above a bass line as the rules of architecture do with a bricklayer. Rousseau expressed it this way: expecting the beginning student to know the rules of composition in order to learn to realize a thorough bass was much like demanding one be a competent orator before one could learn to read.42

Thoroughbass is one aspect of partimento practice and a prerequisite for realizing and mastering partimenti.43 If one does not possess a knowledge of thoroughbass, performing partimenti is inconceivable. For example, the original written-out thoroughbass at the beginning of the duet “Andate o miei sospiri” by Francesco Durante44 has a melodic line whose aesthetic quality takes us far beyond what would typically be the upper part of a continuo realization (see ex. 1.3).45

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42 Christensen, “The Règle de l’Octave in Thorough-Bass Theory and Practice,” 114. 43 Jesper Bøje Christensen and Jörg-Andreas Bötticher have defined thoroughbass as “ein harmonisch-theoretisches System” (“a harmonic-theoretical system”) and as an “Einstieg in die Kompositionslehre” (“an introduction to the study of composing”); Christensen and Bötticher, “Generalbass,” col. 1194. 44 This manuscript is held today by the Royal College of Music in London: “Duetti Per Studio di maniera di cantare E per Esercizzio d’accompagnare al cembalo del Sig.r Francesco Durante Ridotti nelle sue giuste diminuzzioni secondo l’autore da Gio. Masi.” At the end it has the following remark: “Finis Laus Deo à di 1: Decembre 1776” (GB-Lcm MS 181). I would like to thank Nicholas Baragwanath for kindly providing me with a copy of it. 45 The opening arpeggio in example 1.3 (*) is given the notes A–B-flat–C in the original manuscript (I-Rsc G.Ms. 302). In another source, however (GB-Lcm MS 181), the arpeggio is notated correctly.

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30  ❧  chapter one

A compendium of partimenti, as a rule, does not contain much explanatory text (if any), as we can see in an early, barely legible source of partimenti by Francesco Durante (fig. 6).

Figure 6. Francesco Durante, partimenti manuscript (D-MÜs SANT Hs. 1428), folio 2v with six partimenti: no. 5 (Gj235, only the ending), no. 6 (Gj234), no. 7 (Gj236), and three unica [Nos. 8, 9, and 10, all without Gj numbers]

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giovanni paisiello, composer and teacher  ❧ 31

The various titles of the extant manuscripts offer insight into both the musical and the didactic significance of partimento practice. We find partimento manuscripts whose content is identical but that bear different titles. There are other manuscripts with the same titles yet with different content.46 Often the titles refer to the purpose of the collections in question. Thus, it seems natural that the title “Maniera Dà ben suonare il Cembalo” (“The way to play the harpsichord well,” (see fig. 7) can be regarded as an indirect definition of a practice that unites several different areas: thoroughbass, improvisation, counterpoint, and playing technique. As a result, we can justifiably describe partimenti as integral to Neapolitan musical practice.

Figure 7. Francesco Durante, “Maniera Dà ben suonare il Cembalo” (I-Nc M.S. 1897, olim 22.1.20/1), title page

46 Two manuscripts by Durante can serve as examples here. They have different titles, but almost exactly the same content: “Maniera Dà ben suonare il Cembalo Ritrovata Dal Sig.r D. Francesco Durante Proprie di D. Giuseppe Sigismondo” (I-Nc M.S. 1897, olim 22.1.20/1) and “Studj per Cembalo con Partimenti diversi, Partimenti da potersi diminuire a più maniere del Sig.r D. Francesco Durante, D. Giuseppe Sigismondo Pne 1769” (I-Nc M.S. 1895, olim 22.1.20/3).

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32  ❧  chapter one

Only a few sources have reached us from the eighteenth century that contain written-out realizations of partimenti, allowing us to draw authoritative conclusions on how to realize them properly. Instead, we have to go one step further and establish cross-connections to solfeggi, disposizioni, and other works by the same composer or from the same era in order to find clues as to how we might perform partimenti. Solfeggi formed part of the basic training at the conservatories of Naples and had to be mastered before students were allowed to engage with partimenti.47 Nevertheless, solfeggi and partimenti are closely related. Much of the solfeggio repertoire is notated on two separate staves, a C clef at the top and a bass clef at the bottom (though other clef combinations are possible).48 The upper voice of a solfeggio can serve as a source of inspiration for the execution of ornaments and cadenzas above the bass. Manuscript solfeggi by numerous primi maestri and composers of Naples have survived. Famous singers of the eighteenth century were trained using just such pedagogical material.49 Solfeggi were also in intensive use in Paris, where the first-ever collection of solfeggi by Neapolitan composers was published in 1772 under the title Solfèges d’Italie. This particular collection was reprinted many times and consequently expanded. Disposizioni were used in the study of counterpoint, with each voice being written (“disposed”) on a separate staff: “this was a written-out composition exercise that aimed at a correct setting of a polyphonic texture using a multiple-staff score. A disposizione was often based on a partimento in which case each voice was written on a separate staff using the proper clef.”50 The two manuscripts in Paris containing two- and three-part disposizioni were composed on partimento basses by Paisiello. They offered a pupil several examples in which to experiment with different contrapuntal possibilities over the same bass. Partimenti and their basses were undoubtedly used in various pedagogical contexts. Not only did they help students perfect their accompanying, improvising, and performing skills, but they also served as the basis of solfeggi and counterpoint exercises (i.e., disposizioni).51 The following example from the three-part disposizioni reflects this “trinity”: the partimento bass Gj2351 is here used as the basis for a three-part disposizione, simultaneously fulfilling the function of a solfeggio for two upper voices and a bass. 47 See chapter 3. 48 Solfeggi for two upper voices and bass are usually called “duetti.” 49 Such as Carlo Broschi (known as Farinelli) and Gaetano Majorano (Caffarelli). 50 Sanguinetti, The Art of Partimento, 50. 51 For more information, see van Tour, Counterpoint and Partimento.

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giovanni paisiello, composer and teacher  ❧ 33 Soprano

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˙

œ

Œ

Example 1.4. Giovanni Paisiello, Disposizioni à 3 (F-Pn Vmb. ms. 10/2), p. 28, disposizione on partimento Gj2351, mm. 1–8

Partimento Gj2351 is here realized in five different versions as three-part disposizioni. In examples 1.4 and 1.5, the two upper parts are explicitly designated “Soprano” (ex. 1.4) and “Soprano 1” and “Soprano 2” (ex. 1.5), respectively. Soprano 1

Soprano 2

° 2œ œ œ œ œ œ œ &4

2 &4 œ œ œ œ œ œ œ œ ?2 œ ¢ 4Œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ

œ™ œ œ

œ œ

œ™ œ œ

œ œ œ

œ™ œ œ

œ œ

œ™ œ œ

œ œ œ

Œ

˙

˙

œ

œ

Œ

Example 1.5. Giovanni Paisiello, Disposizioni à 3 (F-Pn Vmb. ms. 10/2), p. 29, disposizione on partimento Gj2351, mm. 1–8

The title of the fifth edition of Fenaroli’s Regole Musicali Per I Principianti Di Cembalo52 (see fig. 8) lists its target readership as beginners on the harpsichord (“principianti di cembalo”) and in counterpoint and composition (“principianti di contropunto”).53 The first edition of 1775 and the “expanded new edition” (Nuova Edizione Accresciuta) of 1795, however, only mention harpsichord beginners on their title pages. The later addition emphasizes the links between partimento, instrumental playing, counterpoint, and composition. The partimento practice was so successful as a teaching and learning tool because it unified pedagogical and artistic aspects in a unique manner, enabling students to develop different abilities on several levels at the same time. Thoroughbass, model-based counterpoint, variation techniques, improvisation, and instrumental virtuosity all came together here to form a single, integrated unit. 52 Fenaroli, Regole Musicali Per I Principianti Di Cembalo Nel Sonar Co I Numeri, E Per I Principianti Di Contropunto. The fourth edition of 1802 already mentions the “principles of counterpoint” in its title. This was one of the few treatises that were published in Naples in the eighteenth century. 53 For details of Paisiello’s treatise “Lo studente del contropunto,” see page 80.

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Figure 8. Fedele Fenaroli, Regole Musicali Per I Principianti Di Cembalo Nel Sonar Co I Numeri, E Per I Principianti Di Contropunto, Naples 1814, title page

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giovanni paisiello, composer and teacher  ❧ 35

The Current State of Research In the late 1920s, Karl Gustav Fellerer (1902–84) came across the partimento collection of Abbate Fortunato Santini (1778–1861) in the diocesan library of Münster. Santini was a passionate collector of manuscripts of the eighteenth and early nineteenth centuries. When Fellerer published these sources, he provided the initial stimulus for the revival of the partimento practice.54 In his preface, he offered the view that partimenti had “grown out of the practice of thoroughbass,” and he interpreted them as “guided improvisations” or as “abbreviated written pieces for keyboard instruments,” and thus a preliminary stage before free improvisation. In recent decades, several ground-breaking articles and books have been published on this topic. Folker Froebe’s article on the “pre-history” of the partimento tradition, published in 2007, remains of immense importance today.55 In 2007 Robert O. Gjerdingen published his book Music in the Galant Style, which offered essential information on the musical conventions of the eighteenth century.56 In his opinion, the instruction in question used partimenti to achieve an internalization of musical schemata and behavioral patterns, which in many respects was similar to learning a language. In 2020, Gjerdingen made an important contribution to our understanding of partimento reception in France with his book Child Composers in the Old Conservatories: How Orphans Became Elite Musicians.57 That same year, the musicologist Rosa Cafiero published La didattica del partimento, a collection of essays illuminating different aspects of partimento practice.58 In addition, we find essential articles in the Journal of Music Theory (2007), the Rivista musicale Italiana (2009), and the anthology Partimento and Continuo Playing in Theory and Practice (2010).59 54 Fellerer, Der Partimento-Spieler, Übungen im Generalbass-Spiel und in gebundener Improvisation. 55 Froebe, “Satzmodelle des ‘Contrapunto alla mente’ und ihre Bedeutung für den Stilwandel um 1600,” 13–55. 56 Gjerdingen, Music in the Galant Style. 57 Gjerdingen, Child Composers in the Old Conservatories: How Orphans Became Elite Musicians. 58 Cafiero, La didattica del partimento. 59 These texts all focus on contemporary practices of composition and improvisation in the context of the instruction offered at the Neapolitan conservatories and investigate the relevant historical sources.

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36  ❧  chapter one

The first comprehensive monograph on partimento practice with an extensive bibliography—Giorgio Sanguinetti’s The Art of Partimento—was published in 2012. It gives a broad-based, well-founded overview of the history, theory, and practice of partimento. The monograph only mentions Paisiello’s partimenti, situating them in a broader perspective. The present study expands Sanguinetti’s bibliographical details on Paisiello’s partimenti thanks to the discovery of new sources that are published in this book for the first time. In 2015 Peter van Tour published his thesis Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples, and in 2020 Nicholas Baragwanath published his book The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century.60 Both books are dedicated primarily to the pedagogical context of partimenti and solfeggi in the eighteenth century and beyond. Peter van Tour’s doctoral thesis focuses on the composition instruction offered at the Neapolitan conservatories, using historical sources to revisit the legendary camps of the Leisti and Durantisti.61 Van Tour and Giorgio Sanguinetti each published one important new book chapter in 2017.62 Until today, very few publications have examined Paisiello’s keyboard works in general, let alone his partimenti. Jno Leland Hunt’s doctoral thesis on Paisiello’s life and keyboard works, completed in 1973, includes valuable documents pertaining to the composer’s biography and his oeuvre.63 However, Hunt devotes only a few lines to Paisiello’s didactic works and does not establish any connection to his activities as a teacher. Paola Chiarelli’s doctoral thesis of 1994 offers insight into Paisiello’s works for harpsichord and violin but overlooks his partimenti, even though the works she discusses were published almost at the same time as his partimenti in St. Petersburg.64

60 Baragwanath, The Solfeggio Tradition: A Forgotten Art of Melody in the Long Eighteenth Century. 61 Leisti and Durantisti were the names given to the adherents of the two “schools” of Leonardo Leo and Francesco Durante, respectively. 62 Van Tour, “Partimento Teaching according to Francesco Durante, Investigated through the Earliest Manuscript Sources,” 131–48; Sanguinetti, “Partimento and Incomplete Notations in Eighteenth-Century Keyboard Music,” 149–71. 63 Hunt, “The life and keyboard works of Giovanni Paisiello (1740–1816),” 156–57. 64 Chiarelli, “Le Composizioni per pianoforte o clavicembalo con accompagnamento di violino di Giovanni Paisiello.”

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giovanni paisiello, composer and teacher  ❧ 37

Mariateresa Dellaborra’s article “Musico pratico al cimbalo” of 2007 mainly analyzes the introductory section of the Regole (1782), placing it in the context of contemporary theoretical treatises in Italy.65 In 2008 a modern edition of Giovanni Paisiello’s partimenti was published that included reproductions of pages from his autograph manuscript and a modern transcription of his partimento publication of 1782,66 making Paisiello’s partimenti available to the general public for the first time. This study takes the current state of research as a starting point in an endeavor to place all of Paisiello’s partimenti in a broader context—those long known and those that have been discovered only recently. The influence of his teacher Francesco Durante, the type of instruction given at the conservatory of Sant’Onofrio, and the cultural context in which Paisiello composed are echoed in his partimenti. We shall offer here the first ever, in-depth investigation of the cross-connections between Paisiello’s partimenti and solfeggi, his keyboard works (especially the “Raccolta” of 1783), his chamber music, and his operas.

65 Dellaborra, “Musico pratico al cimbalo,” 443–67. 66 Holtmeier, Menke, and Diergarten, eds., Regole per bene accompagnare il partimento.

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Chapter Two

The Sources Partimenti—Disposizioni—Solfeggi The sources containing partimenti ascribed to Giovanni Paisiello are few. Only five copies of the first edition of the Regole (1782) are known to exist worldwide. Three additional manuscripts with partimenti ascribed to Paisiello have been passed down to us, one of which is an autograph published in a facsimile in 2008.1 Together, this autograph and the published Regole (1782) include a total of forty-six partimenti. Two unique manuscripts contain two- and three-part disposizioni based on partimenti by Paisiello. The Concordance in appendix 2 shows that thirty-one partimenti from the printed Regole (1782) are found in these manuscripts. An additional forty-one partimenti in the manuscripts, not included in the Regole (1782), are most likely authored by Paisiello. For more details, see pages 80–82. Among the solfeggi found in the sole surviving solfeggio manuscript in Paisiello’s name, only a small number may be his.

The Regole (1782) The primary focus of the present book is the printed Regole (1782). Its full title is: Regole per bene accompagnare il Partimento, o sia il Basso Fondamentale sopra il Cembalo Del Signor Maestro Giovanni Paisiello. Composte per Sua Altezza Imperiale La Gran Duchessa di tutte le Russie (see fig. 2). The following table offers a description of the individual sources. The first three entries 1

Holtmeier, Menke, and Diergarten, eds., Regole per bene accompagnare il partimento.

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the sources  ❧ 39

are taken from Robinson’s thematic catalog of Paisiello’s works;2 Robinson does not include the two Russian sources listed.3 Regole (1782)

Library

Call number

London, British Library

GB-Lbl e.360

Paris, Bibliothèque nationale de France F-Pn Rés 2329 Chicago, The Newberry Library With manuscript St. Petersburg, State Conservatory, additions Research Music Library

US-Cn Case 7Q100 RUS-SPk XVIII-I / P-149

Moscow, The Glinka National Museum RUS-Mcm Ф. Consortium of Musical Culture 187/109

The copy in the library of St. Petersburg was unknown until 2014. According to Maxim Serebrennikov, this was the personal copy of Maria Feodorovna. Two pages from this volume that have manuscript additions are given in facsimile and discussed in detail in chapter 4.4

Manuscripts of Partimenti The following manuscript sources with partimenti by Paisiello are extant today: Title

Call number

“Regole per bene accompagnare il partimento, o sia il Basso fondamentale sopra il Cembalo di Giovanni Paisiello. Fatte per’ uso di S.M.I. La Gran Duchessa di tutte Le Russie”

I-Nc 18.3.3/18, olim Rari 3.4.17/1bis

“Regole e Partimenti del M.o Giovanni Paisiello”

I-Nc 20.8.20

“Regole per bene accompagnare il Partimento, o sia il Basso Fondamentale sopra il Cembalo Del Signor Maestro Giovanni Paisiello. Composte per Sua Altezza Imperiale La Gran Duchessa di tutte le Russie, 1782”

I-Bc II.73

2 Robinson, Giovanni Paisiello, A Thematic Catalogue of His Works, vol. 2, 210. 3 I would like to thank Maxim Serebrennikov for alerting me to the existence of the Russian sources, neither of which have been mentioned in hitherto literature. 4 I would like to thank Maxim Serebrennikov for providing these pages. Attempts to acquire a copy of the entire manuscript have thus far been unsuccessful.

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40  ❧  chapter t wo

The first manuscript, “Regole per bene accompagnare il partimento” (I-Nc 18.3.3/18), is without doubt an autograph by Paisiello. The print of 1782 is largely consistent with the autograph, leading us to assume that the former was based on the latter. For the most part, the autograph and the print diverge mainly in wording.5 However, the last partimento of this autograph is absent from the print, whereas the last seven particularly beautiful partimenti in the print are absent from the autograph. The manuscript titled “Regole e Partimenti del M.o Giovanni Paisiello” (I-Nc 20.8.20) was erroneously cataloged as an autograph by Paisiello. Its content differs from that of the autograph and the printed Regole (1782). None of the partimenti in I-Nc 20.8.20 can be ascribed to Paisiello.6 For this reason, Giorgio Sanguinetti describes this manuscript as “pseudo-Paisiello.”7 The third extant source, “Regole per bene accompagnare il Partimento” (I-Bc II.73), is a manuscript copy that is identical (in meticulous detail) to the print of 1782. It was at one point in the music collection owned by the composer Angelo Catelani (1811–66).

Two- and Three-Part Disposizioni Based on Partimenti by Giovanni Paisiello The two disposizioni manuscripts give us a new perspective on Paisiello’s work.8 The one manuscript consists solely of two-part disposizioni, while the other has only disposizioni in three parts. Together, these two sources have some 560 pages and contain between one and seven disposizioni written on each partimento bass. They are difficult to read and suggest that the copyist was working in some haste. One partimento bass was even copied out twice consecutively with the same disposizione.

5

The differences are minimal. For example, on page 6 of the print, the word “ascende” is used, whereas the autograph writes “sale”; on page 7, the print has “sorti,” the autograph “maniere.” 6 For a discussion of Paisiello’s supposed authorship, see van Tour, Counterpoint and Partimento, 124–28. 7 Sanguinetti, The Art of Partimento, 79–81. 8 For more information, see pp. 80–82 and chapter 5, subsection “Two- and three-part disposizioni on Paisiello’s partimenti.”

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the sources  ❧ 41 Title

Call number

Remarks

[no title]

F-Pn Rés. Vmb. ms. 10/1

Two-part disposizioni on partimenti by Paisiello; a large number of the partimento basses are taken from the print of 1782

[no title]

F-Pn Rés. Vmb. ms. 10/2

Three-part disposizioni; the inside of the cover bears the name “Taleyrand”[sic] written in pencil; most of these partimento basses were hitherto unknown, though some are taken from the print of 1782

Until recently, it had remained unrecognized that both these sources draw on partimenti by Paisiello, as his name is mentioned nowhere in them.9 Most of these examples are found in the two-part disposizioni, while two partimenti are also present in the three-part disposizioni (Gj2319 and Gj2321). Additionally, two partimenti from the print of 1782 are included in the three-part disposizioni, though not in the two-part disposizioni (Gj2308 and Gj2310). The Concordance in appendix 2 facilitates a comparison between the two manuscripts and the print of 1782, demonstrating that partimenti Gj2319 and Gj2321 are found in all three sources. In chapter 5, the different twoand three-part disposizioni of partimento Gj2319 are subjected to a closer investigation; they are also fully reproduced in appendix 3.

Solfeggi Ascribed to Giovanni Paisiello Thus far, only one solfeggio manuscript has been ascribed to Paisiello. However, recent analysis has proven that many of the solfeggi in this manuscript are not by Paisiello but by Baldassare La Barbiera.10 Title

Call number

“Principi di Musica in Tenore è Solfeggi del Sig: Paisiello. è XII Duetti del Sig: Asioli. Dresda 1804. [42] Solfeggi del Sig.r Maestro Paisiello”

US-Eu Ms. 1336

9

Thanks to the electronic database of Uppsala, thirty-one partimento basses were identified as belonging to the print of 1782. 10 La Barbiera was active at the Conservatorio Santa Maria della Pietà dei Turchini between 1760 and 1785. These solfeggi were verified with the aid of UUSolf: The Uppsala Solfeggio Database.

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42  ❧  chapter t wo

The composer mentioned in the title, Bonifazio Asioli (1769–1832), was regarded as one of the most prominent figures on the Italian music scene. The first page of this manuscript bears the remark: “Scala e Salti variati fatti da me, Ceccarelli” (“Scales and leaps varied by me, Ceccarelli”). He was presumably the castrato Francesco Ceccarelli (1752–1814), a friend of Mozart’s who from 1800 onward worked for the elector of Saxony. These solfeggi vary in their degree of difficulty. The first examples are assigned titles describing basic aspects of vocal training: “Sopra la Forza del Punto in Tenore,” “Sopra la forza della legatura,” “Sopra la forza delle Sincope,” “Sopra la forza del trillo,” etc.11 After these six technical examples, follow thirty-six solfeggi with character descriptions instead of titles. If we examine the bass lines of these solfeggi, we will recognize bass progressions similar to those in the partimenti. Solfeggi nos. 12 and 26, for example, have brief, fully notated cadenzas, while Solfeggio no. 33 has a richly varied upper voice. 35 ° ### œ œ œ œ œ œ œ œ œ œ œ œ & J ‹ œ œ œ œ œ œ œ œ ? ### ¢

œœœœœœœ œ

œ

œ Œ

Ó

Œ œ œ œ œœœœœ œ œ

œ œ œ œ œ œ œ œ #œ ˙

Cadenza senza rigora

w

Ÿ 39 ° ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ ™ œ œ ™ œ ™ œ œ œ œ œ œ œ œ œ ˙ œ œ œ & œ œœ œ œ ‹ ?# # w ˙ w w ¢ #

U œ Œ U œ Œ

Example 2.1. [Ascribed to] Giovanni Paisiello, “Solfeggi del Sig.r Maestro Paisiello” (US-Eu Ms. 1336), solfeggio no. 12, mm. 35–42; the cadenza at the end bears the remark: “Cadenza senza rigora,” meaning to be performed with rubato.

The didactic significance of these solfeggi is clear, regardless of whether we may ascribe parts of this manuscript to Paisiello or another composer.

11 “On the strength of the dotted note in the tenor,” “On the strength of the suspension,” “On the strength of the syncopation,” and “On the strength of the trill.”

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Figure 9. Étienne Giraud, Vue du palais du Roy de Naples Architecture du célèbre Dominique Fontaine, 1771; the royal palace in Naples, reproduced after: Cesare de Seta (ed.), Napoli nel Settecento e le vedute di Étienne Giraud, Milan: Edizioni il Polifilo 1977

Chapter Three

Instruction at the Conservatories In France, people write a lot about music today, but they don’t make music. Here, instead, people make excellent music but don’t write about it.1

The Conservatories in Naples The first conservatories in Naples are mentioned as early as the sixteenth century. Founded by prosperous citizens, they served to educate destitute children—often street children or orphans of whom it was decided that they should learn a craft to support themselves in later life. Initially, the conservatories offered training in different artisanal professions, but later they were restricted to music education only.2 These institutions were the Conservatorio di Santa Maria di Loreto, the Conservatorio di Sant’Onofrio a Porta Capuana, the Conservatorio dei Poveri di Gesù Cristo and the Conservatorio Santa Maria della Pietà dei Turchini.3 1

Di Tassulo, Voyages en differens pays de l’Europe. en 1774. 1775. et 1776. Ou Lettres écrites de l’Allemagne, de la Suisse, de l’Italie, de Sicile, et de Paris, vol. 2, 156. “En France on écrit aujourd’hui beaucoup sur la musique, mais on n’en fait point; ici on n’écrit point sur ce sujet, mais on fait en échange d’excellente musique.” 2 Fabris, Music in Seventeenth-Century Naples: Francesco Provenzale (1624– 1704), 25. 3 For more information, see Di Giacomo, Il Conservatorio di Sant’Onofrio a Capuana e quello di S.M. Della Pietà dei Turchini, and Il Conservatorio dei Poveri di Gesù Cristo e quello di S.M. di Loreto; Cafiero, “La formazione del musicista nel XVIII secolo: Il ‘modello’ dei Conservatori napoletani”; Tufano, “Der Beruf des Musikers: Ausbildung, Markt, Bewusstsein, Darstellung.”

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instruction at the conservatories   ❧ 45

The pupils studied for roughly ten years and had to play at various feast days, events at court, processions, and opera performances. These paid engagements enabled the budding musicians to apply in practice what they had been learning and make important contacts, while the income helped finance their studies. The pupils also had the opportunity to compose operas and to have them performed at their conservatory.4 The Conservatorio dei Poveri di Gesù Cristo closed in 1743, and in 1797 the Conservatorio di Santa Maria di Loreto also closed, with its few remaining pupils being transferred to Sant’Onofrio. When Joseph Bonaparte ascended to the throne in Naples in 1806, only the conservatories Sant’Onofrio and Santa Maria della Pietà dei Turchini remained. As a result of reforms to the local education system, these were merged in 1807 to form the Real Collegio di Musica di San Sebastiano. Giovanni Paisiello, Fedele Fenaroli, and Giacomo Tritto were appointed to head the new institution.

Partimenti, Solfeggio, and Counterpoint in the Curriculum of the Conservatories Teaching plans and contracts give us insight into the curricula and organization of the conservatories. The school regulations of the Conservatorio di Santa Maria di Loreto from the year 1684 include a brief section on the duties of the primo maestro that also provides information about the subjects he taught: I hereby convey a decision by the Collegio di Loreto, which further explains everything. On July 9, 1684, after the death of Giuseppe Cavallo, maestro di cappella of the royal conservatory Santa Maria di Loreto, two masters were elected to teach the students: Maestro Gaetano Veneziano and his deputy Nicola Acerbo, both of them former students of the above-named conservatory. Their wages will be six ducats per month. Their duties are singing instruction, harpsichord playing, intavolature, partimento, and counterpoint. Each master will teach onehalf of the students.5 4 5

Robinson, “The Governors’ Minutes,” 16. Bacciagaluppi, Giovani, and Mellace, eds., Giuseppe Sigismondo, Apoteosi della musica del Regno di Napoli, 247. “Ecco vi trascrivo una conclusione del Collegio di Loreto, dalla quale verrete in chiaro del tutto; A 9 luglio 1684. Per morte del quondam Don Giuseppe Cavallo maestro di cappella del Real Conservatorio di Santa Maria di Loreto furono eletti due maestri per maggior

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46  ❧  chapter three

A proposed reform of 1808 proves that partimento instruction was still firmly anchored in the Neapolitan educational system in the early nineteenth century. Giuseppe Cervelli, maestro di contrappunto, explained in his “Piano d’un Collegio Filarmonico in cui si propongono i mezzi necessarj per condurre la Musica al giusto fine” the precise context in which partimento should be taught: The teacher of music theory will teach the system of the keys and partimento playing. . . . The teacher of organ, piano, and harpsichord will teach intavolature, the playing associated with it, and how to accompany vocal music. To every student who has mastered advanced counterpoint, he will give a theme on which the student must improvise.6

Whereas the document from 1684 mentions partimento alongside playing the harpsichord and other practical subjects, by the early nineteenth century teaching partimento was reserved for the music theory teacher. In 1803 the composer Francesco Ricupero insisted that having completed one’s basic studies was a prerequisite for learning partimento: The reader should not be surprised to find so many different clefs for the notes mentioned above because my system corresponds to that of our famous and renowned masters, who never allowed a student to play the harpsichord without first having been instructed in solfeggio for three years.7

6

7

comodi de’ figlioli, uno per maestro Gaetano Veneziano e l’altro vice-maestro Nicola Acerbo, ambi stati per alunni dello stesso conservatorio, con provvisione di ducati sei il mese per ciascuno. Obblighi: insegnar a cantare, suonar il cembalo, intavolature e partimenti, e la cartella del contrapunto, con dividersi i figlioli metà per ciascuno.” Cafiero, “La didattica del Partimento a Napoli fra Settecento e Ottocento: note sulla fortuna delle ‘Regole’ di Carlo Cotumacci,” 555. “L’istruttor della Grammatica Filarmonica insegnerà il sistema de’ Tuoni, ed a sonare il Partimento. . . . Quello dell’Organo, del Pianoforte, e del Cembalo, oltre l’Intavolatura, e’l sonar legato, insegnerà ad accompagnar la Musica Vocale, e darà un tema a quegli Alunni, che avranno appreso il contrapunto sublime su di cui estemporaneamente comporranno sonando.” Ricupero, “Studio di musica, istruzione pratica per utile, e vantaggio di chi desidera divenire buon sonator di cembalo. Con un nuovo metodo di facilezza e chiarezza, per poter giungere in breve tempo alla perfezzione di suonare numerico e fugato il cembalo e l’organo Originale di Francesco Ricupero. Napoletano,” autograph, 1803 (I-Nc 20.2.2/1, olim 46.1.27/1), 94. “No’ si

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instruction at the conservatories   ❧ 47

Almost half a century earlier, the author Daniel Jost De Villeneuve had written something similar: “After learning the basic elements of vocal music, each student chose the instrument to which he felt most attracted or for which he seemed most talented.”8 This means that a student first had to sing solfeggi before being allowed to study composition, improvisation, and virtuoso performance—all by means of partimento playing. A well-trained voice, good intonation, and musical flexibility were prerequisites for learning an instrument at the Neapolitan conservatories. Solfeggi comprise a bass line and an upper voice that is often demanding in nature. Together with partimenti, they represent a core aspect of the education offered by the Neapolitan conservatories. The large number of solfeggi from the late seventeenth to the early nineteenth centuries offer convincing proof of just how fundamental they were to musical practice at that time.9 Moreover, solfeggi were used not only for mere vocal training but in a larger educational context, from memory training to practicing different melodic and formal patterns.10 Both disciplines—solfeggi and partimenti—were used as preparation for counterpoint instruction and probably also in parallel to it. They could enable a young student to learn the conventions of musical language initially through singing and aural training (solfeggio) and later through playing an instrument (partimento). During the seventeenth and eighteenth centuries, practical instruction for these subjects was provided by either a maestro or a mastricello (an assistant). Observations sur l’enseignement mutuel by Emanuele Imbimbo (1756– 1839)11 offers a detailed account of the teaching system employed at the meravigli il leggitore di veder praticare nelle sudette scale tante chiavi diverse, poiché il mio sistema è quello appunto de’ nostri celebri, e rinomati maestri i quali non mettevano mai i giovani al cembalo, se prima pel corso di trè anni no’ si fossero istruiti nel solfeggio.” 8 De Villeneuve, Lettre sur le méchanisme de l’opéra italien, 106–7. “Après les Elémens de Musique vocale, chacun de ces Ecoliers choisit l’instrument pour lequel il se sent le plus de goût ou de disposition.” 9 Manuscript collections of solfeggi have been handed down by Francesco Durante, Pasquale Cafaro, Nicola Porpora, Johann Adolph Hasse, Nicola Sala, Niccolò Antonio Zingarelli, and others. In 1772, Solfèges d’Italie was printed in Paris. 10 See Gjerdingen, Music in the Galant Style, 120–22 and 174–76. 11 Emanuele Imbimbo studied with Giuseppe Sigismondo (1739–1826) in Naples, but had to flee the city for political reasons. He lived in Paris from around 1808 onward. As far as we know, he wrote his Observations in French, the language in which it was published.

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48  ❧  chapter three

Neapolitan conservatories that is clearly intended to promote their method of peer-to-peer teaching.12 Imbimbo describes the importance of partimenti and solfeggi in the curriculum and explains the tradition to which Paisiello’s partimenti belong. A longer passage from this book is given in appendix 7. Every year, an exam took place in the presence of all external masters. The less advanced pupils were subjected to the most rigorous tests in order to see what progress they had made under the auspices of the more advanced pupils. Those who had been negligent were punished; those who did not possess the necessary talent for music or who did not like to work were expelled. Those who distinguished themselves by their progress were given small rewards, and much attention was given to the orphans among the pupils. In their first years, the pupils practiced solfeggio without singing; they simply named the notes and beat time. Once their voice was formed, after that critical time when the voices of the two sexes changed, they were asked to practice solfeggio individually by singing because it was believed that judging the correctness of a voice and recognizing and correcting its faults was possible only if the pupil sang alone. To ensure that pupils sang in tune, they had to practice pieces together without the aid of any instruments. Finally, external composers were allowed to rehearse their music in the conservatories, which rehearsals were a great aid to the pupils as they helped them develop good taste and judgment. After practicing solfeggio for as long as the masters judged necessary, each pupil decided whether he wanted to sing, compose, or play an instrument according to his talent. At the same time, the pupils practiced writing music and copied out their lessons or those of their peers; by this means, the principles and rules of their art were engraved in their souls.13 12 Imbimbo, Observations sur l’enseignement mutuel appliqué à la musique, et sur quelques abus introduits dans cet art, précédées d’une notice sur les conservatoires de Naples. 13 Imbimbo, Observations, 6–7. “Un examen, en présence de tous les maîtres externes, avait lieu tous les ans. C’étaient les élèves inférieurs qui étaient soumis aux épreuves les plus rigoureuses, pour voir quels progrès ils avaient faits sous la direction des élèves supérieurs. Les négligents étaient punis; on renvoyait ceux qui n’avaient pas les dispositions nécessaires pour la musique, ou qui n’aimaient pas le travail; on encourageait par de petites récompenses ceux qui se distinguaient par leurs progrès, et on avait grand soin des élèves orphelins. Dans les premières années, les élèves solfiaient sans chanter; ils nommaient seulement les notes, et battaient la mesure. Lorsque la voix était formée, après l’époque critique où chaque voix mue chez les deux sexes, on les faisait solfier séparément, et en chantant; car on était persuadé qu’on ne pouvait juger de la justesse d’une voix, et qu’on ne pouvait connaître et corriger ses défauts, qu’en la faisant chanter seule. Pour affermir les élèves dans

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instruction at the conservatories   ❧ 49

The Instruction at the Conservatorio di Sant’Onofrio The best-known account of the Conservatorio di Sant’Onofrio is by Charles Burney, who visited it on October 31, 1770. Especially fascinating is his description of the musicians, all practicing in the same room: This morning I went with young Oliver to his Conservatorio of St. Onofrio and visited all the rooms where the boys practise, sleep, and eat. On the first flight of stairs was a trumpeter, screaming upon his instrument till he was ready to burst; on the second was a french-horn, bellowing in the same manner. In the common practising room, there was a Dutch concert, consisting of seven or eight harpsichords, more than as many violins, and several voices, all performing different things, and in different keys: other boys were writing in the same room; but it being holiday time, many were absent who usually study and practise there together. The jumbling them all together in this manner may be convenient for the house, and may teach the boys to attend to their own parts with firmness, whatever else may be going forward at the same time; it may likewise give them force, by obliging them to play loud in order to hear themselves; but in the midst of such jargon, and continued dissonance, it is wholly impossible to give any kind of polish or finishing to their performance; . . . The beds, which are in the same room, serve for seats to the harpsichords and other instruments. Out of thirty or forty boys who were practising, I could discover but two that were playing the same piece: some of those who were practising on the violin seemed to have a great deal of hand. The violoncellos practise in another room: and the flutes, hautbois, and other wind instruments, in a third, except the trumpets and horns, which are obliged to fag, either on the stairs, or on the top of the house.14

It is not unlikely that Paisiello experienced similar conditions during his time at Sant’Onofrio. Salvatore di Giacomo has given us the precise details l’intonation, on les exerçait dans des morceaux d’ensemble, sans le secours des instruments. Enfin, il était permis aux compositeurs externes de faire répéter leur musique dans les conservatoires, et ces répétitions contribuaient beaucoup à exercer les élèves, et à former leur goût et leur jugement. Après l’exercice du solfège, qui durait aussi longtemps que les maîtres le jugeaient nécessaire, chaque élève se décidait, selon ses dispositions, ou pour le chant, ou pour la composition, ou pour quelqu’un des instruments. Ils s’exerçaient en même temps à écrire la musique, en copiant leurs leçons, ou celles des autres; et par ce moyen, les principes et les règles de l’art se gravaient dans leur esprit.” 14 Burney, The Present State of Music in France and Italy, 336–38.

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50  ❧  chapter three

of Paisiello’s nine years at the conservatory: “Giovanni Paisiello from Taranto entered on June 8, 1754, and confirmed with the notary Lauritano that he would serve at this place for ten years. He left on July 5, 1763, and with the permission of the administrator responsible, he took his bed with him.”15 Paisiello’s Regole (1782) was naturally written far from Naples, but its form and content are deeply rooted in the pedagogical traditions of the Conservatorio di Sant’Onofrio. Taking a closer look at Paisiello’s teachers at the conservatory may help us better understand the structure and context of his compendium of partimenti.16 The most influential teacher at the Conservatorio di Sant’Onofrio was probably Francesco Durante, who was in the last year of his life when he taught Paisiello. Over the course of his career, Durante had been primo maestro at three of the four conservatories in Naples. Later in life, he held this post simultaneously at the conservatories of Sant’Onofrio and Santa Maria di Loreto. Durante’s partimenti circulated widely in Italy, even well after his death, as the nineteenth-century scholar Francesco Florimo17 confirms: “They [his compositions] were used as models by all the schools in Italy, as were his partimenti, which were used everywhere and regarded as classic works.”18 The exercise book (zibaldone)19 of the thirteen-year-old Domenico Cimarosa (1749–1801), which the Estense Library cataloged in Modena under the title “Partimenti Di Domenico Cimmarosa Anno D. 1762” (I-MOe Campori γ L.9.26), contains mostly partimenti by Francesco Durante. Cimarosa compiled it during the time he studied at the Conservatorio Santa Maria di Loreto. After Durante’s death in 1755, Carlo Cotumacci (ca. 1709–85) assumed his position as primo maestro at the Conservatorio di Sant’Onofrio, becoming 15 Di Giacomo, Il Conservatorio di Sant’Onofrio, 111. “Giovanni Paisiello di Taranto – Entra a 8 giugno 1754. Ha fatto istromento per mano del notar Lauritano di servire il luogo per anni dieci. Si n’è andato a 5 luglio 1763, e si ha portato il letto col permesso del sig. Governatore delegato.” 16 See chapter 5 regarding the relationship between the partimenti of Durante and Paisiello. 17 Florimo, Cenno storico sulla scuola musicale di Napoli, 2 vols. Florimo (1800– 1888) was a librarian, teacher, composer, and a scholar of music. 18 Ibid., vol. 1, 223. “Esse [le sue composizioni] furono prese a modello da tutte le scuole d’Italia, come ancora i suoi Partimenti, adottati da per tutto e giudicati opera classica.” 19 Most teaching was done orally, and the few extant exercise books offer insight into this practice.

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instruction at the conservatories   ❧ 51

Paisiello’s teacher. Cotumacci became well-known not just through his teaching activities but also thanks to his encounter with Charles Burney, who describes their meeting in the diary of his musical travels: He [Cotumacci] was scholar to the Cavalier Alessandro Scarlatti, in the year 1719; and shewed me the lessons which he received from that great master, in his own handwriting. He also gave me a very particular account of Scarlatti and his family. Signor Cotumacci was Durante’s successor. He plays in the old organ stile very full and learnedly, as to modulation and has composed a great deal of church music of which he was so obliging as to give me a copy of two or three curious pieces. He had a great experience in teaching and shewed me two books of his own writing in manuscript: one upon accompaniment and one upon counterpoint. I take him to be more than seventy years of age.20

Cotumacci’s didactic collection of partimenti, titled “Principj e Regole di Partimenti con tutte le lezioni,” is of particular interest.21 Another successor to Durante at the Conservatorio di Sant’Onofrio was the composer Giuseppe Dol (also known as Joseph Doll, died 1774), though we otherwise know little about him. He received a mention at the Conservatorio dei Poveri di Gesù in 1736 as “Giuseppe Doll di Baviera, tedesco” (“Giuseppe Doll from Bavaria, German”) and in 1770 spent time with Leopold and Wolfgang Amadeus Mozart during their stay in Naples.22 The library of the Geneva Conservatory holds the only known manuscript of his partimento collection, “Regole per accompagnare il Basso.”23 The motet Astra coeli scintillate is one of Paisiello’s earliest surviving works, written in 1762 during his studies at the Conservatorio di Sant’Onofrio.24 The title page of the manuscript copy bears the following note: “Copied 20 Burney, The Present State of Music in France and Italy, 346–47. 21 The autograph is held by the library of the Naples Conservatory (I-Nc Rari 1.9.14/1). 22 In a letter of June 5, 1770, Wolfgang Amadeus wrote from Naples to his sister in Salzburg dialect: “haid homma gfresn beÿm H: Doll, des is a deütscha Compositeur, und a brawa mo” (“today we ate at Mr. Doll’s; he is a German composer and a fine fellow”). http://dme.mozarteum.at/DME/briefe/letter. php?mid=750&cat= (accessed on June 30, 2022). 23 Giuseppe Dol [Joseph Doll], “Regole per accompag[nare] il Basso del Sig.r Giuseppe Dol Napolitano” (CH-Gc R253/18). The epithet “Napolitano” or “Napoletano” was often used as a kind of “brand” to signify a composer’s affiliation to the music scene of Naples. 24 Robinson, Giovanni Paisiello, A Thematic Catalogue of His Works, vol. 2, 167.

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52  ❧  chapter three

Figure 10. Giovanni Paisiello, Motet Astra coeli scintillate, Naples 1762 (D-HVs Kestner no. 27)

from the composer’s autograph score in the manuscript collection of Aloys Fuchs in Vienna.”25 The choice of instruments for this secular motet in C major is typical for a work of its kind; it requires two trumpets, two oboes, two violins, organ continuo, and soprano, alto, tenor, and bass voices (see fig. 10). The motet’s brilliant character and its somewhat percussive bass line in eighth notes share similarities with the opera overtures of the day. The bass line has been carefully figured. The instrumental introduction of the motet follows the pattern of a typical sinfonia by Paisiello. The initial twelve measures announcing the tonic are homophonic and have precise dynamic indications (forte–dolce). The sixteenth notes from measure 6 onward give the introduction a certain brilliance and buoyancy.26 The closing fermata creates tension and signalizes the beginning of a new section. The first solo episode begins in measure 13 (not shown here) and comprises a 25 Aloys Fuchs (1799–1853) was an important collector of music manuscripts. 26 The note values are gradually shortened from the initial dotted quarter notes to eighth notes and finally to sixteenth notes.

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instruction at the conservatories   ❧ 53

dialogue between the ornamented oboe part (in thirds) and the accompanying violins (in unison). After twelve measures of alternating between G major and G minor, tension is once again built up in advance of the entrance of the chorus: the pedal point in the bass supports the harmony, as do the trumpets and oboes (sotto voce), while the violins take up the theme of the oboes. Here Paisiello employs various rhetorical means to create tension: caesuras that are signified by fermatas, a percussive dominant pedal point, and a twofold statement. The two statements carry the same text but different notation and are linked by a twelve-measure instrumental transition.27 If we examine this motet more closely, we will recognize traces of the craft that Paisiello learned in his years at the Conservatorio di Sant’Onofrio. In measures 64–67, for example, he utilizes a pattern that we also find in many partimenti and disposizioni: 64

&

Tb

Ob 1

Ob 2

Vl I

Vl II

S

° &

∑

Ϫ

˙

˙ ¢& ° œJ & œ

#œ œJ J œ

œ œ œ J J

(e)

& ˙™

T

& ˙

fi

-

¢

-

? Ϫ fi

? Ϫ

-

-

fi

Organo

#˙

˙

∑

# œ œ™ J

œ #œ œ J J

œ œ œ J J ˙

˙ # œ œJ J œ

œ #œ œ J J

œ œ J

œ

œ

œ

∑

#œ

œ

œ œ œ œ œ œ #œ œœœœœœœ J œ

œ œ œ J J

œœœœœœœœ œœœœœœœœ œœœœœœœœ#œ œœœœœœœ #œ œœœœœœ œ œœœœœœœœ œ œœœœœœ œ œœœœœœœœ ¢& ° œ™ œ#œ ˙ œ œ œ œ œ œœ ˙ œ™ œœ ˙ œ™ & œ

A

B

∑

#œ œ ™ J

œ œ œ J J

-

-

˙

-

#œ -

de

œœ œ

œ

œœ œ

-

de

5

#6

œ

˙™

-

-

de

œœ œ

gen

Ϫ Ϫ

8 5

-

-

#œ

#˙

˙

gen

-

œœ œ 5 3

w gen

œ œ

tes

#6

Ϫ -

-

-

-

8 5

-

œ œœ

Ϫ Ϫ

j #œ ˙ tes

-

e

-

-

e

œ œœ 5 3

-

-

-

œ œ

xul

6

-

œ -

Ϫ -

œ

-

ta

œ

-

-

œ

œ

tes

j œ #œ

œ

œ

xul - ta

œ

œ

œ

œ

œ

œ

ex - ul -

8 5 3

Example 3.1. Giovanni Paisiello, Motet Astra coeli scintillate, Naples 1762 (D-HVs Kestner no. 27), mm. 64–67

27 The text runs: “Sparkle, o stars of the heavens; bloom, o meadows and mountains; exult, o people, in trust that peace reigns on earth”; “Astra coeli scintillate Prata montes vos florete Fide Gentes exultate Dum in terra regnat pax.”

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54  ❧  chapter three

Gjerdingen describes the pattern in the outer parts (first violin and bass) as the “Monte Principale”: “Indeed, almost every collection of partimenti features at least one such bass as an opening gambit. . . . This particular setting of two parts in canon, each with a movimento up a fourth and down a third, was much prized and replicated in Naples.”28 An important role in Francesco Durante’s partimento compendium is played by partimenti diminuiti. Several solutions are proposed for different sequential patterns (movimenti di basso). These solutions can vary greatly and by no means always offer the most obvious realizations (such as the canon mentioned by Gjerdingen). The following examples show several solutions (“modi”) for the Monte Principale, which is Durante’s opening pattern in his partimenti Gj21, Gj23, Gj30, and Gj40 (this pattern is often used at the beginning of a partimento but can also appear in the further course of a piece). œ œœ œœœœ œœœœœœœœœœœœœ ? ## c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Example 3.2. Francesco Durante, “Regole E Partimenti Numerati e diminuiti” (I-Ria Mss. Vess. 283), Partimento Gj21, mm. 1–3

Here are different solutions suggested by Francesco Durante: # &#cœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ## c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

{ { {

# & # c ≈ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ ? ## c œ œ # &# c œ œ œ ? ## c œ ™

œ œ œ

œ œ™

œ œ œ

œ œ™

œ œ œ

™ œ œ

œ

Example 3.3. Francesco Durante, “Regole E Partimenti Numerati e diminuiti” (I-Ria Mss. Vess. 283), Partimento Gj21, “primo modo,” “secondo modo,” and “terzo modo”

28 Gjerdingen, Music in the Galant Style, 101

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instruction at the conservatories   ❧ 55

Additional instrumental examples are found in partimenti diminuiti Gj23, Gj30, and Gj40:

# & #c ‰ œ

{

? ## c œ

nœ œ œ

œ œ ‰ œ œ #œ œ œ

Example 3.4. Francesco Durante, “Partimenti O studii per Cimbalo” (F-Pn Acp. 4105/1), partimento Gj23, “primo modo”

12 Œ™ & 8 ‰ ‰ œbœ œ œ œj œ œ œj œ™ ? 12 œ œ œ œ bœ œJ œ 8 J J

{

12 œ & 8 ‰ œ œ œ bœ ? 12 ˙™ 8

{

12 œ &8

{

œ

œ

? 12 ˙ ™ 8

j bœ

œ

œ J

œ œ™ Œ ™ ‰ œ œ œ nœ ™ œ œ™ œ™ œ™ ˙™ ˙™ j bœ œ b˙ ™

#œ J

Ϫ

Example 3.5. Francesco Durante, “Regole E Partimenti Numerati e diminuiti” (I-Ria Mss. Vess. 283), Partimento Gj30. “Primo modo” is given in the first measure, “secondo modo” and “terzo modo” in mm. 12–14 and m. 24 respectively.

bœœj œ œ bœ œ œ œ œ #œ œœJ ? c œ œ œ œ œ œ œ œ bœ œ œ œ œ & c œœ

{

‰

nœœj œ œ œ œ œ œ œ #œ œœJ œ œ nœ œ œ œ œ œ œ œ œ œ

œ nœœ

‰

Example 3.6. Francesco Durante, “Regole E Partimenti Numerati e diminuiti” (I-Ria Mss. Vess. 283), partimento Gj40. For this partimento, Durante only offers one proposed solution for mm. 1–2.

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56  ❧  chapter three

In the following example (Gj2337 from the two-part disposizioni), it is the chromaticism in the bass that is particularly striking: 39

° œ & ¢

? œ

œ

œ

œ œ œ #œ

œ

Ϫ

‰ œ œ œ œ œ œ œ

‰ œ œ bœ

œ

‰ œ œ #œ nœ œ œ œ

œ

nœ J

Ϫ

œ

nœ J

œ œ œ œ œ ‰ œ

Example 3.7. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 133, disposizione on partimento Gj2337, mm. 39–42

The following five examples, which are likewise taken from Paisiello’s twopart disposizioni, demonstrate different variants of the first four measures of partimento Gj2329: ° c & œ™ ¢

œ œ œ™

?c ˙

˙

œ œ œ™ ˙

œ œ œ™ ˙

œ œ œ™ ˙

œ œ œ™ ˙

œ œ œ œ œ œ œ

œ

˙

˙

Example 3.8. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p 70, disposizione on partimento Gj2329, mm. 1–4

° c œ œœœœœœ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ?c ˙ ˙ ˙ ˙ ˙ ¢ Example 3.9. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 72, disposizione on partimento Gj2329, mm. 1–4

œœœœœ œ #œ#œ œ œ œ œ ° c ‰ œœœœœ‰ #œ œ ‰ œœœœ ‰ ‰ œœœœ œœœœœ ‰ œœœ ‰ œœœœœ ‰ & ?c ˙ ¢

6

˙

˙

˙

˙

˙

˙

˙

Example 3.10. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 74, disposizione on partimento Gj2329, mm. 1–4

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instruction at the conservatories  ❧ 57 ° c œ œ™ œ œ œ œ & œ œ œ œ œ œ œœ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ#œ œ œ œ œ œ œ œ ˙ ˙ ˙ ?c ˙ ˙ ˙ ˙ ˙ ¢ Example 3.11. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 77, disposizione on partimento Gj2329, mm. 1–4

° c œ™ œ œ œ œbœ œ œ œ œ œ œ œ #œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ & ¢

?c ˙

˙

˙

˙

˙

˙

œ œ œœœœœ œ ˙

˙

Example 3.12. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 79, disposizione on partimento Gj2329, mm. 1–4

This selection of examples could be extended at will; patterns such as Monte Principale are also ubiquitous in solfeggi, counterpoint treatises, and intavolature. They are akin to idiomatic expressions or items in a musical vocabulary that may be trained over the course of several years and employed in all kinds of contexts and lessons—from solfeggi to partimenti, disposizioni, intavolature, and counterpoint—until the student has ultimately attained mastery of the musical language. In the introduction to the Regole (1782), the Monte Principale is explained verbally and depicted in a partimento example: When the partimento ascends by a fourth and descends by a third, both the ascending and the descending notes are accompanied by the chord , as we can see in the following example.29 3 8 5

?# c

˙

8 5 3

3 8 5

˙

˙

8 5 3

3 8 5

˙

˙

8 5 3

˙

œ œ œ œ

Example 3.13. Giovanni Paisiello, Regole (1782), p. 18, partimento Gj2309, mm. 1–4

29 Paisiello, Regole (1782), 18. “Quando il partimento fa salto di Quarta nel salire, e salto di Terza nel calare, tanto alla nota, che ascende, quando a quella, che discende, se gli dà l’accordo di  come si vedrà dall’Esempio seguente.”

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58  ❧  chapter three

Franceso Azopardi’s “Il Musico Prattico”—a Textbook in the Pedagogical Tradition of Sant’Onofrio In 1763 Francesco Azopardi (1748–1809) from Malta entered the Conservatorio di Sant’Onofrio. He studied there until 1767 when it was run by Carlo Cotumacci and Giuseppe Dol.30 Azopardi continued to live in Naples until 1774 and made a name for himself as a private teacher to the aristocracy and monasteries. He also composed and had his works performed there. Azopardi returned to Malta in 1774, where he was initially appointed organist of St. Paul’s Cathedral of Malta and later maestro di cappella at St. John’s Co-Cathedral in Valletta. Azopardi’s “Il Musico Prattico”31 contains numerous practical examples that can help us understand the kind of counterpoint instruction given at Sant’Onofrio. It remains uncertain when this treatise was written, though it was published in French in 1786 by Nicolas-Étienne Framery,32 albeit without Azopardi’s original closing lines.33 In 1824 Alexandre-Étienne Choron organized a new edition of Framery’s translation. In his brief preface, Azopardi explains the purpose of his treatise, placing himself in the tradition in which his own teachers worked: “We know that I do not pretend with this book to offer rules to a Maestro, but only to record clearly what my own Maestri taught me.”34 And at the opening of the 30 It is unclear why Azopardi remained at the Conservatory for such a short time. 31 Azopardi, “Il Musico Prattico,” autograph (M-Vnl ms. 328bis). 32 Two doctoral theses on Azopardi’s “Il Musico Prattico” are known to the present writer: Adams, “Francesco Azopardi’s ‘Il Musico Prattico’: an annotated translation and critical study of its French editions by Framery (1786) and Choron (1824)”; and Buhagiar, “Francesco Azopardi (1748–1809): A Maltese Classical composer, theorist and teacher.” 33 “Il Musico Prattico” closes with a prayer to Saint Onuphrius and all the angels. This suggests Azopardi might have written his treatise either during his studies at Sant’Onofrio or shortly afterward, and he used it to teach his private pupils in Naples. However, Nicholas Baragwanath believes that the French solmization implies Azopardi might have written his treatise to a commission from Framery, thus almost two decades after his studies in Naples. Furthermore, the title page of the original Italian version of the treatise bears the remark that it has been translated into French by “Sigre. Fremeri.” 34 Azopardi, “Il Musico Prattico,” “A chi legge” (preface). “Sappiamo, che con questo libro non pretendo di dare norma a nessuno Mrò [Maestro], mà solamente di metter in chiaro tutto quello, che i Maestri m’anno insegnato.”

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instruction at the conservatories   ❧ 59

book, Azopardi explains what is required to embark on a practical study of counterpoint: As a prerequisite for these studies, the student should above all be able to sing well, so all the ideas in his head may then be notated on the cartella.35 Second, it would be advantageous (though not absolutely necessary) if he could play the harpsichord so that after having notated his lesson on the cartella, he can try it out immediately by playing the bass on the harpsichord and singing to his accompaniment. In this manner, he can hear and judge his composition himself.36

Thus, the student should be able to develop musical ideas by singing, so afterward, he can transfer them to the cartella and then accompany himself on the harpsichord while singing the lezione. Azopardi offers a clear, vivid description of rules that may be employed in writing and playing counterpoint and are relevant to keyboard instruments performance practice. He uses music examples to describe important elements of 35 The cartella was used in counterpoint lessons for writing exercises that would later be corrected or erased. This method was typical of instruction in Rome and Naples and was much cheaper than paper. The word cartella is explained in various sources. Emanuele Imbimbo (1821) mentions it in the context of teaching at the conservatories of Naples. He describes it as a “thick varnished cloth, with lines as on music manuscript paper on which you could write and wipe away music as you pleased” (see appendix 7). According to the description given in the article “Cartelles” in Rousseau’s Dictionnaire (Paris: Chez la Veuve Duchesne 1767), it was a piece of donkey hide that had music staves on one side and on which you could erase anything written by wiping the hide with a sponge. Johann Gottfried Walther’s Musikalische[s] Lexikon oder Musikalische Bibliothek, 460, describes the “Palimpsestus” as “a donkey skin, prepared with plaster and varnish on which whatever is written can be wiped or scratched away again. It is generally referred to as a Cartell.” For more information on the cartella, see Owens, Composers at Work. The Craft of Musical Composition 1540–1600, 74–82. 36 Azopardi, “Il Musico Prattico,” I. “Per dare principio a questo studio, prima d’ogn’altra cosa fa duopo che lo studente sappia ben cantare, affinche tutte quelle idee che gli vengono in testa, avrà la capacità di poterle mettere in cartella; 2.do sarei di sentimento, (benchè non è necessario) che sappia sonare il Cembalo, affinchè dopo fatta la lezione sù la cartella possa provarla, con sonare il basso nel Cembalo, e cantare nell’istesso mentre la lezione fatta, per poter giudicare anch’egli con il suo sentimento in qualche maniera la sua composizione.”

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60  ❧  chapter three

partimento and counterpoint, such as movimento di basso (“Regole per mettere il Basso sotto la Parte Acuta”),37 modulation (“Metodo per saper uscire dal tono Principale”), imitation, counterpoint in two, three, and four parts, fugues, and canons. Azopardi also describes the Monte Principale discussed earlier (i.e., the use of alternatively ascending fourths and descending thirds in the bass): When the bass carries out this movement, you play a  chord on the note that rises by a fourth, and a  chord on the note that descends by a third, then thereafter a passing minor seventh throughout, and on the final note, which rises a fourth, you play a  chord.38

Azopardi’s didactic skills are evident not least in his instructive differentiation between a homophonic solution in block chords (“corpo Armonico”) and a contrapuntal solution with suspensions. ° cw & w w

bœ

corpo Armonico 3 5

?c w ¢

!7

w w w

w #w w

3 5

#3 5

w

œ

w w w

w w #w

§7

w3

5

#3 5

w

w w w

œ

w

5 §3

§7

w

Example 3.14. Francesco Azopardi, “Il Musico Prattico” (M-Vnl Ms. 328bis), p. 47

The suspension of a ninth in the following examples is described by Azopardi as follows: “The same movement [the suspension of a ninth] can be used on the note that ascends by a fourth, in which case the  chord is resolved onto a  chord.”39 ° c˙ & ˙ ?c w ¢

b˙˙ !7 5

˙˙

˙˙

4 9

3 8

w

˙ #˙ w

˙˙

˙˙

˙˙

§7 5

w9

4

3 8

˙ #˙ w

˙˙ §7 5

˙˙

˙˙

4

§3 8

w9

Example 3.15. Francesco Azopardi, “Il Musico Prattico” (M-Vnl Ms. 328bis), p. 48

37 The parte acuta is also described as chant donné in the French tradition. This is a prescribed upper part to which one has to add the lower voices. 38 Azopardi, “Il Musico Prattico,” 47. “Quando La Grave fa questo movimento, a quella nota che sale di 4.a si dà aa ed a quella, che cala di 3.a, si dà a, e poi si passa La 7.a minore, e all’ultima nota, che sale di 4.a si dà aa .” 39 Ibid., 48. “A quest’istesso movimento si può dare ancora alla nota, che sale di a 4.a, a risoluta aa .”

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instruction at the conservatories   ❧ 61

Despite being rooted in the Neapolitan tradition, Azopardi’s treatise was influenced by the stylistic shifts that took place in the second half of the eighteenth century. To achieve success in the world of church music, it was no longer sufficient for composers to master only the strict counterpoint of the stile antico; they also had to be able to compose arias, symphonies, sonatas, and operas in the melody-oriented galant style. This fact is reflected in Azopardi’s definition of counterpoint: “Counterpoint is nothing other than a union of several voices, strings, and winds that together play a certain melody, offering enjoyment to the ear.”40 Several of his examples testify to this shifting aesthetic. In “Lezione Cantabile” below, the focus is on the upper voice melody above a rising hexachord in the bass: ° c & œ ¢

œ œ œ

?c w

œ ° & œ œ ¢

? w

œ

œj œ œ œ œ œ

œ œ œ

œœ œ œ œ œ j

œ œ

œj

j œ

œ

œ

œ œ œ œ

w

w

w œ

œ œ

œ œ œj œ œ œ œ œ œ

˙

˙

w

4 6

3 5

w

w w

Example 3.16. Francesco Azopardi, “Il Musico Prattico” (M-Vnl Ms. 328bis), p. 33, “Lezione Cantabile”

The practical suggestions for performance toward the end of the treatise are also noteworthy. Here Azopardi discusses dynamics issues, which are barely mentioned in other sources in the Neapolitan tradition: Just as painters employ different color mixes in order to make their pictures stand out, so do maestri di cappella, using piani, forti, sforzati, smorzati, and crescendi that go from soft to loud like the waves of the sea. He mixes these effects with different musical ideas, the most beautiful of which one should perform first with a soft or muted voice, or loud at first and then soft or dampened; 40 Azopardi, “Il Musico Prattico,” 1. “Il Contrapunto non è altro, che un’unione di più Voci, Stromenti di Corda, e di Fiato, quali uniti insieme formano una certa melodia, che da piacere sommo all’udito.”

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62  ❧  chapter three and if the same idea extends over several measures, then it should begin softly and become ever louder in a crescendo.41

The clever structure of “Il Musico Prattico” and the personal style of its author make this work unique among the Neapolitan textbooks of the time, which tend to be rather unoriginal compilations of earlier works.42

41 Ibid., 203–4. “Siccome i Pittori si servono di varj colori mescolati in diverse maniere per dar risalto alle loro pitture, così ancora il Mrò [Maestro] di Cappella per far che risalti la sua Composizione bisogna che si serva dè piani, e forti, sforzati, e smorzati, e de piani crescendo sempre piu forte come l’onda del mare, mescolandoli con diversi pensieri, dè quali i piu belli per lo piu è buono eseguirli con voce piana ò smorzata, oppure prima forte e poi piana o smorzata; e quando saranno piu battute d’un istesso pensiere, allora s’incomincia piano, crescendo sempre più forte.” 42 Regarding other Neapolitan counterpoint treatises, see Abbate, “Due autori per un testo di contrappunto di scuola Napoletana: Leonardo Leo e Michele Gabellone,” 123–59. Also worthy of mention here is Guglielmi, “Il Trattato del moderno Contrapunto cavato dalla Scuola o sia Conservatorio di Napoli del 1756 dal Sig. Guglielmi Ad uso di S. Eccellenza il Sig. Marchese Antonio Nerli” (I-OS Mss. Teoria B1).

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Chapter Four

Paisiello’s Regole (1782) Every art is best taught by example.1

The Structure of Paisiello’s Regole (1782) Paisiello wrote his Regole (1782) in the context of his work at the Russian court; nevertheless, the collection is firmly anchored in the tradition of the Conservatorio di Sant’Onofrio in Naples. Regole (1782) is a guide to partimento playing—an art that combines rule-based instructions, illustrative examples, and practical exercises in the form of figured and unfigured basses. A glance at the structure of the Regole (1782) shows that it is similar to the partimento compendium by Paisiello’s teacher Francesco Durante. Therefore, it can be instructive to compare the Regole (1782) with Durante’s own “Regole per l’Accompagnamento”2 and with related compendia by Fedele Fenaroli (Partimenti ossia Basso Numerato),3 Giacomo Insanguine (“Regole con moti di Basso”),4 Giovanni Furno (“Metodo

1 Clementi, Gradus Ad Parnassum Or The Art Of Playing On The Piano-Forte Op. 44, vol. I, 2. 2 Durante, “Regole per l’Accompagnamento” (I-Fc B. 360). 3 See Demeyere, “On Fedele Fenaroli’s Pedagogy: An Update.” 4 Insanguine [“Monopoli”] (1728–95), “Regole con moti di Basso, Partimenti e Fuge Del M.tro G.mo Insanguine Detto Monopoli” (I-Mc Noseda Th.c.116a).

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64  ❧  chapter four

facile, e breve”),5 and Giuseppe Dol (“Regole per accompag[nare] il Basso”).6 Paisiello’s Regole (1782) begins with an introductory section that makes roughly a third of the book. Here Paisiello uses fourteen partimenti that are propaedeutic in nature—eleven with figures and three without—to illustrate general rules. Next follow thirty-one figured partimenti without any explanatory text, though he often states where imitations are to be played (“imitazioni”). Paisiello generally forgoes any diminuiti section with specific performance instructions. His Regole (1782) is also largely devoid of fugues, contrary to Durante’s or Fenaroli’s partimento compendia.7 The first eleven partimenti (Gj2301 to Gj2311) illustrate the rules explained in the text. Most are correspondingly brief and extensively figured. They introduce the reader to playing a full texture and attach importance to correct voice-leading and constructing an attractive upper part. Gj2312 to Gj2314, by contrast, are the only partimenti in the whole book that are completely unfigured. They are proof that the teaching practice of Naples employs unfigured partimenti to determine whether a student was able to apply the rules, the sequential patterns, and harmonic connections he had just learned. According to Sanguinetti, one of the principal goals of the Neapolitan masters was to enable their students to play unfigured basses.8 The degree of difficulty intensifies considerably after the section with the rules and the unfigured partimenti. Starting with Gj2315, the figures often do not just describe elementary compositional procedures but also suggest imitations or specific melodic lines. The prerequisite for these partimenti is that the player should be completely conversant with the rules and the movimenti di 5

Furno (1748–1837), “Metodo facile, e breve per accompagnare i Partimenti senza numeri Del Sig.r Giov.ni Furno, Maestro del Real Collegio di Musica in Napoli” (I-Mc Noseda, L 36–8). The designation “Partimenti senza numeri” (“partimenti without figures”) refers to a specific pedagogical goal: after the rules have been explained, the player should be able to play without figures. Paisiello’s Regole (1782) is organized in the same fashion. He explains the rules, demonstrates them, using precisely figured partimenti, and then follows them up with a group of partimenti without any figures at all. The remaining partimenti are figured more sparingly than those at the beginning. 6 Dol [i.e., Joseph Doll] (ca. 1720–74), “Regole per accompag[nare] il Basso del Sig.r Giuseppe Dol Napolitano” (CH-Gc R253/18). 7 The exceptions here are Gj2330, a partimento fugue, and Gj2326, a partimento in the stile antico. 8 Sanguinetti, The Art of Partimento, 175.

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basso that have been explained thus far. The present writer has included suggested realizations for some of the partimenti in this group in appendix 4. Sanguinetti has divided the rules generally found in any partimento compendium into five different classes.9 I. Basic axioms II. Rule of the Octave III. Suspensions IV. Bass motions V. Scale mutations

Each of these five classes is represented only selectively in Paisiello’s introductory section to his Regole (1782). In comparison to the compendia by other Neapolitan masters, it is striking that Paisiello focuses only on individual theoretical aspects instead of placing his main emphasis on practical examples. Furthermore, Paisiello’s introduction is considerably shorter than that of other compendia. Below are examined more closely several aspects of the introductory section to the Regole (1782). The complete text and corresponding examples from Paisiello’s Regole (1782) are given in appendix 9.

Basic Axioms Cadences Cadences have a central function in partimento compendia. Together with the “Rule of the Octave,” they constitute the basic repertoire of partimento practice. In Paisiello’s Regole (1782), the three types of cadences—cadenza semplice, doppia, and composta—are explained and illustrated verbally and musically: “It is important to know that there are three types of cadences, namely the simple cadence, the double cadence, and the compound cadence.”10 However, Paisiello’s classifications of cadential forms diverge in several ways from the terminology of the Neapolitan tradition. Usually, cadences are classified according to the following characteristics: the cadenza semplice has no dissonance on ⑤, the cadenza composta 9

Ibid., 100. For a more in-depth explanation of these individual categories, see Sanguinetti’s chapter “The Rules” in ibid., 99–164. 10 Paisiello, Regole, (1782) 7. “Bisogna sapere, che le Cadenze sono di tre Sorti, cioè, Cadenza Semplice, Cadenza Doppia, e Cadenza Composta.”

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66  ❧  chapter four

has a 4–3 suspension on ⑤, and the cadenza doppia has a ––– sequence on ⑤.11 If ④ is introduced before ⑤, it is called a cadenza lunga (a “long cadence”). Paisiello provides examples of these three different types of cadences (the semplice, composta, and doppia). He begins with the cadenza semplice in all three positions: 8 5 3

?c

˙

8 5 3

#3 8 5

3 8 5

w

˙

˙

Prima Posizione

5 #3 8

3 8 5

5 3 8

w

˙

˙

Seconda Posizione

8 5 #3

5 3 8

w

˙

Terza Posizione

Example 4.1. Giovanni Paisiello, Regole (1782) p. 8, cadenza semplice in the different positions

Contrary to tradition, Paisiello also describes the cadence with a 4–3 suspension as a cadenza semplice: 8 5 3

?c

˙

4 8 5

˙

D 8 5

8 5 3

3 8 5

w

Prima Posizione

˙

5 4 8

˙

5 D 8

3 8 5

5 3 8

w

Seconda Posizione

˙

8 5 4

˙

8 5 D

5 3 8

w

Terza Posizione

Example 4.2. Giovanni Paisiello, Regole (1782) p. 8, cadenza semplice with a 4–3 suspension

The copy of the Regole (1782) recently discovered in St. Petersburg (see chapter 2) contains several manuscript corrections and additions. The cadenza semplice is described there as a cadenza breve when it has a suspension on ⑤.

11 See also Sanguinetti, The Art of Partimento, 105.

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Figure 11. Giovanni Paisiello, Regole (1782), copy from the State Conservatory in St. Petersburg (RUS-SPk XVIII-I/P-149), p. 8 with manuscript additions

The manuscript additions in the upper half of page 8 explain the difference between the cadenza semplice and the cadenza breve: “And when the abovementioned cadenza semplice is given12 the suspension –, this is called the cadenza breve.”13 Further down on this page (see fig. 11), we find the following added between the two staves: “Example of the cadenza breve, also in three types, in 1st, 2nd, and 3rd position.”14 12 Here, the fresh ink was smudged with a finger in order to signify the deletion of the corresponding passage—see the top right-hand corner of figure 11 above. 13 Paisiello, Regole (1782), 8. “E quando alla d.a cadenza semplice gli si da [e questa si puole chiamare cadenza Bre] di  e  questa si chiama cadenza Breve.” 14 Paisiello, Regole (1782), 8. “Esempio della cadenza Breve anche in di tre maniere in 1.a 2.a e 3.a posizione.”

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68  ❧  chapter four

For the cadenza doppia, Paisiello continues in line with tradition: 3 4 4 3 8 8 8 8 5 6 5 5

8 5 3

w

?c w

8 5 3

5 6 5 5 3 4 4 3 8 8 8 8

3 8 5

w

w

w

Prima Posizione

3 4 4 3 8 8 8 8 5 6 5 §7 5

8 5 3

w

?c w

3 8 5

w

5 3 8

w

8 5 3

5 6 5 5 3 4 4 3 8 8 8 8 §7

3 8 5

w

w

Prima Posizione

w

5 3 8

w

Terza Posizione

Seconda Posizione

w

8 8 8 8 5 6 5 5 3 4 4 3

8 5 3

5 3 8

w

w

8 8 8 8 5 6 5 7 3 4 4 5 3

w

5 3

w8

Terza Posizione

Seconda Posizione

Example 4.3. Giovanni Paisiello, Regole (1782), p. 9, cadenza doppia in all three positions and with a passing seventh on the last beat of the penultimate measure

Paisiello’s cadenza composta places the ④ before the ⑤ and thereby corresponds to the cadence traditionally called the cadenza lunga.15 3 8 5

7 5 3

?c ˙

˙

5 3 8

9 5

?c ˙

x

˙

6 5 3

5 3 8

6 4 8

5 4 8

5 3 8

w

8 5 3

7 5 #3

w

3 8 5

w

6 4

5 4 8

5 #3 8

8 5 3

w

Example 4.4. Giovanni Paisiello, Regole (1782), p. 10, cadenza composta

In conclusion, we can say that Paisiello describes the progression ①–⑤–① as a cadenza semplice, both with and without a suspension on the fifth degree. Still, he writes of a cadenza composta when the fifth degree is preceded by the fourth (see ex. 4.4). The following manuscript addition to page 10 of the St. Petersburg copy supports this assertion: “We recognize the cadenza composta when the first degree progresses to the fourth and to the fifth, and from the fifth to the octave.”16 15 See also Sanguinetti, The Art of Partimento, 109. 16 Paisiello, Regole (1782), 10. “La Cadenza Composta si conosce quando la prima del tono va alla 4.a poi alla quinta, dalla 5.a all’ottava.” I had the

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Paisiello thus divides his cadences into two fundamental categories. One is formed by the cadences “alla Quinta del Tono” (on the fifth degree) that is founded on the simple alternation of ①–⑤–①, namely the cadenza semplice with and without a suspension, and the cadenza doppia that similarly plays out over the bass progression ①–⑤–①. But if the fourth degree is inserted, resulting in the progression ①–④–⑤–①, Paisiello says this is a cadenza composta. The differentiation in category of the progressions ①–⑤–① and ①–④–⑤–① is fundamentally different from the usual designations in the Neapolitan sources. The manuscript additions for the cadenza breve (with a suspension above ⑤) also display a desire for terminological differentiation of both forms of the cadenza semplice (whose basic form has no suspension).

Pedal Point The pedal point (called the pedale by Paisiello) occurs often in Paisiello’s compositions and partimenti. In most cases, it is figured so that the result is a linear or melodically attractive upper voice. Paisiello explains the pedal point in a footnote following partimento Gj2304. It is absent in the autograph, which suggests that Paisiello monitored the publication process of his Regole (1782): “N.B. Every time one encounters a tied note that lasts for several measures, which will be accompanied by a variety of chords (as in the case of the D in the previous example), that note is called a pedale. This occurs often, but only in the case of the first or fifth note of the scale.”17

Types of Motion The introductory section of a complete compendium of partimenti usually includes basic rules of counterpoint. This arrangement applies equally to Paisiello’s Regole (1782) and the collections of Francesco Durante, Giacomo Insanguine, Fedele Fenaroli, and Giuseppe Dol. On the one hand, opportunity to consult the manuscript additions by the unknown author on page 10. Regrettably, however, I was not given permission to publish that page. 17 Paisiello, Regole (1782), 13. “N.B. Tutte le volte che s’incontra una Nota tenuta di piu battute, e che alla medema se li darà varj accordi (siccome si è veduto nel delasolrè nell’esempio di sopra), detta Nota vien chiamata pedale, e questo accade spesse volte nella Prima del tono, o nella Quinta del tono solamente.”

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70  ❧  chapter four

the progression models in partimento practice imply a contrapuntal mode of thinking, and on the other hand, the contrapuntally regulated voiceleading is a fundamental aspect of partimento realization. The students were instructed to utilize two kinds of motion, moto obliquo and moto contrario (oblique and contrary), with moto retto (direct motion)18 employed primarily for unison passages.19 We find similar principles in the opening chapters of most counterpoint treatises of the eighteenth century.20

Imitation Imitation is a crucial contrapuntal principle for those wishing to realize Paisiello’s partimenti. We find the following definition given before partimento Gj2321: “N.B. Imitation is understood to occur when a voice offers forward a particular passage that is answered in the same manner by another voice.”21 In his publication of 1782, Paisiello adds Imitazione to signify precisely where this imitation should take place (see ex. 4.5). In order to recognize the imitation possibilities inherent in a bass line, it is often necessary to look at a section of the bass line as a melodic extract of a multi-part setting or canon. In this case, the imitation is founded on a thematic elaboration of a conventional musical model. One core goal of partimento instruction was to have the student internalize such models so they could be “accessed” automatically whenever a specific motion appeared in the bass line. œ œ # œ #œ & œj

16

{

?#

Imitazione

œ

Œ

‰

œ œ œ œ D

6

œ œ œ œ œ œ #œ #œ

œ

‰

œ J

œ œ J D

œ

œ

œ

œ #œ

Example 4.5. Giovanni Paisiello, Regole (1782), p. 29, partimento Gj2321, mm. 16–17, realization by Nicoleta Paraschivescu. The designation Imitazione is original; the notes in small type in the bass have been added to imitate the upper voice.

18 The common English term for “direct” is “similar” motion. 19 Ibid., 7. 20 See also Azopardi, “Il Musico Prattico,” 13–14. 21 Paisiello, Regole (1782), 29. “N.B. L’imitazione s’intende, quando un Canto propone qualche passaggio, e da un’altro si risponde dell’istessa maniera.”

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Rule of the Octave The Rule of the Octave was the foundation of all areas of instruction, whether the subject of that instruction was accompanying, partimento playing, solfeggio, or counterpoint.22 Every bass step of the ascending and descending scale in a key was assigned its own harmony, though the precise figures to be used were variable to a certain extent, depending on the context and style. The Rule of the Octave thus bundles together a large number of compositional schemata23 based on linear sequential patterns, enabling performers to “think” with their fingers in each key: “One learned the ‘Rule’ not only as a guide for realizing an unfigured bass but also to inculcate a feel of tonal progression by which one could improvise (or “modulate”) within a given key. It is not surprising that we find the rule as a starting point in many of the partimenti exercises.”24 Right at the beginning of the Regole (1782), the individual harmonies are explained for each of the seven degrees of the scale in the bass, initially in words and numbers, followed by written out musical notation: ?c

8 5 3

H 4 3

6 3

6 5 3

8 5 D

6 3

6 T 3

w

w

w

w

w

w

#w

5 3

w8

6 3

6 3

8 5 D

2 6 F

3 8 6

4 3 8 H

5 3 8

? #w

w

w

w

w

w

w

Example 4.6. Giovanni Paisiello, Regole (1782), p. 6, the Rule of the Octave

If we compare the “Regole” of Giuseppe Dol with that of Paisiello, we will recognize differences in the bass figure for each scale degree. These differences reflect shifting conventions in the musical language. Dol uses the older system25 in which he suggests a simple sixth chord on the second degree,  whereas Paisiello suggests a  chord. 22 See also Christensen, “The Règle de l’Octave in Thorough-Bass Theory and Practice,” 112–16, and Sanguinetti, The Art of Partimento, 113. 23 See also Froebe, “Historisches Panoptikum der Satzmodelle.” 185–95. 24 Christensen, “Thoroughbass as Music Theory,” 24. 25 The newer system, unlike the older, uses the fourth on the second degree  (  chord), and on the fourth degree when descending (a  chord). Thus, for example, Francesco Galeazzi (1758–1819) mentions in his Elementi

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72  ❧  chapter four

In the solfeggio collection ascribed to Paisiello, the second solfeggio bears the title “Sopra la forza della legatura,” which is based on an ascending hexachord: Sopra la forza della legatura

° c œ œ œ œœœ œœœ œ œ œ œ œœœ œ œ œ œœ œ œ Ÿ œ Œ œ œ œ œœœ œ & Œ ‹ œœœ ˙ œ œ ˙ ˙ ?c ˙ ˙ ˙ œ œœ œ ˙ ˙ œ œ ¢

Example 4.7. [Ascribed to] Giovanni Paisiello, “Solfeggi del Sig.r Maestro Paisiello” (US-Eu Ms. 1336), solfeggio no. 2, mm. 1–6, “Sopra la forza della legatura”

This example demonstrates that the Rule of the Octave does not only determine which chords are to be used to harmonize each bass degree but also regulates the melodic/contrapuntal voice-leading of the upper and middle voices. In Paisiello’s partimento Gj2314, the bass ascends stepwise to an octave in measures 6–10. The realization below employs techniques such as contrary motion, suspension, and imitation, addressed in the introduction of the Regole (1782). Œ ˙ œ b˙ &c ˙

{

?c ˙

˙

œ œ & œœ ™ œ œJ ˙ ? ˙ ˙

6

{

œ˙ œ bœ œœ œ œ nœ œ œ bœ œ œ ˙ œ bœ œ œœ œ œ™ œ œ œœ nœœ œ œ œ œ˙ œ œ œ ˙œ œ œ œ ‰ J J b˙ œ œ ˙ ˙ œ œ œ œ ˙ ˙ j j œ œœ™ œ œ œ œœ œ œ œ œœ œ œ œ œ ™ œ œ œ œ œœ ™ œ bœœ œœ œœ œ œ nœ œ ˙ œ œœ œ œ œ™ œJ œ œ œ œ J J J Œ Œ œœœœœ œœœœ˙ œœœœ˙ ˙ ˙ œ ‰ J

Example 4.8. Giovanni Paisiello, Regole (1782), p. 24, partimento Gj2314, mm. 1–10, realization by Nicoleta Paraschivescu, unfigured in the original

Partimento Gj12 from Durante’s “Partimenti diminuiti” begins with a movimento di basso that rises stepwise to an octave.

teorico-pratici di musica (1796) that the earlier masters (including Durante) did not use the fourth on the second degree. For more details, see van Tour, Counterpoint and Partimento, 58–64.

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paisiello’s 56

56

?c œ œ

56

56

œ œ

56

œ

56

56 œ œ œ

6 5

regole

(1782)  ❧ 73

6 H œ œF œ6 œ œ œ œ ‰ J œ ˙ ‰ J

œ œ œ

56

56

œ

œ

Example 4.9. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 17r, Gj12

For the ascending scale in the first three measures, Durante proposes the following realization: œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ &c ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

{

?c œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

Example 4.10. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 17r, Gj12

In solfeggio no. 10 from the collection ascribed to Paisiello, we find a similar yet simpler solution for the rising bass: ° # & œ œ œ œ œ œ œ œ ‹ 32

¢

?# œ

œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ

Example 4.11. [Ascribed to] Giovanni Paisiello, “Solfeggi del Sig.r Maestro Paisiello” (US-Eu Ms. 1336), solfeggio no. 10, mm. 32 (beat 3)–34

In his treatise titled “Il Musico Prattico,” Azopardi introduces his explanation of sequential patterns (movimenti di basso) as follows: We have concluded the explanations of all suspensions both in the bass and in the upper voice; now we must consider the harmonies. . . . When the notes ascend stepwise, one may also play  and then  besides the consonances already mentioned.26 26 Azopardi, “Il Musico Prattico,” 44–45. “Abbiamo terminato la spiega[zione] di tutte le legature tanto della parte Grave, quanto della parte Acuta; ora bisogna incominciare a spiegare corpi d’Armonia. . . . Alle note, che salgono di grado, a oltre che le già dette Consonanze, si può dare aa, e poi passare a.”

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74  ❧  chapter four

° c & ˙w 5 3

?c w ¢

˙

˙w

˙

6

5 3

6

w

˙w

˙

˙w

˙

˙w

˙

˙w

˙

˙˙

˙˙

5 3

6

w

5 3

6

w3

5

6

w3

6

4 w

6

5 3

w

5

U W U W

Example 4.12. Francesco Azopardi, “Il Musico Prattico” (M-Vnl Ms. 328bis), p. 45

For the descending scale, Azopardi proposes a chain of 7–6 chords: For those that descend stepwise, besides the consonances already mentioned, first, one can play , then  and on all the rest  and then .27

° cw & ˙ ?c w 5 3

¢

˙ 6 3

w ˙ w 7 3

˙ 6

w ˙ 7 3

w

˙ 6

w ˙ 7 3

w

˙ 6

w ˙ 7 3

w

˙ 6

w ˙ 7 3

w

˙ 6

w ˙ 7 3

w

˙ 6

U W W U W

Example 4.13. Francesco Azopardi, “Il Musico Prattico” (M-Vnl Ms. 328bis), p. 45

Just after presenting the Rule of the Octave, Paisiello uses almost the exact same words as Azopardi to describe the corresponding progressions of 5–6 (ascending) and 7–6 (descending): In the above example, one can also use a  and  chords. When the bass moves stepwise, either up or down, one can use the chords  and . But the seventh must be prepared by the sixth and must be resolved, and the last sixth must be major.28

27 Ibid., 45. “A quelle, poi che calano di grado, oltre le già dette Consonanze alla p.a nota si dà  e poi  e tutte le altre  e poi .” 28 Paisiello, Regole (1782), 6. “Al sudetto esempio si puole anche dare l’accordo di , e  quando però ascende di grado, e quando discende ancora di grado, si puol dare l’accordo di  e ; ben inteso però, che la Settima dev’esser preparata dalla Sesta, e risoluta alla Sesta, e l’ultima Sesta dev’esser Maggiore.”

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paisiello’s 5 3

?c 7 3

? #w

6 3

5 3

H 3

< #>5

6 3

7 3

w

5 3

6 3

6 3

5 D

7 D

w

6 3

6 3

7 3

w

6 3

5 3

6 3

7 3

6 3

w

(1782)  ❧ 75 5 3

6 3

5 3

7 3

w

6 3

w

#w

w

w

w

w

w

w

6 3

3

regole

H 3

8 5 3

w

Example 4.14. Giovanni Paisiello, Regole (1782), p. 6, with a 5–6 chain of suspensions ascending and a 7–6 chain descending

Azopardi’s examples are already situated in the realm of contrapuntal thought. The previous example, partimento Gj12 by Durante (exx. 4.9 and 4.10) and Paisiello’s solfeggio (ex. 4.11), are only indirectly related to the Rule of the Octave. Inarguably, bass-related harmonies and counterpoint are inextricably interwoven in the Rule of the Octave: the contrapuntal processes from which the Rule of the Octave has been abstracted are subsumed in it, and can emerge again into the light at any time. In this sense, mastering the “corpo Armonico”29 with the aid of the Rule of the Octave is a crucial element in the harmonic, tonally regulated counterpoint of the High Baroque, and at the same time, the basis of an artful technique of diminution and ornamentation. Christensen has summed up this Janus-faced aspect of the Rule of the Octave as follows: For an understanding of eighteenth-century musical thought, though, the règle de l’octave remains indispensable. The dual applications of the règle we have examined directly reflect a bifurcation that may be observed in eighteenth-century continuo pedagogy between compositional and improvisational poles. When placed on one end of this methodological spectrum, the règle can be interpreted as a compositional prescription for the realization of thorough bass and implicitly as the paradigmatic model of a mode. But when seen from the other end, the règle is only an improvisational progression useful for extemporizing through a mode, but by no means constituting that mode. This bifurcation also captures the essential dialectical tension of tonal practice between harmonic and contrapuntal poles, represented by those who interpreted the règle in exclusively harmonic terms (as did Rameau and his followers) and those who interpreted the règle in more linear, contrapuntal terms (as did the Italian partimenti teachers).30 29 Azopardi uses this phrase when he explains an example in purely harmonic terms. 30 Christensen, “The Règle de l’Octave in Thorough-Bass Theory and Practice,” 117.

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76  ❧  chapter four

Suspensions Paisiello precisely describes and exemplifies preparing dissonances by means of consonances. The first complete partimento, Gj2301, comprising only ten measures, primarily thematizes the suspended fourth. Several of the previously discussed rules are applied here, in particular those regarding contrary motion, suspensions, and the cadences (semplice and doppia).31 The use of multiple figures provides a beginner with the necessary information about the position and voice-leading intended; even the doublings above the bass line are figured exactly. The suspended fourth is prepared by the third, fifth, sixth, and the octave. Noteworthy are the parallel octaves in the inner parts, namely from measure 2 (beat 4) to measure 3 (beat 1), in measure 4 (beats 2 and 3), and from measure 7 (beat 4) to measure 8 (beat 1). These parallel octaves result from doubling of the bass, the doubling note occasionally being the leading voice. Such parallels were common in the inner voices of a fully realized accompaniment but forbidden between the outer parts. 8 5 3

?c œ 6

8 5 3

? œ

5 3 8 6

œ

4 8 5

˙

3 8 5

8 5 3

œ

3 8

œ œ œ6 œ œ œ

T 3 8 6

4 8 5

œ #˙ 8 5

œ3

3 8 5

œ

œ 5 3 8 6

6 3

5 3

œ

œ #œ

5 4 8

5 D 8

˙ 4 8 5

œ

8 5 3

3 8

bœ6

4 8 5

˙

D 8 5

œ 3 8 5

œ

8 5 3

6 3 8

œ

œ œ

3 8 5

4 8 6

8 5 3

6 3 8

œ

œ

4 8 5

3 8 5

w

4 8 5

œ

D 8 5

œ

8 5 3

w

Example 4.15. Giovanni Paisiello, Regole (1782) p. 11, partimento Gj2301

In his “Libro Secondo,” Fenaroli shows how to prepare the fourth by the third and the fifth, employing two written-out examples (“Esempio B” and “Esempio C”). Here, too, we find parallel octaves between the bass and an inner voice.32 In his introduction to Fenaroli’s Partimenti, Imbimbo writes as follows: 31 Regarding Paisiello’s categorization and naming of the different cadential forms, see the section on “Cadences” in chapter 4. 32 One of the most important manuscript sources for Fenaroli’s partimenti is the “Regole di Partimento Per imparare a sonare bene il Cembalo Del Sig.r D. Giovanni Furno” (I-Mc Noseda Th.c.121). Furno was one of the most respected teachers of his generation. The examples in question are found on folio 55r and folio 56r.

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paisiello’s

regole

(1782)  ❧ 77

If at times notes are doubled in the partimenti by means of figures, so that parallel octaves form with the bass, this is not a compositional error but is done to reinforce the harmony when playing, such as in instrumental music when the viola often reinforces the bass.33

Francesco Gasparini also justifies this practice in his L’Armonico pratico al cimbalo, by assuming that the inner voices cross parts: One does not need to adhere so rigidly [to the rules] to avoid [parallel] octaves and fifths in the middle [parts]. They may develop as a result of the same motion, since one presumes they will occur through voice exchange, as in the compositions for 5, 6, and 8 voices, where consonances are doubled by the voices but move in a manner such that no transgressions occur that are prohibited by the rules of good counterpoint.34

Bass Motions Some sequential movements in the bass require specific harmonic progressions in order to achieve correct voice-leading in the upper parts. These movimenti di basso represent a core aspect of partimento practice. Any complete partimento compendium will, as a rule, offer a comprehensive explanation of the movimenti, ordered according to the size of the first interval. In his introductory section, Paisiello restricts himself to just a few examples without following any overarching system. Nevertheless, his other partimenti offer a large number of practical examples. It is possible that Paisiello was concerned about maintaining what he regarded as correct

33 Fenaroli, Partimenti ossia Basso Numerato, 25. “Se ne’ Partimenti si trovano talvolta raddoppiate alcune note per mezzo de’numeri, in maniera che facciano ottava col basso, ciò non accade per errore di composizione, ma per un rinforzo di armonia nel suonare, siccome fra gli strumenti la viola va spesse volte col basso.” 34 Gasparini, L’Armonico pratico al cimbalo, 59. “Nè si osserva così esattamente, che nel mezzo non vi siano le Ottave, e le Quinte, benche procedino con l’istesso moto, perchè si suppone siano salvate col cambiamento delle parti, come nelle Composizioni a 5., a 6., e 8. Voci, dove le parti Composte si raddoppiano le Consonanze una coll’altra, ma cangiandosi in modo, che tra di loro non vi siano i disordini proibiti dalle buone Regole del Contrapunto.”

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78  ❧  chapter four

proportions: one-third of his book is a theoretical introduction using practical examples, while two-thirds comprise artistically sophisticated partimenti. An initial example with the progressions 5–6 (ascending) and 7–6 (descending) was already explained in the section on the Rule of the Octave. Another example deals with alternating descending thirds and ascending seconds. Paisiello writes: “It is important to know that when the partimento ascends by a step and descends by a third, one must play a  chord above the ascending note, and a  chord above the descending note.”35 5 3 8

?c œ

œ

œ

3 5

5 6

3 5

œ

œ

œ

5 6

3 5

5 6

5 3

œ

œ

#œ

œ

œ

œ

œ

Example 4.16. Giovanni Paisiello, Regole (1782), p. 16, partimento Gj2307, mm. 1–3, movimenti di basso with a descending third and an ascending second

Scale Mutations Specific harmonic patterns have the “power” to create a modulation (“fà uscire di tono”), especially the  chord: As an exception, only the second can be used without having to be prepared when the partimento is tied. In this case, the said second is always accompanied by the perfect fourth. It is important to know, however, that sometimes this second is prepared by the octave, when the fifth note of the scale moves to the fourth and then to the third note of the scale. Then the fourth that has to accompany said second must be an augmented fourth.36

35 Paisiello, Regole (1782), 16. “Bisogna sapere, che quando il partimento ascende di grado, e discende di Terza, si deve dare l’accordo alla Nota che ascende di , e alla Nota che discende si deve dare l’accordo di .” 36 Paisiello, Regole (1782), 12. “Solamente la Seconda há un’eccezzione di potersi adoprare senza esser preparata, allora quando il partimento è legato, e detta 2a: viene sempre accompagnata con la Quarta Minore. Bisogna però sapere, che alle volte detta 2a: vien preparata dall’Ottava, allora quando la Quinta del Tono passa alla Quarta, e poi alla Terza del Tono, ma la Quarta, che va unita con detta 2a: dev’esser Maggiore.”

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paisiello’s

regole

(1782)  ❧ 79

In the recently discovered copy of the Regole (1782) in St. Petersburg, the following text has been added by an unknown hand on page 22 (see fig. 12): The rule for the major and minor second: The major second is accompanied by the [augmented] fourth and the sixth. Sometimes the chord of the major second remains in the given key; at other times, it leaves the key. The minor second is accompanied by the fourth and the sixth and always leads away from the key.37

Figure 12. Giovanni Paisiello, Regole (1782), copy in the State Conservatory, St. Petersburg (RUS-SPk XVIII-I/P-149), p. 22, with manuscript additions

37 Paisiello, Regole (1782), 22. “Regola sopra la 2:a maggiore e sopra la 2:a minore: La 2:a maggiore si accompagna colla 4.a maggiore e 6.a Alle volte la detta 2.a maggiore conserva il tono ed alle volte fà uscir di tono. La 2.a minore si accompagna con la 4a, e 6.a, e fà sempre uscire di tono.”

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80  ❧  chapter four

The Newly Discovered Partimenti by Giovanni Paisiello Thanks to the electronic database of Uppsala, two hitherto largely overlooked manuscripts have been identified. They contain two- and three-part disposizioni and comprise a total of roughly 560 pages. Until recently, it was unknown that both sources draw on partimenti by Paisiello as his name is not found in them. Thirty-one partimento basses are taken from the print of 1782, of which twenty-nine are presented as two-part disposizioni. Of these twenty-nine, two are also found in the three-part disposizioni (Gj2319 and Gj2321). Another two partimenti from the print of 1782 are found only in the three-part disposizioni (Gj2308 and Gj2310). Appendix 2 provides a concordance to help the reader compare the contents of both manuscripts and to compare these, too, with the print of 1782.38 It is striking that the first twenty-nine partimento basses in the two-part disposizioni are given in the same order as in the print (except for Gj2320 and Gj2327); they begin with Gj2315 and end with Gj2345. If we also count partimenti Gj2308 and Gj2310 from the second volume, we reach a total of thirty-one partimento basses that were part of the Regole published in 1782. Partimento Gj2346, which is only found in the autograph, is absent from these disposizioni. Further proof that the print of 1782 must have served as the model for these disposizioni is provided in partimento Gj2319. Seven measures are absent in the bass, both in the print and in the disposizioni, but are found in the autograph. As far as we know today, the newly discovered forty-one partimento basses, beginning with Gj2347, have survived in no other source. They are published here for the first time in appendix 10. It is noteworthy that the last seven partimenti in the two-part volume are also realized as three-part disposizioni in the three-part volume. This overlap between both manuscripts raises certain questions: • •

Did Paisiello publish only a portion of his partimenti? Is it possible that at least some of the partimenti realized in the disposizioni, but not in the print of 1782, derive from Paisiello’s lost treatise “Lo studente del contropunto”?39

38 This concordance shows that partimenti Gj2319 and Gj2321 are found in all three sources: in the print of 1782 and in the volumes of two- and three-part disposizioni. 39 Gagliardo, Onori funebri renduti alla memoria di Giovanni Paisiello, 192. The counterpoint school “Lo studente del contropunto” is mentioned shortly after

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paisiello’s •

regole

(1782)  ❧ 81

Is the balance between the forty-five partimenti in the print of 1782 and the forty-one newly discovered partimenti a matter of sheer chance?

In addition to the content matters, the name “Taleyrand” [sic] on the inside cover of the three-part disposizioni suggests that this manuscript was made within Paisiello’s inner circle.40 It is even conceivable that Paisiello himself used it as teaching material for his pupils since extant exercise books from other Neapolitan musicians such as Carlo Lenzi, Giuseppe Gherardeschi, Benedetto Neri, Giovanni Salini, Francesco Salari, Biagio Muscogiuri, and Vincenzo Lavigna prove that maestri used their own partimenti to teach counterpoint.41 The partimento basses that exist only in one source are qualitatively on a par with Paisiello’s other partimento basses. In their structure and idiom, they are also very similar to the partimenti published in 1782. For most of the disposizioni, the first example implies imitative schemata. Apart from regular use of pedal points and schematic movimenti di basso, the basses of the newly discovered partimenti are characterized above all by a constant alternation between rapid sequences and figurations and rather static passages. The last group offers space for imitation in the upper voices of the preceding bass figures.42 The newfound partimenti can be assigned to specific musical genres, indicating their similarity to Paisiello’s known partimenti. For example, the newly discovered partimento Gj2387 (see appendix 10) and partimento Gj2328 from the print of 1782 have the form and character of a concerto. Appendix 4 offers a realization of Gj2328 by this author. The following three examples, Gj2340 and Gj2341 from the print of 1782 and Gj2374 from the newly discovered partimenti, were all given the original marking “Andante” and begin with the same opening pattern, a falling third in the bass.43

40 41 42 43

his partimenti (“Il Partimento”) in a work catalog printed in an obituary for Paisiello. See chapter 1 for details of the relationship between Paisiello and the Talleyrand family. See also van Tour, Counterpoint and Partimento, 235–45. See Gjerdingen, “Partimenti written to impart a knowledge of counterpoint and composition.” Gjerdingen demonstrates these alternations using several concrete partimento examples. We find the same opening pattern in the bass in Paisiello’s partimento Gj2335 (see exx. 4.27 and 4.28) and in another partimento by Durante (see exx. 4.29 and 4.30).

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82  ❧  chapter four Andante

œ™ ? # 3 œ™ œ œ™ œ œ œ 4 6

?#

œ

œ

œ

œ™ œ œ™ œ œ™ œ œ

Œ

œ ™ œ œ ™ œ œ™

œ J

œ

œ ‰ œ œ

œ

œ™ œ œ™ œ œ™ œ

Œ

œ™ œ œ

œ

œ

œ

Œ

Example 4.17. Giovanni Paisiello, Disposizioni à 3 (F-Pn Vmb. ms. 10/2), p. 252, partimento Gj2374, mm. 1–10 Andante Solo

? #### 3 Ϫ 4

œœœ

Imitazione

Ϫ

œœœ

f

Ϫ

œœœ

Ϫ

œœœ ˙

œ ˙

œ

œ™ œ œ

œ ˙

Œ

Example 4.18. Giovanni Paisiello, Regole (1782), p. 51, partimento Gj2340, mm. 1–8 Andante 5 3

7

? b 3 œ ™ œ œ 5œ 8

5 3

7 5

œ™ œ œ œ

5 3

7 5

œ™ œ œ œ

5 3

j œ œ

œ œ œ œ œ™ œ œ œ œœœœ œ

Example 4.19. Giovanni Paisiello, Regole (1782), p. 52, Partimento Gj2341, mm. 1–6

Different Types of Partimenti in the Regole (1782) and Their Genre-Specific Context Paisiello’s partimento oeuvre is rather modest compared to other partimento composers—even if we include the recently discovered examples. One primary reason is that Paisiello did not teach at a specific institution but privately. Paisiello’s position at court, his success as an opera composer, the musical tastes of the time, and the abilities of his pupils—all these factors would have had an influence on the structure and style of his compositions, including his partimenti. On a closer examination of the partimenti of Regole (1782), we find that many of them display characteristics associated with popular genres at the time, such as sinfonia (overture), concerto, aria, siciliano, or fugue. Several examples of these partimenti are shown below.

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paisiello’s

regole

(1782)  ❧ 83

Overture (Sinfonia) or Concerto The bass of partimento Gj2331 is seventy measures long and is one of the longest, most ambitious partimenti in the Regole (1782). Its opening four measures are typical for an overture or for a first movement of a symphony. Elements such as the dotted rhythm, the momentum of the opening with its rapid upbeats, and the form of the cadence in the fourth measure are all similarly found in Paisiello’s overtures. My realization begins with a unison in the lower octave. The second measure suggests an imitation of the opening theme while the harmonies in the right hand in the upper register convey the impression of a crescendo. The full chords give the piece a majestic character. The dialogue between the two solo voices in measures 5 and 6 is written out in the Regole (1782). This passage displays the characteristic traits of a concerto or overture and is reminiscent of corresponding passages in other works by Paisiello, such as the overture to his opera L’idolo cinese of 1767. # & #c ‰

{

Ó™

œ ? ## c œ œ œ “‘

‰ œ #œ

œ

# j œ œr œ œr & # œœœ ‰ Œ œ œ‰ œ œR œœ œ œ J R

5

{

? ## œ ‰ Œ J

Ó

œ œ#œ œœœ

n˙ F

œœ

œœ Œ

œœœ

œœœ

‰™ œR œ 6

œœ œ

œ œœœ œœ

‰™ œR œ

œœ œ

œœ œ

‰™ œr œ

œœ œ

œœœ

œ

œ

œ

Ÿ œ œ œ œœ œ œœ œ œœ œ œj œ™ œ œ œ œœ œ œœ œ œœ ‰ J œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œJ œ œ œ

Example 4.20. Giovanni Paisiello, Regole (1782), p. 39, partimento Gj2331, mm. 1–7, realization by Nicoleta Paraschivescu

We find something similar, albeit at a rather livelier tempo, in the overture to Paisiello’s opera Il Demetrio. The opera was first performed in 1779 in Tsarskoye Selo, the summer residence of Empress Catherine the Great. Its opening measures are also in D major (see ex. 4.21) and have the same rhythmic impetus as partimento Gj2331. The military character afforded by the unisoni and the dotted rhythms is another feature the two pieces have in common.

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84  ❧  chapter four ° ## c &

Allegro con spirito

Violino I

Violino II

Flauto trav. 1

## c ¢& ° ## c & # & #c

Flauto trav. 2

Corni in C

for. ass.

œ œ œœ œœ œ œ œ œœ œ

# œ & #c œ œ œ

Oboe 1

Oboe 2

œ œœ œ

## c œ œ œ œ ¢& ° œ & c‰ œ

œ c ¢& b ‰ œ ° # c Viola B # œ œœ œ

Trombe in C

Fagotti e Bassi

¢

? ## c

œ œœ œ

Ϫ Ϫ

œ J

Ϫ

œ J œ™

œ œ œœ ˙˙ œ œ

Ϫ Ϫ Ϫ

œ J

Ϫ

œ J œ™

œ œœ ˙

Ϫ

‰ œ œœœ

‰ œ œœ ˙

Ϫ

œ J

‰ œ œœœ

‰ œ œœ ˙

‰ ‰ ‰ ‰

Œ Œ

œ œœœ œ œ œœ œœ œ œ œ œœœ

œ œ œ œ

‰ ‰ ‰ ‰

Œ Œ

œ œœ ˙

˙ ˙ ˙ ˙

‰ œ œœœ

‰ œ œœ ˙

‰ œ œœœ

‰ œ œœ ˙

Ϫ

œ J œ J

Ϫ Ϫ

œ J œ™ œ J œ™ œ J œ™

Ϫ

œ J œ™

Ó

Ó

Ϫ Ϫ

Ó

Ó

Ϫ Ϫ

œ J

Ϫ

œ J œ J

Ϫ Ϫ

Ϫ Ϫ

œ J œ™ œ J œ™

œ J œ J œ J œ J œ J

œ J j œ œ J j œ œ J œ J j œ

for. ass.

Example 4.21. Paisiello, Overture to the opera Il Demetrio, Tsarskoye Selo 1779, mm. 1–3

Some of Paisiello’s operas had great success in St. Petersburg, such as Nitteti (1777), Achille in Sciro (1778), and Il barbiere di Siviglia (1782). In the “Raccolta” of 1783, Paisiello arranged the overtures of these operas for harpsichord so that his pupil Maria Feodorovna would also be able to play them in private. The beginning of Paisiello’s “Concerto per Cembalo” in G minor is dramatic in character (see ex. 4.22). After the full, dotted chords in the first measure, the upbeat to the second measure features the same ascending fournote figure from the dominant to the tonic that we have already seen in the two previous examples.

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paisiello’s ° bc r &b œ œ œ œ bcf r b & œœ œœ f r B bb c œ œ

œ œ ‰™ œR œ

? bc œ œ ¢ b R

‰™ œR œ

Allegro

Vl. 1

Vl. 2

Vla.

f

Bassi

f

r ‰™ œ œ œ œ ‰™ œR œ

≈ nœ #œ œ œ ≈ Œ Œ

p

œ nœ #œ œ

p

regole

(1782)  ❧ 85

Æ Æ ≈ nœ #œ œ œ œ œ œ œ œj ‰ œJ ‰ œ ‰ œj ‰ J œ œ œ ' ' j ‰ œ ‰ œ ‰ j ‰ ≈ œ J J œ nœ #œ œ œ œ œ œ œ œ œ œ œ œ J ‰ J ‰ œJ ‰ ∑ Œ œ J ‰ œJ ‰ œ ‰ J

p

∑

Œ

p

Example 4.22. Giovanni Paisiello, “Concerto per Cembalo” in G minor, 1788 (I-MC 7-E-17), mm. 1–3

Partimenti conceived in the manner of a concerto can contain written-out solo sections, meaning that the performer only has to improvise the tutti sections. Gj2320 and Gj2331 are the only examples with brief, written-out, two-part solo sections in the published Regole (1782).44 H

œ œœ ?c œ œ œ œœœ œ œ œ œœœœœœœ œœœœœœ œ œœœœœœœ œœœœœœ œ œ œœœœ 5

? œ #œ œ

Ÿ j œ œ œœ œ œ# œ œœ œ œœ œ œ œ œ œj œ™ œ œœj œ™ œœ œœj œ™ œœ œœ œ # œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ # œ œ œ œ B œ ‰ J

Example 4.23. Giovanni Paisiello, Regole (1782), p. 28, partimento Gj2320, mm. 1–6

Gj2328 does not contain any completely realized solo sections. The dialogue between solo and tutti is marked by several interjections in the soprano clef and instruction to engage in imitation. The first few measures could be realized as shown in example 4.24. Appendix 4 offers a complete realization of this partimento. The imitation expressly required by Paisiello in measure 25 is also understood to apply to other passages that make use of the same bass motif, e.g., in measures 27 and 29.

44 See in this regard Gjerdingen, “Partimenti written to impart a knowledge of counterpoint and composition,” 61–62.

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86  ❧  chapter four b ‰ œ œ œ œ œœœ ‰ ‰ &b b c œ™ œ œ œ œ œ œ œ ™ œ œ œœ œœ œ œ œœ œ œ œ œ ™ œ œ œœ œ œ œ œ bœ œ J œ œ J J œ

{

? b c œœœœœœœœœ bb

œ

œœœœœœœœœ

œ

œœœœœœœœ

œ

œ

‰ j œ b ‰ j œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ ™ œ œ œœ ‰ œ œ œ œ œ œ œr œ œ œ œ œ œ œ &b b ‰ œ 3 7 œ 7 5 œnœ œ œ œ œ œ œ nœ œ ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œœœœœ œ b

4

{

Example 4.24. Giovanni Paisiello, Regole (1782), p. 36, partimento Gj2328, mm. 1–15, realization by Nicoleta Paraschivescu

Another example of a partimento in the style of a concerto is Gj2336, which is notable for its polyphonic, complementary rhythms and the composer’s instruction to engage in imitation. œ œ œœœœœ ≈œ œœ j r œ œ œ œ œ ˙ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ & b c œ™ ≈ œ ‰ œ œ œ œ ≈ R

{

?b c œ

≈œœœœœœœœœœœ œ 7

œ

≈œœœœœœœœœœœ œ 7

œ

≈œœœœ œ ≈œœœ œ 6

6

œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œj œœ ™ œ œ œ œœj œœ œœ nœ œ œ œ &b œ œ œ œ œ œ œ œ ‰ œJ œœ œ˙ œ œ nœ œ œ œ œ œ œ œ œ œ œœœ œ nœ œ œ œ6 œ ?b œ œ œ ≈ œ ≈ œ ≈

4

{

Example 4.25. Giovanni Paisiello, Regole (1782), p. 46, partimento Gj2336, mm. 1–6, realization by Nicoleta Paraschivescu

Siciliano or Pastorale Partimento Gj2335 may be an extract from an aria in the siciliano style or a pastorale. One example of this type of movement can be found in the aria “La bella mia Tiranna” from Paisiello’s early opera Il Negligente (Parma 1765).45 45 In his thematic catalog, Michael Robinson lists this opera as lost. However, I have found three arias from it in the Bibliothèque publique et universitaire de

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paisiello’s

regole

(1782)  ❧ 87

° 12 j œ™ œ œ œ œ œ™ œ ‰ ‰ œ œ ™ œ œ œ œ œ™ œ œ œ œ ™ œ œ œ œ œ œ™ œ œ j œ œJ &b 8 œ J J J J œ f j j j 12 j œ œ œ™ œ œ œ ™ œ j Violino secondo & b 8 œ œ™ œ œ œ œ œ™ œ œ ‰ ‰ œ œ œ œ œ J œ œ™ œ™ œ œ œ œ J œ œœ œœ œœ œ œ œœ œœ œœ j 12 œ™ Viola ¢B b 8 ‰ J J J J J J J œ œ™ ˙™ Violino primo

Soprano

Basso

12 &b 8 ‰

∑

? b 12 ‰ œ 8

œœ œœ J J

∑ œ J œ

œ œ J

∑

œœ œœ J J

œœ j ™ J œ œ

Ϫ

˙™

Example 4.26. Giovanni Paisiello, “La bella mia Tiranna,” aria from the opera Il Negligente, Parma 1765 (RobP deest CH-N XB obl. 205 [Ms.9806]), mm. 1–3

Partimento Gj2335 begins with a bass pattern repeated a third lower in each of the first three measures. The following two examples are different realizations of the same eight measures from Gj2335. The first is calm, simple, and cantabile in style, while the second realization is more instrumental in character. j # #6 & # 8 œœJ œ œ œ™ œ œœ J

{

? ### 68 œ ™ œ œ ## & # œœ

5

{

œœ

œœ

œ œ

œ œœ

œœ

j œœ œ œ™ œ nœ œJ J œ

j œœ œ œ œœ ™ œ œ œœ œ œ J œ

5 3

6 5

œ ™ #œ œ

œœ

œ

œ nœ

œœœ œœœ œœœ œœœ™™™

œ™ œ œ œœ

œ

Ϫ

œœ œ œ œ œ œ œ œ™ œ R

6 5 ? ### œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ 4œ™ 6

œ #œ

œœ

5 3

œ ‰

œ #œ œ

Ϫ

œ œ

œœ œ œ œœ

j œ œœ œ œœ

j œ œœœ ‰ œJ

œ œ œ œ œ œ œ™ œ œ œ ‰

Example 4.27. Giovanni Paisiello, Regole (1782), p. 45, partimento Gj2335, mm. 1–8, realization by Nicoleta Paraschivescu

Neuchâtel (CH-N XB obl. 205 [Ms.9806]).

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88  ❧  chapter four Ÿ œŸ Ÿ Ÿ œ™ œœ # #6 œ œœœœœœœ œ œœœœœ œ œ œ œ œ œnœ œ œnœ œ œ œ œ œ œ œ œ œ œ &# 8≈

{

? ### 68 œ ™

œœ

œ

œ œ

5 3

œ ™ #œ œ

™ # # œ œ œ œ œ œ œ œ œ œ œ œ œ #œ M œ œ &# œ

5

{

5 ? ### œ œ œ œ œ œ œ œ œ œ œ œ œ ™ 6

œ

œ nœ

6 5

Ϫ

œœ

œ

œ #œ

Ϫ

œœœœT œœ

œ #œ œ

œ

œœœœœœ

r j œ œ œnœ œ œ Ÿœ œ œ œ œ œ œ ‰ œ œœ ™œ œ œ œ œ œœ œ œ œ œœ œ œœ J Ÿ 6 œ 53 œ 4 œ œ œ œ œ œ œ œ™ œ œ œ ‰ œ œ œ œ œ œ œ œ œ™

Example 4.28. Giovanni Paisiello, Regole (1782), p. 45, partimento Gj2335, mm. 1–8, realization by Nicoleta Paraschivescu

A partimento diminuito by Francesco Durante Gj79 in  time uses the same model: œ œ œ œ œJ#œ œ œ™ ? ## 12 œ œ œJ œ#œ œ œ œ œ œ œ œ œ œ œ œ œj œ œj œ œ œ œ J J J œ œ™ 8 J J œ J J J Example 4.29. Francesco Durante, “Partimenti diminuiti” (I-Nc 22.1.14), Gj79, mm. 1–4

The realization that Francesco Durante offers is as follows: # 12 & # 8 ‰ Ó™

{

Ϊ

œ œj œ #œ œ œ œj œ œj ‰ ‰ œJ w™

? ## 12 œ œ œJ œ #œ œ œ œ œ 8 J J

œ œ œ œ œ œ œ œj œ œj J J

Example 4.30. Francesco Durante, “Partimenti diminuiti” (I-Nc 22.1.14), Gj79, mm. 1–2, “Primo Modo”

In this example, imitation is the first option chosen by Durante. Numerous sonatas by Domenico Scarlatti also begin with similar imitation:

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paisiello’s # 12 œ œ œ œ œ ™ œ  ‰

{

? ## 12 Œ ™ 8

Ϊ

Ϫ

‰

#œ œ œ # œ œ œ n œ nœ œ œ œ

œ œ œ œ œ™ œ ‰

Ϫ

Ϫ

œœœœœ œ™

œ

regole

‰

(1782)  ❧ 89

#œ œ œ # œ œ œ n œ nœ œ œ œ

Ϫ

Ϫ

Ϫ

œœœœœ œ™

œ

œ œ ‰œ ™ œ œ œ œ œ œ œ jœ œ jœ j jœ # œœœœœ ‰ œ œ œ ‰ œ œ œœ ‰ œ œ œœ &# ‰ œ œœœœ œ œ œ œ œ œ œ™ œ œ œ œ œ œ™ ™ ™ œ œ œ™ œœœ J J ? ## œ™ œ™ œ™

4

{

Example 4.31. Domenico Scarlatti, Sonata K. 45 in D major, mm. 1–6

A Polyphonic Work in the “Stile Antico” Strict counterpoint dwindled in importance in the second half of the eighteenth century. Nevertheless, particularly in church music, the polyphonic stile antico and the melody-oriented galant style continued to be practiced in parallel. The Church was an important patron of composers at the time, especially in Naples with its large number of churches and feast days.46 Fugues in the polyphonic stile antico were typical of church music until well into the nineteenth century and were primarily taught in counterpoint lessons.47 Partimenti that presupposed a realization in the polyphonic style are rare in Paisiello’s collections. Example 4.32 is Gjerdingen’s realization of a partimento in a vocal, contrapuntal style.48 # w & #C w w w ? ## C

{

˙˙

w w

j œ™ œ™ œœ ˙˙ J w w

˙˙

˙˙

w w

˙˙

˙ w ˙

œ œ œ˙ œ œ œ œ œ ˙ ˙

˙

˙

˙

# w ˙ ˙™ & # ˙ œ œ w œ œ ˙w œ œ ˙w œ œ ˙w œ œ ˙w œ œ ˙˙ ™ ˙ œ ˙ ™

5

{

? ## ˙

œ œ ˙

œ œ

˙

œ œ ˙

œ œ

˙

œ œ ˙

œ œ w

˙˙

#w

Óœ œ Ów

œ œ

œ œ ˙

œ œ

œœ w w w w

j ˙˙ #œœ ™™ œœ J w w

Example 4.32. Giovanni Paisiello, Regole (1782), p. 34, partimento Gj2326, mm. 1–9, realization by Robert O. Gjerdingen

46 The conservatories were religious institutions with a corresponding focus on church music. 47 Sanguinetti, The Art of Partimento, 88. 48 Gjerdingen, “Partimenti written to impart a knowledge of counterpoint and composition,” 66.

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90  ❧  chapter four

A Sonata by Domenico Scarlatti Numerous partimenti are decidedly instrumental in character, which inevitably suggests comparisons with the sonatas of Domenico Scarlatti. Many of his sonatas, including K. 62 shown in example 4.33, begin with an imitation or even an inversion of the voices, as we have already seen in example 4.31. # #3 œ œ œ œ œ œ &# 8

{

? ### 3 8

∑

Ÿ œ #œ œ œ œ œ œœ™ œ œ œ ∑

œ œ

Ÿ œœ ™

#œ œ

œ œ œ

Example 4.33. Domenico Scarlatti, Sonata K. 62 in A major, Allegro, mm. 1–4

A realization of Gj2334 could begin with imitation in the second voice, as is the case with K. 62. The bass in measures 3–4 can be placed over the first two measures as an upper voice.

b 3 œ #œ œ œ œ œ œ œ &b 8 œ œ nœ œ œ œ œ œ ? bb 3 œ #œ 8

{

œ

œ

œ

œ

œ

œ

œ #œ œ œ œ œ œ nœ œ œ œ œ

Example 4.34. Giovanni Paisiello, Regole (1782), p. 44, partimento Gj2334, mm. 1–4, realization by Nicoleta Paraschivescu

Another sonata by Scarlatti, K. 52, might at first glance even seem to be a realization of a partimento. This is one of his earliest extant sonatas and is presumably a work of his youth. The cantabile voice-leading in the upper part is noteworthy, as is the care taken in composing the middle voices.

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paisiello’s j ™ œj #œœœ œœœ™™ œ J J œ ~~~~~~~ œ ~~~~~~~ ? b c œ œ œ œ œ œ œ #œ Andante moderato

Ϫ & b c Ϫ

{

œœj œ œ œ J

regole

œj œ œj œœ ™™ œj #œœ™ œ œ œJ œ œ œ™ œJ #œ œ ~~~~~~~ œ œœ ~~~~~~~ œ œ nœ # œ œ œ œ œ œ nœ œ œ œ

œj j œ j œ œj œ œ œ œ œ™ œ œ œ œœ œ œ & b œœœ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œœ ? b œ œ œ œ œœœ œœ œœ œ œ œœ œ œ

5

{ {

œœj œœ ™™ œ œ™ J

œœj œ œœj œ œ œ œ J

œ œœ œœ œœ œœ

œœ

œœj œ œœ œ œ œœ j œ J J œœ œ œ œ œ œ œ œœ œœ œ œœ J J œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œœ œ œœœ

j œ œj j & b œœ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ J œj œ œ œ œ œœ œœ œœ œœ œœ œœœ œœœ ?b œ œ œ œ

10

(1782)  ❧ 91

œœ

j œœœ œ

j œœ œJ œ œJ œj jœ œ œ

œj œ™ œj œ

Example 4.35. Domenico Scarlatti, Sonata K. 52 in D minor, Venice 1742, mm. 1–11

An Aria or Cavatina Paisiello composed innumerable popular arias, securing his fame well into the nineteenth century. They were repeatedly reprinted, in full and in vocal score. They were also copied, varied, and even parodied.49 It seems evident that he had such arias in mind while conceiving certain partimenti. The last partimento in the print of 1782 is ideal for realization as an aria. It is in F  minor, a key rarely used by Paisiello. Measures 1–8 could represent a purely instrumental introduction for strings; from measure 9 onward, the vocal line would enter with a text suited to the emotional affect of F minor. As in other partimenti by Paisiello, the figures define the melodic line. I offer two different possible realizations. The first (ex. 4.36) is rather calm and isorhythmic, focusing on a song-like upper voice while maintaining the rhythm of the opening measure in the bass; the second example (ex. 4.37) has more rapid rhythms and is more virtuosic. 49 The opera Nina ossia la Pazza per amore can serve as an example. It was translated into several languages in the nineteenth century and published in full and in vocal score. Wolfgang Amadeus Mozart and Ludwig van Beethoven both wrote variations on themes from operas by Paisiello.

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Andante

b b3 j & b b 4 nœœ œ™ ˙ œœ

œ œ

? b b 43 œj œ ™ œ œ bb

3

{

n œœ ™™ nœœ œœ

œ

˙D

b œ & b bb œ™ œ™ œœ œJ nœ œ œ

œ™ œ

? bb b œœ ™ œ œ œœ œœ nœœ b

œ™ œ œ

3

3 3

6

{

8 6

œ œ

œœ

7 5

5 3

œ

œœ œ nœœ œ œ™ œ nœJ ™ œ

˙™

U œ œ œ nœœ œ œœ œ œ Œ œ œ œ

œ

8 5 D

H 3

œ

U Œ

Ϫ

œ

œ

œ œ ˙œ™ œ œ

U Œ

Ϫ Ϫ

U Œ

œ œ œ™

œœ œœ œœ ˙

3 3 3 œ™ œ œ œ

3

3

8 6

!7 5

œ

œœ œœJ nœ

œ œ

œ œœ

œœ œ nœ

Ÿ œœ™ nœ ˙œ ™ 5 3

œœ

H 3

˙™

Example 4.36. Giovanni Paisiello, Regole (1782), p. 60, partimento Gj2345, mm. 1–11, realization by Nicoleta Paraschivescu

j U œ b 3 nœœ œ œ œ nœœ œœ bœ œ œ œœ œ œœ œ Œ & b bb 4 J œ™ œ œ nœ œ œ ˙œ œ œ œ œ œ œ œ œœ™ nœœ™™ œœ œœ ™™ œœ nœ™ œJ œ Ÿ 8 7 5 H 8 5 3 3 3 3 D 5 3 3 6 U ˙ œ D œ œ j œ ™ ? bb b 43 œ œ ˙™ œ œ™ œ Œ b Andante

{

U nœ ™ œ œ œ œ œ œ œ œ

œœœœ b œ œ œ œ nœ & b bb œ™ œ™ œœ œœJ nœ œ œ œ™ œ™ œœ œœJ œ œ nœ œ œ œ œ œ œ œ

5

{

? bb b œœ ™ œ œ œœ œœ nœœ œœ ™ œ œ b b & b bb

{

œœ

œœj ‰ ‰ ™ œœ

œœ œ nœ

œj œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b œ œ œ œ œ œœ œœ œ œ œœ œ œ œ œ œ œ œ & b bb œ

{

˙

3

8 6

!7 5

œ

œœ™ 5 3

˙™

œ œ n˙ œ

Ÿ œ œ œ™

H 3

œ

3 œ œ

Ϫ

10

U Œ

œ

œ œ œ œ œ œ œ™ œ œ œ œ œœ œ œ œ 3

? bb b b

? bb b b

œœ

3

œ

3

œœ œ 8 5 3

Ϫ

œ

Œ

Œ

œ

Œ

Example 4.37. Giovanni Paisiello, Regole (1782), p. 60, partimento Gj2345, mm. 1–12, more heavily ornamented realization by Nicoleta Paraschivescu and Enrico Baiano

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paisiello’s

regole

(1782)  ❧ 93

The modern edition of Paisiello’s Regole by Ludwig Holtmeier, Johannes Menke, and Felix Diergarten offers a different approach to realizing this partimento.50 Andante

b b3 j & b b 4 nœœ J

{

mf

? b b 3 œj bb 4

œ™ œ œœ œ œ™ œ œ

œ œ œ

j bb & b b œœ™ œ™nœ œ œœ œœ

n œœ

˙

œ nœ

œœ

˙˙

œ

˙™

6

{

? b b Ϫ bb

œ œ nœ

œœ nœœ

œ™ œ œ

œ

nœœ

˙ n˙˙ œ™

˙

Œ

œ

Œ

œ™ œ œœ œ œ™ œ œ

mf

œ

Œ œ œ œ œ

œœ™ p

Œ

œ œœ

˙

Ϫ

j œ™ œ nœ œ œ œ œ nœ

œ bœœ œ

˙˙

œ

˙™

nœœ

Example 4.38. Giovanni Paisiello, Regole (1782), p. 60, partimento Gj2345, mm. 1–11, realization by Ludwig Holtmeier, Johannes Menke, and Felix Diergarten

The links between Paisiello’s partimenti, his compositions, and the works of his contemporaries offer a source of inspiration for those who seek guidance as to how to realize his partimenti. It is only this broader context that enables us to understand and appreciate properly their esthetic quality and the role they played in educating musicians of the time.

50 Holtmeier, Menke, and Diergarten, eds., Regole, 146. The practical suggestions made by these authors for performing the partimenti avoid direct reference to compositions by Paisiello or those of his milieu. Their realization begins promisingly with parallel thirds between the bass and the top voice, as instructed by Paisiello, but the static character and the lack of dissonances from measure 2 onward are rather atypical for the music of the time. What is more, fundamental elements otherwise characteristic of Paisiello’s style such as imitation, the continuation of rhythmic figures (see the bass in m. 1), an independent upper voice, and counter-rhythms in the inner voices, are absent.

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Chapter Five

Practical Examples from Paisiello’s Circle Durante is the greatest master of harmony in Italy; that is to say: of the world.1 —Jean-Jacques Rousseau

Francesco Durante—Paisiello’s Teacher Rousseau’s effulgent praise for Francesco Durante is just one of numerous contemporary proofs of Durante’s reputation as a pedagogue, composer, and all-round musician. He is praised not only in the testimony of his own students but also in the dictionaries of the eighteenth and nineteenth centuries.2 In many respects, his partimenti may be considered a key to understanding and performing Paisiello’s essays in the genre. Numerous manuscripts with partimenti by Francesco Durante are held by libraries across Europe today, though not a single autograph is known to have survived. Until recently, a manuscript dated 1762 containing partimenti by

1 Rousseau, Dictionnaire de Musique, 247. “Durante est le plus grand Harmoniste de l’Italie; c’est-à-dire, du Monde.” 2 Reichardt, Musikalisches Kunstmagazin, 135. “Durante (Franz) ein Neapolitaner, war einer der gründlichsten und fleißigsten italienischen Komponisten” (“one of the most thorough and hardworking Italian composers.”) See also Gerber, “Durante, Francesco,” in: Neues Historisch-Biographisches Lexikon der Tonkünstler, vol. 1, 960. He describes Durante as “The creator of the Neapolitan School.”

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practical examples from paisiello’s circle  ❧ 95

Durante was regarded as the earliest such in existence.3 However, another partimento manuscript was recently discovered in private hands that was in fact copied during Durante’s lifetime:4 “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante, . . . Napoli . . . 13 Aprile 1754.”5 The scribe in question was a priest, D. Giustino de’ Santi (1711–73), who made this copy for his religious community in Naples, basing it on a source that is no longer extant.6 Two dates are mentioned in the manuscript: April 13, 1754, on the first page, and April 14, 1754, on the third. The manuscript was written out neatly and carefully. It contains a section with basic rules (scale, cadenze, movimenti di basso), brief partimenti numerate, applying these rules in a practical example immediately after they are stated, followed by thirteen partimenti diminuiti, a partimento fugue, and three intavolature. A personal note by the copyist at the beginning of the introductory section is intended to encourage the student not to give up too early just because the initial “principles” demand the most time and effort: Here follow the principles for playing the harpsichord or the organ. These are principles that require more attention in order to learn and comprehend them well: O reader, you have to be sure of what I am telling you now, that however great the confusion might be, and however much it might encumber your mind, be sure, and more than sure, that time will remove all confusion and all tedium, and you will take pleasure in these exercises. Do not humble yourself by abandoning such a noble, innocent pleasure. Confusion ensues when engaging with 3 4

5

6

This was the practice book of Domenico Cimarosa; see chapter 3. The content of this manuscript corresponds to other manuscripts ascribed to Durante, held by the libraries of Liège (B-Lc 1042827), Parma (I-PAc Sanv. D. 18, olim CF-I-7), and Florence (I-Fc B. 360), and the private library of Luigi Fernando Tagliavini (I-Btagliavini B.4). The pieces at the end of this manuscript (folios 11r–12r) are not, however, found in any other source that can be attributed to Durante. The complete title runs as follows: “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante, . . . e in fine si pongono moltissime Sonate scelte di diversi Autori e quelle p:ma di tutte divise in Studj, e divertimenti dal sudetto Signor Durante rinomatissimo Contrappuntista copiate dal Sacerdote D. Giustino de’ Santi dimorando in Napoli per uso de’ suoi famigljari 13 Aprile 1754.” I would like to thank the harpsichordist and conductor Christophe Rousset for kindly letting me consult this manuscript, and also Ton Koopman, who was our intermediary. As stated on the title page: “copiate dal Sacerdote D. Giustino de’ Santi dimorando in Napoli per uso de’ suoi famigljari.”

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96  ❧  chapter five

Figure 13. Francesco Durante, “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante,” Naples 1754 (F-Prousset), title page

all sorts of principles and in anyone who wishes to study them. But as I just said, as time progresses, what seems difficult to understand and boring, will, in the course of your study, begin to seem not just easy, but extremely easy and delightful. And at the end, I wish to remind you of a very sad adage: a soul that is willing, ready, and resolute to learn any art or science with constancy will never find difficult the energies that it needs, nor will it interrupt the studies it has begun; on the contrary, from day to day its desire and love of studying will increase. Live happily. Naples, April 14, 1754. D. Giustino de’ Santi, who, fleeing idleness, here writes so much, etc.7 7

Durante, “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante” (F-Prousset), folio 3r. “Apresso seguiranno li principj per sonare il Cembalo, o l’Organo: questi sì, che ricercano maggior attenzione per impararli ed apprenderli bene; sappi però, o Lèttore, e tjeni per cosa certa quanto ora ti dico, ed è, che per quanto grande fosse la confusione, che t’ingombrasse la mente in studiarli, sii sicuro, e pjucche sicuro, che nel progresso del tempo

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practical examples from paisiello’s circle  ❧ 97

If we examine the complete extant partimenti by Francesco Durante in more detail, we see that the most comprehensive of the known manuscripts are similar in structure. They include a “core repertoire” that is usually divided into four sections. This division is not arbitrary but has a specific pedagogical purpose.8 The first part of a typical partimento compendium by Durante contains regole that essentially list the intervals, cadences, different forms of the octave rule, and sequential patterns. Moreover, these regole offer examples of contrapuntal intervallic composition. The melodic/contrapuntal thinking becomes evident when Durante writes, for example, that intervals are “born” of other intervals as a result of certain progressions in the bass; in other words, that a vertical interval emerges from a horizontal progression. The fourth is thus generated by an octave when the bass rises by a fifth.9 It is notable that melody is used to help define counterpoint even in traditional counterpoint treatises, such as in Guglielmi’s “Trattato del moderno Contrapunto” (1756):10 “[Counterpoint] is nothing other than the union of several voices that form a melody.”11 Right at the beginning of this trea-

si togljerà dalla tua mente ogni confusione, ogni tedio, e sentirai pjacere in tal’esercizio. Non ti avvilir dunque tralasciando un divertimento cotanto nobile, e innocente. La confusione accade in ogni sorta di principj a chiunque vuol studiarli; ma come dissi in progresso di tempo quello, che ti pareva difficile ad apprendersi, ed eziandio tedioso, ti si renderà collo studio, non solame[ente] facile, ma facilissimo, e dilettevole. E’ per ultimo ti ricordo l’adagjo tristissimo, che ad un’animo desideroso, pronto, risoluto, e costante in volere apprendere qualche Arte, o scienza, mai non gli sembrerà difficile l’applicarsi in esse, nemmai tralascerà lo studio intrapreso; anzicché da giorno in giorno và crescendo nel desiderio, ed amore di studiare. Vivi felice Napoli 14 Aprile 1754 D. Giustino de’ Santi in fuggendo l’ozio tanto scrive &ce[tera].” 8 In this regard, see Paraschivescu, “Zur Geschichte und Lehrmethode der neapolitanischen Partimento-Praxis.” 9 Here, the voice-leading in the upper parts is always described with reference to the bass. For example “prima formazione della 4a la quale nasce dalla 8a,” “initial formation of the fourth, which is born from an octave.” 10 Guglielmi, “Il Trattato del moderno Contrapunto cavato dalla Scuola o sia Conservatorio di Napoli del 1756 dal Sig. Guglielmi, ad uso di S. Eccellenza, il Sig. Marchese Antonio Nerli” (I-OS Mss. Teoria B1). 11 Ibid., 1. “non è altro che l’unione di più voci unite insieme, che formano melodia.”

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98  ❧  chapter five

tise—like Durante—Guglielmi places the melodic component at the heart of everything. The second part of Durante’s compendium of partimenti contains partimenti numerati: one-part, occasionally two-part partimenti, and partimenti with figured bass without any explanations or guidelines as to how to perform them. The third section contains partimento basses preceded by a several-measure sample realization. These practical instructions for performing partimenti are designated partimenti diminuiti with realized examples (“modi” or “pensieri”). They can serve as “building blocks” that the performer may utilize when playing freely, prompting him to experiment while leaving room to develop his own ideas. This is an important section in the compendium and is often found as a separate manuscript source. The fourth section is somewhat shorter and is devoted to the partimento fugue. In addition to the bass part, the entries of the theme are notated occasionally as “Tenore,” “Alto,” or “Sop.” Sometimes there is merely the remark “Imit.,” inviting the player to enter with the theme or to imitate it in another voice. This format for a partimento compendium proved a trendsetter and is found in various guises among later composers from the generation of Durante’s students. Durante was unmistakably the model for Paisiello’s Regole (1782), too— not just with regard to the book’s structure but also in how he formulates certain rules. This also means that the third section of Durante’s compendium, which contains partimenti diminuiti and has no correlation with Paisiello’s Regole (1782), can be used to provide valuable solutions for realizing Paisiello’s partimenti.12 The following examples from Durante’s partimento compendium (taken from I-Nc M.S. 1898) show the kind of realizations possible for a partimento bass: ?c

œ œ

œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

6

? #˙

œ œ

˙

œ

˙

˙

œ œ #œ œ œ œ œ œ œ ˙ œ #œ œ œ œ œ œ œ œ œ œ œ

Example 5.1. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 12r, Partimento Gj28, mm. 1–10

12 The most comprehensive known source for Partimenti diminuiti (I-Nc 22.1.14) can be consulted at www.partimenti.org. A concordance for the extant sources is offered by the database UUPart: The Uppsala Partimento Database.

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practical examples from paisiello’s circle  ❧ 99

For the sequence of ascending steps in the opening phrase, Durante offers the following three possible variants: ˙ œ

&c Ó

{

?c

œ

œ

&c Ó

{

?c

œ

œ

œ

œ

œ œ œ

j œ™ #œ ‰ œJ œ œ œ œ œ

˙ œ

˙

˙

œ

œ œ œ œ œ œ œ

œ

j œj œ™ #œ œ™ œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ

œœ œœœœ œœœœœ œœœœ œ œ œ #œ œ œ œ œœœ œ œ &c œ

{

? c œ˙

œ

œ˙

œ

œ˙

œ

#œ˙

œ

Example 5.2. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 12r, “Modi” 1–3 for partimento Gj28

For partimento diminiuto Gj51, Durante suggests the following realizations: œœ œ bœ œ œ œ bœ œ œ œ œ œœœœ b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œbœj b œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œœ &b c ‰

{

? bb c ˙

˙

˙

b˙

˙

˙

Example 5.3. Francesco Durante, “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante,” Naples 1754 (F-Prousset), folio 9r, two examples of realization (“modi”) for partimento Gj51

The many partimenti diminuiti by Francesco Durante (there are over 100), along with their “modi” illustrate how a student may try out and internalize different solutions for certain sequential patterns. These brief guides to realization are fascinating, not least because of the way they intertwine melodiccontrapuntal compositional techniques with aspects of keyboard technique, as we can see in the following example:

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100  ❧  chapter five œ œœœ œ ˙ b ˙ œ bœ b œ œ œ œ ˙ œ œ œœœ œ œœœœœ ˙ œ bœ œ œ ˙ &b c œ bœ œ œ œ ˙ œœœ˙ Œ ˙ ˙ ˙ ˙ ˙ b˙ œ œœœ œ œ ? bb c œ

{

Example 5.4. Francesco Durante, “Studj per cembalo Del Sig.r Francesco Durante” (I-Gl A.7b.48 [B-2-10]), p. 50, partimento Gj102, “modo”

Francesco Durante had a profound influence on the following generation of musicians, among whom were Giovanni Paisiello and Fedele Fenaroli. Fenaroli’s partimento compendium (already mentioned above) was published in a bilingual edition in Paris in 1813 and was used for teaching purposes in Italy and France.13 Fenaroli picks up where Durante left off, expanding on his introduction. His partimento compendium is divided into six libri. Fenaroli distinguishes between Partimento del Basso colle armonie (Libro Terzo) and Partimento senza numeri (Libro Quarto), Temi, Canoni e Fughe (Libro Quinto, with realized examples similar to Durante); the Libro Sesto contains non-figured partimenti fugati, ricercati, ed imitati. In the first partimento from the Libro Quinto, the opening six measures have been realized to provide students with a starting point from which they might continue the realization: # 3 œœ œ & # 8 œJ œ œ œ œ œ œ ? ## 3 œ œ 8

{

r œ œœ œ r r œœ œ œ œ œ œ œ œœœœœœ œ ‰ œ œ œœ œ œ ‰ ‰ œœ œ œ ‰ ‰ œ œ J œœœœœ œ œ œ œ œœœœœ œ œ œ œ œ ‰

Example 5.5. Fedele Fenaroli, Partimenti ossia Basso Numerato 1813, Libro Quinto, p. 115, “Tema no. 1”

We can trace the reception of Fenaroli’s partimenti all the way to the twentieth century. Emmanuele Guarnaccia’s Metodo Nuovamente Riformato of 1850 provides realizations of Fenaroli’s books four, five, and six, printing the original version opposite a realized version.14 Guarnaccia’s realizations give 13 Fenaroli, Partimenti ossia Basso Numerato. 14 Guarnaccia, Metodo Nuovamente Riformato De’ Partimenti del Maestro Fedele Fenaroli Arricchito di schiarimenti e di una completa Imitazione Dal Maestro

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practical examples from pa isiello’s circle  ❧ 101

possible solutions for Paisiello’s partimenti that are stylistically not far from Paisiello’s own (for example, in their preference for parallel sixths and thirds, their transparent textures, and melodic voice-leading of the topmost part). The same line of teachers and students includes Marco Santucci,15 a pupil of Fenaroli and Santucci’s own student, Francesco Zanetti (ca. 1805–?). The exercises from Francesco Zanetti’s zibaldone (1829), which he compiled under the auspices of his teacher Marco Santucci, contain partimenti from the first five sections of Fenaroli’s partimento treatise. This manuscript comprises complete realizations, sketches, and fragments. The title itself is fascinating, promising an “embellished, freshly blossoming” example of partimenti: “Bassi del Fenaroli abbelliti e rifioriti, da Francesco Zanetti sotto la direzione di Marco Santucci suo Maestro” (I-Nc 20.6.16, folios 187r–221r) (see ex. 5.616). œ œ œœ # œ œ & c œœ œœ œœ œœ œœ œœ œœ œœ œ #œœ œ œ œ œ #œœ#nœœ #œœ nœœ nœœœ œ œœœ œœœ œœ œ œ#œœ œ œ œœ œ #œœ #nœœ #œœ nœœ n œœ œ # œ

{

?# c

3

6

9 7

œ œ œ

8

œ

œ

7

œ œ

# 9

œ

œ

5 6

D

œ5

3 H

D E 5 H 4

œ

œ

6

8

7

œ œ œ

# 9

œ

5 6

œ

D G

œ

3 D E H 8 H

œ

5 4

œ

Example 5.6. Francesco Zanetti, “Bassi del Fenaroli abbelliti e rifioriti” (I-Nc 20.6.16), folio 187r, sketch of the partimento in G major (“Basso 1”) by Fedele Fenaroli, mm. 1–5

Guarnaccia’s realization and Zanetti’s sketch emphasize a beautiful, richly embellished upper voice. Chromatic shadings, charming suspensions, and imitations between the upper and middle voices all contribute to the high quality of this realization.

Emmanuele Guarnaccia a più facile intelligenza de’ Partimenti medesimi, è reso atto a procurare nozioni esatte intorno al Contrappunto. 15 Marco Santucci (1762–1843) was a pupil of Fenaroli. 16 Zanetti’s figures correspond to the ones in the source. His realization is notable for its flexible treatment of the number of voices. The parallel octaves between the alto and bass from the fourth beat of measure 3 to the first beat of measure 4 are not necessarily distracting and were perfectly common at the time (see section “Suspensions” of chapter 4).

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102  ❧  chapter five

Historical Realizations of Partimento Fugues by Durante and Paisiello It is rare to find historical realizations of partimenti from the eighteenth century. One such realization of a partimento by Francesco Durante (the sonata “Perfidia”) was not subjected to scholarly investigation until 2010.17 The same manuscript containing the aforementioned “Perfidia” (“Fondo Vessella,” I-Ria Mss. Vess. 429)18 also includes a piece identified as a realization of a partimento fugue by Francesco Durante.19 Durante’s Fugue in E minor20 has come down to us as a partimento bass in the following sources of the eighteenth and nineteenth centuries: • • • • • •

I-Gl A.7b.48 [B-2-10] I-GR It. 125 I-Nc M.S. 1895 I-Nc 22.1.14 (nineteenth century) I-Ria Mss. Vess. 429 (“Fondo Vessella,” historical realization) I-Vc B.14.n.8

This two-part partimento fugue, which has a rhythmically distinct, instrumental character, uses small-scale building blocks (see ex. 5.7). The answer to 17 Paraschivescu, “Francesco Durantes Perfidia-Sonate: Ein Schlüssel zum Verständnis der Partimento-Praxis.” 18 The “Fondo Vessella” is held by the Istituto Archeologico in Rome. Alessandro Vessella (1860–1929), the former owner of the manuscript in question, studied piano and composition at the San Pietro a Majella Conservatory in Naples. The collection of the “Fondo Vessella” encompasses more than 400 manuscripts, including several important didactic sources for Francesco Durante, such as duets, partimenti, and sonatas. This work, titled “Sonata per Organo di Varii Autori,” was probably compiled in the second half of the eighteenth century. It explicitly mentions four composers of Neapolitan origin: Leonardo Leo (1694–1744), Francesco Durante, Marchese Giovanni Battista Cedronio (1739–89), and Filippo Cinque. Leonardo Leo and Francesco Durante were active as primi maestri at various conservatories in Naples. See Nicoleta Paraschivescu, ed., The Vessella Manuscript. 19 Several publications have examined the role of the partimento fugue in the teaching of the Neapolitan conservatories; see Serebrennikov, “From Partimento Fugue to Thoroughbass Fugue: New Perspectives,” and Sanguinetti, “Partimento-Fugue: The Neapolitan Angle.” 20 This partimento has no Gj number.

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practical examples from paisiello’s circle  ❧ 103 # & c

{

∑

?

‰

œ œ œ#œ œ#œ œ œ œ œ œ œ #œ

? # c ‰ œ œ œ#œ #œ œ œ œ ˙ œ œ

œ

nœ

‰

œ œ œ#œ œ # œ œ œ œ œ œ œ #œ nœ œ nœ œ œ œ œ ‰ œ œ œ œ œ#œ#œ œ ‰ œ œ œœœ œ

œ

&

œ œ j nœ œ œ œ œ #œ œ#œ œ œ œ œ j œ œ œ #œ œ#œ œ œ œ œ œ œ #œ #œ nœ œ œ œ nœ œ œ œ ?# œ œ œ œ œ ˙ œ œ ‰ J œ & ‰ œ œ œ œ œ#œ #œ œ

6

&

{

#

# & #œ

10

{

&

#

œ

œ

œ #œ

œ

œ

œ

#œ# œ œ #œ#œ œ œ nœ n œ œ œ œ#œ#œ œ œ œ

œœœ œœœœœœœ œ # œ #œ œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ œ œ ‰ J ‰ J

œ #œ œ

‰

œ #œ œ

Example 5.7. Francesco Durante, “Sonate per Organ o di Varii Autori” (I-Ria Mss. Vess. 429), folios 27v–29r, Fugue in E minor from The Vessella Manuscript

the theme is given at the fifth after a single measure and is accompanied by a stepwise descending figure in the lower voice. This movement in the bass line in the second measure is continued by the upper voice in the next measure; meanwhile, a second soggetto enters in the bass in the third measure, which is joined by a chromatic figure in the second part (this last figure only ever appears in the upper part).21 The second soggetto and its chromatic accompaniment in measures 5–6 together form a conventional phrase that we also find, for example, in the opening of Domenico Scarlatti’s Sonata K. 58:22 b &b b c ˙

nœ bœ nœ bœ œ œœ

? bb c b

∑

{

∑

˙ œ œœ nœœ ˙ œ nœ œ œ #œœ œ œnœœ nœ nœœ œnœbœœ œ œœ œ œ œ œ œ œ ∑

∑

∑

Example 5.8. Domenico Scarlatti, Sonata K. 58 in C minor, mm. 1–5

21 The complete fugue is given in appendix 5. 22 We also find this turn of phrase in Johann Sebastian Bach’s Canzona in D minor BWV 588 and in works by Jan Pieterszoon Sweelinck and Girolamo Frescobaldi.

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104  ❧  chapter five

The composer here plays with these elements, using them after the manner of a stretto (mm. 28–29 and 31–32; see appendix 5). The runs in measures 10–11, 18–23, and from 33 to the end are combined with the percussive opening notes of the subject and generally culminate in a cadence. Is it purely by chance that the opening theme of Paisiello’s partimento fugue Gj2330 is so similar to Durante’s? ? # c ‰ œ œ œ #œ œ#œ œ œ œ œ ˙ B ## c ‰

œ œ

Ÿ œ œ œ œ œœœœ œ œ œ œ ˙

Example 5.9. Two fugue subjects in comparison: at the top, Francesco Durante, “Sonate per Organo di Varii Autori” (I-Ria Mss. Vess. 429), folios 27v–29r, Fugue in E minor; below, Giovanni Paisiello, Regole (1782), p. 38, partimento Gj2330 in D major

I here propose a realization as a three-part instrumental fugue (see ex. 5.10). It incorporates typical “violinistic” elements, which allow imitation in measures 47–52 (see appendix 4). From measure 52 onward, the conclusion of the piece is prepared as would be typical for an orchestral piece of the time.23 This is the only fugue in the whole published edition of the Regole (1782). We can only speculate as to the reasons for its uniqueness here. Were Paisiello’s students at the Russian court perhaps unable to play and improvise fugues? # & #c Ó

{

B ## c ‰

Ÿ œ œ œ œ œœœœ œ œ œ œ ˙

œ œ œ œ œ œœœœ œ œ œ

# œ #œ ˙ œ œ œ ˙œ œ œ œ & # œ œ œ œ œ #œ œ œ œœ œ œ #œ œ œ

6

{

? ## ˙ 7

œj ‰ œ œœ œ œ œ‰ œœ œœœ #œœœ J J œ œ œ œ œœœœœœœ œ? œ J

‰ œ œ œ œ œ#œ ˙ œ œ œ œœ œ ˙œ œ œ œ œ œ œœ ‰ œ œ œ œ™ œJ œ œ œ œ œ œ œ œ œ

H

œ

œ œ 7 œ #œ œ#œ œ œ œ œ œ

œ D

œ

j œ œ œ œ œ œœœœœœ œ J œ œ œ œ œ œ œ œ œ#œ œJ 2 F 6 2 œ ˙ œF nœ œ ˙

Example 5.10. Giovanni Paisiello, Regole (1782), p. 38, partimento Gj2330, mm. 1–9, realized as a three-part fugue by Nicoleta Paraschivescu

23 The complete partimento fugue Gj2330 is given in appendix 5.

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practical examples from paisiello’s circle  ❧ 105

Fugues never lost their importance in counterpoint instruction—quite the contrary. In the Neapolitan conservatories, the fugue—always notated in the old vocal clefs—was taught as a core subject, and as the investigations of Peter van Tour have shown, it was situated at the interface between partimento and counterpoint.24 The central role of fugue is proven in the twoand three-part disposizioni on partimento basses by Giovanni Paisiello. The partimento fugue Gj2330 has come down to us in three different forms in a collection of two-part disposizioni. Below are discussed brief excerpts from each of these three disposizioni. In none of them is the subject paired with a specific fugal answer or with any other fixed contrapuntal accompaniment. The different treatment in measure 10 is interesting. In the published Regole (1782), we find the remark “Imitazione,” but only the first example follows this instruction, offering an imitation of the bass in the upper voice. The other two examples display a sequence at this point. It seems likely that the author of the disposizioni used the Regole (1782) as his source. Two occurrences speak in favor of this assumption: the two-part disposizioni following the chronology of the partimenti in the Regole (1782) and the similar manner of imitation in the first of the three disposizioni. ° ## c œ œ œ œ œ œ œ œ œ œ œ ‰ œ ˙ & ? ## c

∑

° ## œ &

˙

¢

7

¢

11

¢

∑ #œ

? ## œ#œ œ œ œ œ œ œ œ œ

° ## ˙ &

œ œ œ œ œ œ œœœœ œ œ œ œ œ

œ

j ‰ œ œ œ

œ ˙

‰ œœœœœœ w

? ## œ œ œ œ œ œ œ ˙

Ó

∑

nœ

‰

œ #œ œ œ œ#œ œ™ nœJ œ œ œ œ œœœœœœœ œ ˙ œ œ#œ

œ ‰ œ œ #œ J œ œ ˙ œ

Œ

œ

œ

˙

‰ œ œ#œ œ œ œ

œ œ œ œ œ œ œ#˙

œ #œ œ œ œ œ œ œ œ œ #œj ‰ Œ Ó

œ œ œ œ œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ œ œ œ

œ #œ

œ‰ Œ Ó J

Example 5.11. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 82, disposizione on the partimento fugue Gj2330, mm. 1–15

24 Van Tour, Counterpoint and Partimento, 208–26.

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106  ❧  chapter five

In the following example, the fugue theme becomes part of a loosely constructed contrapuntal texture that is constantly varied. ° ## c œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ™ œJ ‰ œ ˙ œ œ œ œœœœ œ œ œ œ œ ‰ J ˙ & ˙ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œœ œ œ œ œœ œœ ? ## c œ Œ œ ˙ œ œ#œ ‰ J ¢ ° ## œ & 7

¢

œ

? ## œ#œ œ œ œ œ œ œ œ œ

œœœœ ˙ ‰ œJ

° ## ˙ & 11

¢

œ œœœœ j œ œ ‰ œ œ œ #œ œ ˙ ‰ J œ ‰ œ œ œ œ J œ ˙ œ nœ œ œ œ œ œ œ œ#˙ œ ˙

œ #œ

œœœ

œ œ œ œœ œ J ‰ Œ Ó

w

œ œ œ œ œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ œ œ œ œ #œ

? ## œ œ œ œ œ œ œ ˙

œ‰ Œ Ó J

Example 5.12. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 85, disposizione on the partimento fugue Gj2330, mm. 1–15

In the next example, too, the imitation is treated freely in measure 10. In general, this version is slightly less embellished than the previous two examples. ° ## c ‰ œ œ œ œ œ œ œ œ œ œ œ œœœ ˙ œœœœœ œ ‰œœœ œ ˙ œ œ œ œœœ œ œ & ˙ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œœœœœœœ œœ ? ## c œ Œ œ ‰ J ¢ œ œœ ‰ œ œ œ œ ‰ œj œ œ œ œ œ ‰ œ œ œ#œ ˙ ≈ œ#œ œ œ œ J œ œ œ œ œ œ œ œ œ œ#˙ nœ œ ˙ œ œ#œ œ#œ œ œ œ œ œ œ œ ˙

° ## œ œ œ œ#œ œ œ œ & 6

¢

? ## ˙

° ## & œ 11

¢

œ

œ

≈œœœœœœœ œ

? ## œ œ œ œ œ œ œ ˙

œ

œœœœ œ

Œ

œ #œ œ œ œ œ œ œ œ #œj ‰ Œ Ó

œ œ œ œ œ œ œ œ œ œ#œ œ#œ œ œ œ œ œ œ œ œ œ #œ

œ‰ Œ Ó J

Example 5.13. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 88, disposizione on the partimento fugue Gj2330, mm. 1–15

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practical examples from paisiello’s circle  ❧ 107

The Gallipoli Manuscript: Forty-Six Historical Realizations of Partimenti by Francesco Durante Among the numerous sources for partimenti by Francesco Durante, a recently discovered manuscript in the Biblioteca Comunale di Gallipoli in Apulia has special significance.25 All forty-six partimenti by Durante have been realized and recently edited and published under the title The Gallipoli Manuscript.26 The title page no longer exists, and there is no additional information available about this manuscript. We do know, however, that two former students of Durante’s were active in Gallipoli after having completed their studies: Nicola Caputi (ca. 1718–94), who was Durante’s pupil at the Conservatorio dei Poveri di Gesù Cristo around 1730, and Giuseppe Chiriatti (1732–1812), who studied under Durante at the Conservatorio di Sant’Onofrio between 1748 and 1753. The “Fondo Vernole” to which this manuscript belongs, was donated to Biblioteca Comunale di Gallipoli in Apulia by Giuseppe Chiriatti’s descendants. Regrettably, no autographs by Chiriatti have survived that might prove whether he was indeed the copyist of the manuscript. Nevertheless, we can assume that these realizations were written either during Chiriatti’s period of study in Naples (ca. 1750) or later, after his return to Apulia. A note on page 44 of the manuscript offers information about its ordering principles: “Fine del moto ascendente.” The partimento basses realized here are thus organized according to the direction (ascending or descending) of the moti del basso or the movimenti del basso. The same principle applies to partimenti diminiuti in several of Francesco Durante’s manuscripts. 27 The following example by Durante shows the partimento diminiuto Gj17. Two possible realizations of individual measures and the partimento bass itself have survived in various manuscripts.

25 This manuscript is held today by the Biblioteca Comunale di Gallipoli in Apulia (I-GALc Fondo Vernole 16, olim LE 2/3). I would like to thank Enrico Baiano for bringing the manuscript to my attention and Anna Maria Tuzzo for kindly letting me consult her undergraduate thesis on it, “Un Manoscritto Anonimo nella Gallipoli del ’700.” 26 Van Tour, ed., The Gallipoli Manuscript. 27 See van Tour, “Partimento Teaching according to Francesco Durante, Investigated through the Earliest Manuscript Sources.”

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108  ❧  chapter five

#3 & 8œ

œ

œ

{

œ

?# 3 œ 8

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

#œ

œ œ

‰

œ

œ

‰

œ

#3 œ œ œ œœœ œœœ j ≈ œœ œœ & 8≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ ? # 3 œ™ œ œ™ œ œ ≈ œ œ 8 J

{

œœ œœ œ œ œ œ

‰ ‰

Example 5.14. Francesco Durante, “Studj per cembalo” (I-Gl A.7b.48 [B-2-10]), p. 25, two “modi” for partimento Gj17

Here is the relevant partimento from the same manuscript: œœ œ œœ œœ ? # 3 œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ™ œ œ ™ œ œ™ œ œ œ œ ≈œ œœ œ œ œ œ œœœœœ 8 J œ œ 12 œ œ œœ œ œ œ œ œ# œ œJ œ# œ # œ J ≈ œ œ œ ?# œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ J ≈ œ œ #œ ≈ œ#œ#œ œJ ≈ œ œ œ J ≈ J 21

?# œ œ œ

œœ œœœœœ œœœ œ œœœ œ œ ™ œ œ œ œ™ œ œ œ œj ≈ œ œ œ œ œ œ œ œ™ œ œ œ œ™

Example 5.15. Francesco Durante, “Studj per cembalo” (I-Gl A.7b.48 [B-2-10]), p. 25, partimento Gj17

And here is the realization from The Gallipoli Manuscript:28 m œ #3 m œ ≈ œ œ œ œR ≈ ≈ R œ œ œ œ œ œ œ œ & 8 ≈ œ œ œ œR ≈ ≈ R œ œ œ œ œ œ#œ œ œj ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?# 3 œ œ œ œ œ œ œ œ œ œ œ 8

{

# œ œ & œ

6

{

? # Ϫ J

r #œ œ œ œ œœ œ œ œ œ™ J

œ

œ r #œ œ r #œ œ œ œ œ œœ œ œ œ œ œ nœ œ œ œ œœ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ J J œ

Example 5.16. Francesco Durante, [no title] (I-GALc Fondo Vernole 16, olim LE 2/3), pp. 22–23, mm. 1–10, realization of partimento Gj17 from The Gallipoli Manuscript

28 The complete realization is given in appendix 5.

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practical examples from paisiello’s circle  ❧ 109

Solfeggi as Models for Realizing Partimenti The previous chapters emphasized the significance of solfeggi in the curriculum of the Neapolitan conservatories. It was usual for pupils to have three years of solfeggio instruction before beginning to study partimenti. Another three years would then pass before instruction in counterpoint could begin. Thus, it seems wise to explore the solfeggi that have reached us in many manuscripts and publications in order to determine whether they offer any hints or examples of how one might realize partimenti properly. A manuscript from around 1740 containing solfeggi by Pietro Pulli has survived in the Santini Collection in Münster. It contains solfeggi diminuiti whose upper parts present variations on a bass.29 In a solfeggio with several variations, Pulli always uses the two lower staves to notate the basic musical structure on which the exercise is based. These two staves remain the same, while the music in the third, top staff, is varied each time. The first solfeggi diminuiti are rather short and make much use of formulaic movimenti di basso. The second half of the manuscript contains solfeggi diminuiti, each roughly the length of an operatic aria, and unembellished solfeggi with the remark “to be sung as written.”30

Figure 14. Pietro Pulli, “Solfeggi Del Sig:r Pietro Pulli” (D-MÜs SANT Hs. 3351), title page

29 For further details on solfeggi diminuiti see van Tour, Counterpoint and Partimento, 89–92. 30 “si canta come stà.”

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110  ❧  chapter five

It will be instructive to compare different examples in which essentially identical musical material is realized in different ways with regard to meter, character, and ornamentation. For example, one of the solfeggi diminuiti is in a slow  meter, followed by another that uses the same basic material— repeated eighth-note movement in the bass and a virtuosic, ornamented top voice—but in a  “Allegro.” Several of the sequential patterns found in the solfeggi of Paisiello/La Barbiera are also in Durante’s partimenti diminuiti. ° ### & ‹ ? ### ¢ 73

U œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ™ U œ Œ

77

˙

∑

Ó

° ### œR œ œ œ œ œ œ #œ & ‹ ?# # œ ¢ # ˙

œœ

U Ó U ∑

œ œ œ#œ œ œ œ œ œ™ œ J

Largo

˙

œ Œ

U œ œ ‰ j œœœœœœœœœœœœœœœœ œœœœœ œœœ œœœœœœ œ œ U j œ œ œ œ œ ‰ œ œ œ Allegro

80 œ œ œ œ œ œ œ ° ### œ œ œ œ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ ‹ ?# # œ œ œ œ ¢ # œ œ œ œ œ œ œ œ œ œ œ œ

w w w

Example 5.17. Baldassare La Barbiera, Solfeggio No. 26 (US-Eu Ms. 1336), cadenza with closing Allegro, mm. 73–82

For this simple ascending bass progression in solfeggio no. 26 in the Paisiello/La Barbiera manuscript, the “modi” in Durante’s partimenti diminuiti propose different melodic, chromatically colored solutions:

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pr actical examples from paisiello’s circle  ❧ 111

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ c œ œ œ ≈ œ œ œ œ & œ œœ œ œ œ œ œ œ ?c œ œ œ œ œ œ

{

Œ Œ

Example 5.18. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 17r, partimento Gj12, “Modo”

œ œ œ œ œ œ œ œ J & c ‰ œ bœ œ œ œ nœ œ œ ? c œ œ œ #œ œ #œ œ # œ J

{

&c ‰

{

œ

?c œ œ

bœ œ œ œ

œ #œ

œ œ œnœ œ œ #œ

œœ œ

œ œj œ œ #œ J

Example 5.19. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 2v, partimento Gj27, “Primo Modo” and “Terzo Modo”

The basic idea in the following solfeggio by Pietro Pulli is contrary motion (“moto contrario”).31 The contrapuntal voice-leading forms the basis for the variations in the upper voice.32 We may thus assume that solfeggi were used not only to practice singing but as models for counterpoint exercises and partimento basses. The crucial issue is the act of aural memorization, which enabled one to internalize conventional turns of phrase and musical formulae by listening.33 The following example notates all the variants vertically, demonstrating how different embellishments (the “diminutions”) are derived from each other.34 31 See Paisiello, Regole (1782), 7. In many counterpoint treatises and partimento compendiums, the moti (obliquo, retto, contrario) are discussed right at the outset. 32 The solfeggi are always notated on three staves: the bass on the lowest staff, the simple version of the upper voice on the middle, and the ornamented upper voice on the topmost staff. 33 See Azopardi, “Il Musico Prattico,” 60. 34 This is reminiscent of Georg Philipp Telemann’s Methodische Sonaten.

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112  ❧  chapter five Andante

° c ¢& ‹ ° Var. 4 ¢& c ‹ ° Var. 3 ¢& c ‹ ° c Var. 2 ¢& ‹ ° Var. 1 ¢& c ‹ &c Var. 5

œ

œ

3

° ¢& ‹ ° Var. 4 ¢& ‹ ° Var. 3 ¢& ‹ ° Var. 2 ¢& ‹ ° Var. 1 ¢& ‹

œ

œœœœœœœœ œ

œ œ œ œbœ œ œ œ œ

œ

œœœœœœœœ

œ

œœœ œ œ œœ œ œ œ œœœœ≈œ œ œœ œ œœœœ≈œ œ œœ œ œ œœ≈œ œ œ œ œ ≈ œ œ œ œ œ œ œ œœœœ œ œœœœ 6

6

˙

˙

˙ œ

œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ

≈ œ ≈

œ

œ

œ

œ

≈ b œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ

6

œ

œ

≈

œ œ œ œ bœ

bœ

6 œ œ œœœœœ œ œ œ

˙

œ

œ

bœ œ œ œ œ œ bœ œ œ

œ

œ

bœ œ

œ

œ œ œ œ œ bœ œ

œ

œ

œ

6

œ

œ

œ

bœ œ bœ ™

˙ œ

6

œ œ œ œ bœ œ œ œ bœ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œb œ œ

˙ bœ

œ

œ œ œ bœ œ œ œ œ œ

& ˙ ? œ

œ

œœœœœ bœ œ œ œ œ œ œ œ œ Ÿ œ œ œ œ œ œ œ œ ≈ œœœœœœœ œ œ œ ≈ œ œœœ œ œ œ œ ≈ ≈ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œœœœ

?c Œ

Var. 5

œœœœœœœœœ

œ

œ

œ

n œ œj œ J n œ œj œ J nœ œ J œj

nœ œ J œj

nœ œ J œj

nœ œjœ J

bœ

œ

Œ Œ Œ Œ Œ Œ Œ

Example 5.20. Pietro Pulli, “Solfeggi” (D-MÜs SANT Hs. 3351), pp. 1–2

The solfeggi diminuiti by Pietro Pulli are not only a practical guide to ornamentation for singers and instrumentalists. They share a common denominator with Francesco Durante’s partimenti diminuiti and Paisiello’s disposizioni à 2 and à 3 in that they all develop and build upon a bass line to demonstrate the arts of variation, ornamentation, and composition. This integrative approach to music pedagogy had proven itself over several generations and was especially typical of Francesco Durante’s teaching methods. A singer who was able to sing the same aria five times with different

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practical examples from pa isiello’s circle  ❧ 113

variations each time would be able to draw on years of training using the templates and patterns shown here (for more details, see the Introduction).35

Two- and Three-Part Disposizioni on Paisiello’s Partimenti The two manuscripts discussed above, containing two- and three-part disposizioni based on Paisiello’s partimenti, shed new light on the pedagogical function of partimenti and demonstrate how closely interconnected were the different parts of the music curriculum. These disposizioni—which take up more than 560 pages—are primarily exercises either composed or copied swiftly, offering neither surprises nor anything else one might deem indicative of high artistry. Instead, their value lies in showing various ways of realizing a partimento. We can use them as examples of how one might do justice to different partimenti that have specific demands on the performer. Partimento Gj2319 is an excellent example, as it is part of the Regole (1782) and the basis of four different realizations in the disposizioni à 2, and two different realizations in the disposizioni à 3. In contrast to the publication of 1782, the disposizioni are completely unfigured. The present author offers three short passages from these disposizioni to demonstrate a variety of realizations.36 The opening five measures of the partimento are treated in various ways in the two-part disposizioni, both harmonically and rhythmically. It is striking how differently the fourth measure is realized (in the print of 1782, it is figured 7–6). These examples remain within the basic harmonic pattern 35 There were exceptions, however. In one of his letters from Naples (see also chapter 1), Norbert Hadrava wrote about Celeste Coltellini, a singer who was highly regarded throughout Europe: “[La Coltellini] è una eccelente cantante comica, canta in modo nitido con sentimento, la sua voce viene dal petto. Benché abbia molte conoscenze musicali, tuttavia non è molto felice nelle variazioni e nelle cadenze. La sua recitazione comica eleva ancor più i suoi meriti nel canto poiché interpreta tutti i ruoli con verità e naturalezza.” “[Coltellini] is an excellent comic singer, she sings clearly and with feeling, and her voice comes from the chest. Although she has great musical knowledge, she is not so felicitous in making variations and cadenzas. Her comic acting elevates her merits as a singer even more, because she interprets all her roles with truth and naturalness.” See Gialdroni, “La musica a Napoli,” 78. 36 For the complete realizations as given in the disposizioni, see appendix 3.

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114  ❧  chapter five

provided by the original bass but clearly endeavor to generate the greatest possible variety of modifications and variations, going far beyond the simple figuring of 1782. The melodic treatment of the upper voice is also of crucial importance in these realizations (see exx. 5.21 and 5.22). The counter-rhythm to the bass (ex. 5.23, mm. 1 and 3) offers a lovely contrast to the chromatically ascending upper voice in the fourth measure. The disposizioni of both volumes always contain at least one example using imitation or canon—in some cases, even a fugue. Example 5.24 shows an imitative variant. Here, the fourth measure is particularly expressive. The leap from F to the lower G-sharp (a diminished seventh) is an effective expressive gesture that composers also used in operatic arias. ° b3 ˙ & 4 ? 3œ ¢ b4

#œ œ

œ

˙™

œ #œ ™

œ #œ œ œ œ œ

œ

œ

œ J

œ #œ #œ

œ™ ˙™

œ

œ

œ

#œ

œ œ œ

Ϫ

Example 5.21. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 14, disposizione on partimento Gj2319, mm. 1–5

° b3 ˙ & 4 ? 3 ¢ b4 œ

œ

œ

œ œ œ œ œ œ

œ

œ

œ #œ œ œ œ œ

œ

˙ œ

œ

œ

œ œ œ œ #œ

˙™

Ϫ

˙ œ œ œ

Example 5.22. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 16, disposizione on partimento Gj2319, mm. 1–5

° 3 ‰ œ ‰ œ ‰ #œ ˙ ™ &b 4 J J J ? 3œ ¢ b4

œ

œ

œ #œ œ #œ ‰ #œ ‰ œ ‰ œ œ œ œ #œ J J J

œ #œ œ œ œ œ œ

œ

œ

˙™

Ϫ

œ œ œ œ

Example 5.23. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 17, disposizione on partimento Gj2319, mm. 1–5

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practical examples from pa isiello’s circle  ❧ 115 ° b3 & 4 ? 3œ ¢ b4

œ

œ

œ

œ

œ

∑

œ

œ #œ œ œ œ œ

œ œ

Ϫ

#˙ ™ œ

˙™

œ

œ

œ #œ

#œ

œ œ œ

Ϫ

Example 5.24. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), p. 18, disposizione on partimento Gj2319, mm. 1–5

The following example is in three and four parts, with the eighth-note motion ensuring a continuous musical flow. 3 œœ & b 4 œ™

{

œœ

? b 43 œ

4

& b œœ™

{

œœ

œ œ

œœ œ œ

œ

6

œ

#œœ œ

D

œ #˙

?b ˙™ 7

œ

H

œ m

œ œ

œ

œ

#œ

œ

œ™ œ #œ

œ

œ œ

œ

œ

œ

œ ˙ #œ

œ

œ

œ

Ϫ

œœ™ œ

œ

j œ #œ ™ œ

œ œ

œ

œ ≈ œ

œ

œ

6

œJ

œ œ

œ

œ

Example 5.25. Giovanni Paisiello, Regole (1782), S. 27, Gj2319, mm. 1–5, realization by Nicoleta Paraschivescu

In the two three-part disposizioni, the eighth-note movement in the bass (m. 2) is either anticipated in the first measure, as in example 5.26, or taken up later. In example 5.27, the long note values of the moto contrario in the upper voice offer an impressive contrast to the movement of the shorter notes in the bass. ° 3 ‰ œ œ œ #œ &b 4

3 &b 4 ˙

? 3 ¢ b4 œ

œ

œ œ

˙™

œ #œ

œ

œ #œ œ œ œ #œ

˙™

œ

œ

œ

˙™

œ

œ

˙™

œ #œ œ œ œ œ

œ

˙™ #˙ œ™

œ œ œ œ

Example 5.26. Giovanni Paisiello, Disposizioni à 3 (F-Pn Vmb. ms. 10/2), p. 323, disposizione on partimento Gj2319 mm. 1–5

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116  ❧  chapter five ° b3 & 4˙

3 &b 4 ˙ ? 3 ¢ b4 œ

œ œ œ

œ

˙™

˙™

œ

#œ œ œ

˙™

#˙ ™ œ

˙™

œ #œ œ œ œ œ

œ

œ

#œ

˙™

œ #œ #œ

˙

Ϫ

œ

œ œ œ

Example 5.27. Giovanni Paisiello, Disposizioni à 3 (F-Pn Vmb. ms. 10/2), p. 325, disposizione on partimento Gj2319, mm. 1–5; the third is absent on the first beat of the opening measure

The following examples illustrate the possible treatment of an ascending bass pattern that Paisiello discusses explicitly in the introductory part of his Regole (1782).37 Measures 13–17 offer different ways of realizing an ascending scale. The melodic line of variants one and two presents a Monte Principale.38 ° b nœ œ œ ˙ ™ #œ œ œ œ™ œ #œ œ œ œ ™ J J œ œ™ J ¢& œ ™ nœJ ° b œ œ œ œœœ œ œ œœœ ˙ œ œœœ ˙™ ¢& œ ° b œ œ œ œ œ œ œ™ œ œ œ œ œ œœœ œ œ œ œœœ œ œ œ œœœ œ œ ¢& ° œœœ œ ˙ œœœ œ™ œœœ œ™ œ™ ¢& b œ ™ œ œ œ ? b ˙™ ˙™ œ œ œ ˙™ ˙™ 13

Var. 4

Var. 3

Var. 2

Var. 1

Example 5.28. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), pp. 14–19, disposizione on partimento Gj2319 (F-Pn Vmb. ms. 10/1), mm. 13–17, comparison of the different versions of an ascending scale fragment

In this context, I offer a three-part realization of measures 13–17. m Ÿ œj œ œ œ œ œ œ ˙˙ ™™ & b œœ œœ œ œ œ œ˙ œ nœ œ œœ

13

{

? ˙™ b

˙™

˙™

Ÿ j œ œœ œœ œ ‰ œœ J ˙™

m œœ œ œœ œ œ œ Œ œ V

œ

6

œ

Example 5.29. Giovanni Paisiello, Regole (1782), p. 27, Partimento Gj2319, mm. 13–17, realization by Nicoleta Paraschivescu

37 See the section on “Bass Motions” in chapter 4. 38 See chapter 3.

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practical examples from pa isiello’s circle  ❧ 117

Example 5.30 shows the different possibilities for realizing a chain of  to  chords. As already mentioned in chapter 4 (“Scale Mutations”), the  chord can initiate a modulation which leads into a new key. In the present case, the partimento has just moved from F major to D minor, and the chain of  to  chords confirms this modulation. 26

Var. 4

° ¢& b œ Œ

Var. 3

° b ¢& œ Œ

Var. 2

° b ¢& œ Œ

Var. 1

° b œ Œ ¢& ?b œ 30

Var. 4

° œ ¢& b

œ

œ

œ

œœœœ˙

œ

œ

˙

œ

Ϫ

œ

˙

œ

˙

œœœ œœœ œœ œ

œœœœ˙

j œ

œ œ œ œ œ œ œ œ œ

Var. 3

° œ œ œ œ ˙ ¢& b ° œ ¢& b

˙

Var. 2

° œ ¢& b

Ϫ

Var. 1

?b œ

˙

j œ

œœœ œœœ œœ œ

œ

˙

œ

Ϫ

œ

˙

œœœ œœœ œœ

œœœœ˙

j œ

œ

˙

œ

Ϫ

œ

˙

j œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

#œ œ nœ œ ˙

˙

#œ

#œ

˙

˙

#œ

œ

Ϫ

œ

˙

j œ

œ ˙

œ

#œ œ

Example 5.30. Giovanni Paisiello, Disposizioni à 2 (F-Pn Vmb. ms. 10/1), pp. 14–19, four disposizioni on partimento Gj2319, mm. 26–32; synopsis of  chord progressions

These measures could also be realized as follows: j œ œ œm œ œ œ œ ˙ œ œ œ œ œ™ œj ˙ ‰ œ œ œ œ œ œ œ œœ œ ‰ œ œ œ nœ œ œ œœ œœ#œœ œ œ™ œ œ œ ™ & b œœ ‰ Œ œ œ # œ n œ œ ™ œ œJ œœ œ œ# œ œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙ ?b œ ˙ œ

26

{

Example 5.31. Giovanni Paisiello, Regole (1782), S. 27, Partimento Gj2319, mm. 26–32, realization by Nicoleta Paraschivescu

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118  ❧  chapter five

Intavolature: Exercises and Models In chapter 3 we already mentioned that intavolature were a firm component of the music curriculum in the conservatories of Naples. These exercises of varying lengths have come down to us mostly as independent manuscripts and sometimes appear at the end of partimento collections. They helped students to develop their motor abilities and to internalize the models they had been taught. This way, they built a bridge between instrumental playing, improvisation, and composition. According to the curriculum, the same person would teach “singing instruction, harpsichord playing, intavolature, partimento, and counterpoint.”39 In his comprehensive partimento method of 1803—which he recommended to all who wanted to become good harpsichordists—Francesco Ricupero included a section with intavolature (see chapter 2), writing: “There now follow the intavolature, which, as already mentioned, are intended for the pleasure and diversion of young students and for those who do not like to fatigue themselves.”40 Gaetano Greco’s “Intavolature per cembalo” were specifically addressed to young pupils (“Per li piccoli”).41 By practicing arpeggios on the harpsichord, it was envisaged that pupils would at the same time learn to comprehend and internalize the harmonic relations between these chords:

Per li piccoli

&c w w w ?c w

w w #w w

w w w w

w &c w w

w w w

w w w

{ {

?c w w w

w w

w w w

w w

w w

w w

w w

w w w

w w w

#w w w

w w

w w

w w

w w

w w

Example 5.32. Gaetano Greco, “Intavolature per Cembalo” (I-Nc M.S. 2851), folio 1v

39 See chapter 3, pp. 45–46: “a cantare, suonar il cembalo, intavolature, e partimenti, e la cartella del contrapunto.” 40 Ricupero, “Studio di musica,” 193. “Qui seguono alcune Intavolature, servendo, siccome si è detto di sopra, per allettare, e divertire la giuventù studiosa, e per quelli i quali no’ amano la fatica.” 41 Greco, “Intavolature per Cembalo Del Sig.r D. Gaetano Grieco” (I-Nc M.S. 2851). Greco (ca. 1657–1728) was Durante’s teacher.

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practical examples from pa isiello’s circle  ❧ 119

Numerous intavolature by Fedele Fenaroli have survived. Example 5.33 is an exercise for playing triplets, alternating between the left and right hand. 3 3 3 3 œ œ &b c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? cœ œ œ œ œ œ œ œ œ œ b œ œ 3

{

4

3

3

&b œ œ œ œ œ œ œ 3

{

?b œ

3

œ

œ

œ

3

3

3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

3

3

3

3

3

3

œ œ œ œ œ œ œ œ œ œ nœ œ

œ

œ

3

3

œ

3

œ

3

œ

3

3

Example 5.33. Fedele Fenaroli, “Intavolature Per il Cembalo del Sig.r D. Fedele Fenaroli Libro Primo” (I-Mc Noseda H.12), folio 19v, mm. 1–6

In the manuscript of Francesco Durante’s partimenti diminuiti (I-Nc M.S. 1898), the copyist Ignazio De Sanguine adds the following concluding remark: “End of the partimenti; now the manual exercises follow.”42 The subsequent pages contain intavolature, the first of which is titled “Sonate per Organo di Varii Autori,” and attributed to Francesco Durante (see ex. 5.34).43 In the following example, the author offers a stereotypical finger exercise and demonstrates the movimento di basso with alternating descending thirds and ascending seconds—a pattern that Paisiello also describes in his Regole (1782).44 b &b c Ó

{

Æ Æ Æ b œÆ œ œ œ

œ

Œ

Æ Æ œÆ œÆ œ œ bœ

Œ

Æ Æ œÆ b œÆ œ œ

Æ Æ nœÆ œÆ œ œ

œ

Œ

Æ Æ œÆ œÆ œ nœ

Œ

Æ Æ œÆ œÆ œ œ

œ œ œ œ œ œ œ œ ? bb c œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b &b œ

4

{

Œ

œ

? bb œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Example 5.34. Francesco Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folios 30r–32r, mm. 1–6, also featured in the collection “Sonate per Organo di Varii Autori” (I-Ria Mss. Vess. 429), folios 33v–37v

42 Durante, “Maniera Da ben suonare il Cembalo” (I-Nc M.S. 1898), folio 29v, “Fine de’ Partimenti; Siegue adesso il suonare di mano.” 43 See Paraschivescu, ed., The Vessella Manuscript. 44 See the section on “Bass Motion” in chapter 4.

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120  ❧  chapter five

These different musical domains focus on multiple possibilities of realization and performance and address various senses and skill sets. Solfeggi and solfeggi diminuiti enabled students to train their voice and ear as well as their ability to grasp certain formulae and schemata by aural means. The partimenti and the partimenti diminuiti addressed the instrumentalist’s tactile, motor skills, though without neglecting the importance of the ear—and, as we have observed, an instrumentalist had to practice solfeggio for three years before being allowed to begin learning an instrument. By that point, the student would already have learned a large trove of musical patterns and formulae by ear; once he had internalized them, he would be able to draw on them at will. The third element of the training was counterpoint, the study of which built on the previous two areas of the Neapolitan Conservatory curriculum.

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Chapter Six

The Practical Application of Partimenti Today Per aspera ad astra.1

Realizing Paisiello’s Partimenti In the previous chapters, we have endeavored to place Paisiello’s partimenti in their historical context in order to reveal the possibility of a new approach to their performance practice. In the present chapter, I will offer examples of my approach to realizing these pieces. In the initial section, I will analyze two partimento realizations by Paisiello himself. Then I will take a solfeggio attributed to Paisiello to construct my own instrumental upper voice above the existing bass and thereby demonstrate the flexibility of my approach. In the third section, I will ornament and vary a prelude and a rondo from Paisiello’s “Raccolta” of 1783, adding a cadenza. Partimento Gj2331 was also discussed in chapter 4, as its overture-like character makes it worthy of special attention. As we mentioned, this bass contains much information that can impact the realization of the upper voices and the overall texture. Before one plays or realizes a partimento, one should carefully consider the following points: • •

1 2

All cadences, harmonic goals, and modulations should be clear to the player. Long note values following an animated passage in the bass are an invitation for the upper voice to take up the previous material from the bass or imitate it.2

“Through hardships to the stars.” See in this regard Gjerdingen, “Partimenti written to impart a knowledge of counterpoint and composition,” 52–53. Gjerdingen here differentiates between “boring and interesting parts.”

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122  ❧  chapter six • •

Characteristic bass formulae and movimenti di basso provide information on the types of movement we are working with and the formulae and schemata involved. The figures do not just sketch out the harmonies but often provide important hints about melodic and contrapuntal possibilities. For example, in Gj2321 (appendix 4, m. 19), Paisiello writes “8” above a quarter note or a quarter-note rest in three different passages in order to indicate the place and pitch of the imitation.

The partimenti analyzed below are shown as excerpts; for the complete realizations, please consult appendix 4. # & #c ‰

{

Ó™

œ œ ? ## c œ œ

‰ œ #œ

œ

“‘ 5 j # œ œ œr œ œr œ œ œ œR œœ œ œ & # œœ ‰ J ‰ Œ R

{

œ œ#œ œœœ

nF˙

œœ

œœ Œ

œœ œ

6 ‰™ œR œ

œœœ

œ œœœ œœ

‰™ œR œ

œœœ

r ‰™ œ œ

œœœ

œœ œ

œœœ

œ

œ

œ

Ÿ œ œ œ œœ œ œœ œ œœ œ œj œ™ œ œ œ œœ œ œœ œ œœ ‰ J œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œJ œ œ œ

? ## œ ‰ Œ Ó J

8 # œœœœœ j œ & # œœœ œœ œ œ œœJ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ œJ J ? ## œ œ œ œ œ œ œ œ J œ œ œ œ œœœœœœ

{

œœ œ

j œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J Œ Œ Œ œ œ œ ˙ ˙ ˙

‰ œj œ j ‰ j œ œœœœœœ œ ‰ j # œ ‰ œ œ œ œ#œ œ œœ œ œœ œ œ œ œ œœ #œ œ œ œ œ œ œ œ #œœ #œœ œœ œœ œœœ œœœœ & #c œ ‰ œœœœœœ Œ ˙ œ œ œ ˙ œ ˙ ˙ ? ## c ˙ œ “‘

11

{

Example 6.1. Giovanni Paisiello, Regole (1782), pp. 39–40, partimento Gj2331, mm. 1–14, realization by Nicoleta Paraschivescu

After an “orchestral” tutti at the beginning of the partimento, a two-part, completely notated solo begins in measure 5. In measures 7–9, Paisiello introduces a conventional Romanesca bass.3 The music rises by the span of an octave in the next four measures, ultimately modulating to the dominant 3 Gjerdingen, Music in the Galant Style, 170; Gjerdingen here discusses different Romanesca basses by Paisiello. Another example of a Romanesca bass can be found in partimento Gj2319 in measures 22–26 and measures 30–34 (see

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the practical application of partimenti today  ❧ 123

key (mm. 10–14). There is a striking contrast between the rapid figurations of measures 7–9 and the long note values from measure 10 onward, which coincide with the ascending motion. The long note values are an invitation for the upper part to adopt the material of the previous measures. Here I decided to keep the rhythm and the descending motion of the previous sixteenth-note figurations. Furthermore, the movimento di basso suggests a harmonization with a chain of 5–6 progressions, as described by Paisiello at the beginning of his Regole (1782). In measures 15–19, the opening theme is treated imitatively in the dominant key, which is emphasized in the subsequent measures by the use of traditional formulae (mm. 20–29). The rapid upbeat of the theme is typical of an overture, a symphony, or a concerto. Measures 21 and 23 suggest a realization after the schema of Fenaroli.4 In measures 24–26, Paisiello expressly requires imitation between the bass and the upper voices. The violinistic broken chords in measures 27–28 prepare the first large-scale cadence in the dominant key. Measures 29–32 lead surprisingly swiftly back to the opening theme. Another movimento di basso, the Monte Principale already mentioned earlier, dominates measures 36–38. The ascending half notes in measures 39–41 suggest a chain of 5–6 progressions using the thematic material of measure 24, but in diminution. Measures 45–50 use the same material as measures 24–26. From measure 50 onward, Paisiello twice introduces the same bass (mm. 50 [beat 3]–57 and m. 58 [beat 3]–65) before the opening theme is quoted once more at the end. The repetition of this passage allows the player to vary the register and the number of voices in the chordal accompaniment in order to achieve a crescendo toward the end. The voiceleading between the outer parts in measures 55–56 and 63–64, along with the chromatic upper part motion, contrary to the bass, bring a particular charm to this partimento realization. The orchestral, extroverted character of this piece stands in stark contrast to the following partimento, Gj2321. It offers opportunities for contrapuntal and melodic development to which Paisiello at certain points refers explicitly. Its character is similar to the Andante of a trio sonata or the middle movement of a concerto. This partimento, too, is mainly defined by conventional models and formulae.

appendix 4). There, the stepwise descent of the upper part is typical of this kind of bass progression. 4 Gjerdingen, Music in the Galant Style, 225–40.

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124  ❧  chapter six œ œ œ œ œ #œ œ œ œ œ nœ œ œŸ™ œ œ #œœ œ œœ œ #œœ œ #œœ œ œ œ˙ œ œ œ œ#œ œ œ œœ œ Œ #3 œ 7˙ #6 œ™ œ œ œ œ œ œ œ œ œ œ ? # c ‰ œ #œ œ œ œ œ œ™ J J œ œ # & c Óœ

{

œ

œ˙

œ

# œœœ œ œ œ œ œ œ œ#œ œ œ & œ œ œ œ™ œ œ œ œ œ œ œœœ œ œ œœ œ œ œ œœ œ œ #œœ # œ œ œ œ ™ J œ™ œ œ œ œ œ œ ?# œ œ œ œ œ œ

5

{

Ÿ œj œ œ œ œ™ œj #œ™ œœ ‰ œ œœ œ œ œ œ œ œ #œ œ Œ Œ ‰ œ œ œ œF œ6 œ œ œ œ Œ ‰ ‰

Example 6.2. Giovanni Paisiello, Regole (1782), p. 29, partimento Gj2321, mm. 1–9, realization by Nicoleta Paraschivescu

It seems appropriate to begin a realization of Gj2321 in the manner of a trio sonata, with imitation between the two upper parts (see ex. 6.2). The eighth-note motion in the andante bass ends in the first measure and can be continued in the upper parts. After the first cadence in measure 4, a circle of fifths progression suggests the possibility of imitation in the upper voices. The rests in the bass in measure 8 offer space for the subsequent bass figure to be presented first in an upper part, initiating an imitation between the the upper voice and the bass, joined by the middle part. The ascending bass from measure 13 onward (see the complete version in appendix 4) once again suggests a chain of 5–6 progressions. I have complemented it by adding chromatic passing notes in the bass and middle part. After the cadence in measure 15, Paisiello expressly asks for imitation, which is easily achieved in measures 16 and 17 (the last one being ornamented). In measures 19 and 21, we find a motive similar to measures 8 and 9 (three repeated eighth notes). A brief imitative sequence leads to a cadence in A minor in measure 23. In measures 30–35, we encounter once more the imitation required by Paisiello (as in mm. 16–18) and the diatonic circle of fifths progression from measures 5–6. For the final measures, it seemed appropriate to me to reintroduce the three repeated eighth notes and to expand Paisiello’s penultimate measure by using a pedal point on the dominant with a chromatic descending scale in the upper part, leading to the final cadence.

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the practical application of partimenti today  ❧ 125

A Newly Written Solfeggio Consulting the databases for solfeggi and partimenti resulted in identifying additional pieces for keyboard instruments from the Neapolitan school that were, in fact, partimenti or solfeggi. Sonata no. 14 from the abovementioned Vessella Manuscript paraphrases the opening measures of a solfeggio by Francesco Durante.5 I will apply a similar procedure here to the bass of a solfeggio by Paisiello/La Barbiera. As already explained in chapter 2, recent research has proven that most of the solfeggi in the manuscript “Solfeggi del Sig.r Maestro Paisiello” are not by Paisiello himself but can be attributed to Baldassare La Barbiera.6 Solfeggio no. 10 is one of the “incerta,” i.e., it could in fact be by Paisiello. But regardless of any questions of attribution, I have here chosen this solfeggio no. 10 to create a new piece with an alternative upper part. The existing bass and my new upper voice together now form an instrumental duet. Examples 6.3 and 6.4 offer eleven measures from the original version of this solfeggio, followed by my altered version on the same bass. The original imitation composed in measure 11 has been retained. The instrumental character of my version suggests a two-part harpsichord sonata or a violin sonata with basso continuo. The complete versions are given in appendix 8. ° # c œœœœ œœœœœœœ œ Œ œœœœœœœœœœœœœœœœ œœœœœœœœœ œ œœœœœ Œ & œ œ™ œ œ ‹ œ œ œ ?# c œ œ œ œ ¢ ˙ œœœœ ˙ œœœœ œ Allegro

° # œ œ œ#œ œ œ œ œ œJ ‰ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ Œ & œ œ œ œ œ œ œ œ#œ œ ‹ ?# ˙ œœ˙ œ œ œ œ œ œ#œ œ œ œ œ œ ¢ œ œœœœ 5

r ° # œ œ œ #œ r r œ œœ œ œ œJ ‰ œJ ‰ œ™ œ J & œ œœ œ œ œJ ‰ œ #œ œ œ J ‰ œ œ œ œœœœœœœœ ‹ œ œ œ # œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ Œ ‰ œ œ œ ¢ 8

Example 6.3. [Attributed to] Giovanni Paisiello, “Solfeggi del Sig.r Maestro Paisiello” (US-Eu Ms. 1336), solfeggio no. 10, mm. 1–11, original version

5 6

See the foreword to Paraschivescu, ed., The Vessella Manuscript. See chapter 2.

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126  ❧  chapter six Allegro œ œ œ œœ œ ° #c œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœœœœœ œœœœœœœœ œœœœœ œ & ≈œ œœœœ œ œœœœ œœœœœ

¢

?# c

° # & ˙

œœ œ œ ˙

˙

5

¢

?#

œœ œ œœœ

œœ œ œ

œ ≈ œ œ œ œ œ œ#œ œ œ#œ œ œ œ œ œ

œ˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œœ œœ œœœ #œ œœœœœœœœœœ

œ œ œ œ œ œ#œ œ œ

œœœœ

œ

œ

œœ

œ

œ œ œ œ œ #œ œ œ œ œ œ œ œœœ œ œ #œ œ œ œ œ œ œ#œ œ œ œ# œ œ œ œ œ œœœœœœœœ œœ œ # œ œ œ œœ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ Œ ‰ œ œ œ ¢ ° # & œ 8

œ

Example 6.4. [Attributed to] Giovanni Paisiello, “Solfeggi del Sig.r Maestro Paisiello” (US-Eu Ms. 1336), solfeggio no. 10, mm. 1–11, realization by Nicoleta Paraschivescu

The exact repetition in measure 2 of the original (see ex. 6.3) is rhetorically weak. In measure 3, we recognize the movimento di basso with alternating falling thirds and ascending seconds. From measure 5 onward, the opening motive is developed, ultimately modulating to D major with the aid of a  chord. The character of the piece changes in measure 21, and the solfeggio/duet moves toward B minor. The note values become longer, and the imitative dialogue between soprano and bass invites one to engage in ornamentation. In measures 24 and 25, the bass introduces a motive that is accompanied by a chromatic ascending line in the upper voice. In my realization, this motive is adopted in the upper voice in measure 26 and continued. The bass of this solfeggio employs common elements, such as an ascending scale (mm. 32 [beat 3]–33), while in measures 38–40, the final cadence is prepared in a manner typical of many other compositions of the time. In general, the repeated passages in this solfeggio act as invitations to the singer or player to make their own variations and embellishments. Even the ending of the solfeggio (mm. 38 [beat 3]–40) insists on repeating an idea already heard, which comes across as highly formulaic and is hardly an adequate preparation for the imminent final cadence. I have added parallel thirds to this repetition. The chromatic coloring I have given to the upper voice toward the conclusion helps to emphasize the final cadence and avoids an exact repetition of measure 37.

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the practical application of partimenti today  ❧ 127

A Rondo with Prelude, Varied and Ornamented If one plays the pieces compiled in the “Raccolta” (1783), one might well feel a certain sense of surprise that Paisiello did not take the trouble to compose anything more substantial here, nor did he indulge in anything more interesting contrapuntally. It is only when we view this music in the context of the complex, multifarious curriculum employed at the time that we can comprehend it properly. The intended performer of this music was critically important. Paisiello’s instruction at court was designed for specific people and their particular skills. A noble amateur would play the simpler pieces note for note, for his or her own diversion; an experienced, well-versed musician, however—one, perhaps, who had ten years of study at a Neapolitan Conservatory—would vary it, embellish it, and improvise on it. This can be well illustrated by the example of the prelude (see ex. 6.5). If one takes the opposite approach and returns the prelude to the harmonic framework of a simple, figured partimento bass, then new possibilities of variation, ornamentation, and inversion of the motives open up. Considering the bass and its harmonic structure in isolation, Paisiello’s prelude could also be seen as a short, written-out partimento. & c bœR bw w w b ˙ ?c ≈

{

b˙

bœ b œœ œ

‰ b œ bœ nœ Œ b˙ Œ

nœ

˙ ˙

‰ b œ bœ nœ b˙ ∑

Example 6.5. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 32, “Preludio” in B-flat major, mm. 1–3

The function of a brief prelude was to establish the key and allow the player to try out his instrument before beginning the piece. The B-flat major chord in the first measure is unusually long (see ex. 6.6, original version). In my varied version (ex. 6.6), an ascending chain of sixteenth notes in the right hand provides movement to counter this stasis. And in measures 1–3, where the motives are repeated, we can introduce imitation or exchange of parts. In my variant (ex. 6.6), the upper voice from measure 2 is imitated in the lower voice in measure 3 to create a short dialogue. This process is then repeated in measures 4 and 5. Measures 6–8 (ex. 6.6) introduce a new rhythmic element. The proposed broken chords in the upper voice in measure 6 give this

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128  ❧  chapter six

passage a new gesture which is continued in descending motion in measures 7–9. Compared to the static opening of the original version, the new version of the prelude is more compelling in expression. & c bœR bw w w b ˙ ?c

{

b˙

œ

{

‰ bœ œ œ b˙

œ˙ & ˙

{

? œœ

{

?

{

? œ

œ

? œ

œ

œ

b˙ b˙

œ

œ

bœ œ

œ

Œ

Ó

j bbœœ

bœ œ œ ‰ J

˙œ b˙ œ

bbœœ

œ Ó

Ó b˙

˙

bœ & b œÓ œœ

{

œ

∑

7

‰ œ bœ nœ b˙

‰ œœ œ bœ

j bœ

bœœ

œ

œ

œ

œ

b˙ œ

œ

œ œ

œ

œ

b˙œ b˙ œ œ

≈ œ œ œbœœ bœœ œb œ œ œœ œ œb œ œbœ bœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

bb œœ œ bœ ‰ J bœ œ

˙ ˙

∑

≈ œ

‰ nœ

∑

‰ bœ œ œ b˙

‰ b œ bœ nœ b˙

˙ ˙

∑

Œ

‰ bœ œ œ b˙

b˙ b˙

∑

bb œœ & ˙

& œœ

œ

nœ

Œ

b œ œ œ œ bb œœœ bœ œ œ œ œ œ œ œ œ bœ œ œ c b œ b œ & R w w bb œœœ b˙ ? c b w˙

4

‰ b œ bœ nœ b˙

Œ

bbœœœ

bœ

œ ≈ œœ œ

˙ œ

œ œ

bœœj J

œ

j bœœ J

‰ bœ œœ ≈ bœœ

bœ

œœ

bœ b˙˙ ˙

Ó

b˙

Ó

Siegue Rondò

œ bœ œœ œ œ bœœ bœœ œ œ œœ œœ œœ œ œœ œ b˙˙˙ œ œ œ œ œ œ œ œ œ b˙

Ó Ó

Example 6.6. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 32, “Preludio” in B-flat major; the top two staves give the original version; the bottom two, the suggested variation by Nicoleta Paraschivescu

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the practical application of partimenti today  ❧ 129

The “Rondò” is constructed as follows: Ritornello I (16 measures)7 A – AV18 – B – BV1 Couplet 1 (34 measures) Ritornello 2 A – AV2 – B – BV2 Couplet 2 (61 measures with a brief section in minor) Cadenza (added) Ritornello 3 A – AV3 – B – BV3 Conclusion (28 measures) These rondos and their ritornelle in the “Raccolta” (1783) are simply constructed and harmonically predictable.9 The repetition of the ritornelle is stipulated by the copyist of the manuscript only in the initial rondos of the “Raccolta” (1783); later in the collection, he omits to mention this specifically. In the rondo under consideration here, all repeats were changed while keeping the given harmonies. Paisiello repeats some of his ideas in the three couplets; these too were varied and ornamented. I added a cadenza after the second couplet that leads to the final ritornello. Appendix 6 offers both the original and my varied version of the complete rondo. In concert, I would play the variants of ritornelle nos. 2 and 3 the first time and leave out the original version.

Ritornello 1 The structure of this ritornello is static due to its simplistic rhythms and the use of just one chord per measure. Therefore, I have chosen to use diminutions in the repeat of the first ritornello (section AV1), with broken chords in both hands to loosen up the texture and keep it flowing. In section BV1, the bass begins with embellishments on the descending quarter notes, to which I have added a melodic, declamatory upper voice. 7 8 9

The ritornello comprises 8 + 8 measures, which I have here called “A” and “B,” and which are repeated with ornamentations. The letter “V” stands for the varied repeat. Tonic–dominant | dominant–tonic.

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Andante con moto

b2 & b 4 œœ ? bb 42 ˙

11

œ

{ {

œ

œ J

œ

œ

‰

˙

œ œ œ œ œ œ œ œ

œ

˙

˙

œ b2 ≈ œ œ œ œ œ œ œ & b 4 ≈ œ œ œ œ œ œ œ œ œ œJ ‰ œ ? bb 42 j œ œ œ œ œ œ œ œ œ™ b œœ ™™ &b

15

{ {

? bb œ b œ & b œJ

œ œ

œ

œ œœ œ

œ

œ

œ

œ

œœ J

œœ J

œ œ œ ? bb œ œ œ œ œ

~~~~~~~

b &b œ

{ {

? bb ˙

œ T

œ

r œ

œ ˙

Œ œ rœ œ œ œ œ œ œ œ

œ nœ

œœ J

œœ ™

‰

œ

œœ J

œœ œ œ œ œ œ œ œ œ nœ n œœ œ œ œ œ œ œ œ œ

œ

œ

œœ

œœ

œ

œ

œ

œ

œ

œœ

œ

œ œ

œ œ œr œ œ

œ œJ

™™

œ

œ œr œ

˙

™™ ™™ œ

œœ œ œ œ œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

™™

˙

nœ

œ ≈ œ œ œ œ œ œ œ œ œ œ œ™

œ T

œ œ œr œ

‰

j œ

œ œ

œ œ œ œ œ œ œ œ œ™ œJ œ œ œ œ œ œ ? bb œ œ œ œ œ œ œ œ œ œ œ œ b & b œœ™

œ

œ

≈ œR

œ œ œ œ œ œ œ œ

b ≈ œ œ œ ≈ œ œ œ œ œ œ œ & b ™™ œ bœ œ ? bb ™™ ∑ T j œ ™ œ œ b & b ™™ œœJ œ œ œ œ œ œ œ œ œ œ œ ? bb ™™ œ

23

j œ

œœ

19

{ {

œœ J

œ J

œ

œ œ

rœ œ œ œ ™™

˙ œ œœ œ œ

œ

œ œ œ œ

™™ ™™ ™™

Example 6.7. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 33, “Rondò” in B-flat major, mm. 11–26 (following on directly from mm. 1–10 of the prelude). Top two staves: original version; lower two staves: suggested variation by Nicoleta Paraschivescu

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the practical application of partimenti today  ❧ 131

After the introductory measures 27–36 in the first couplet (see appendix 6), a series of sequences begins. Measures 41–44 offer space for variation, as do measures 45–52, which are repeated as measures 53–60 and varied in my version. This last section, like the beginning of the couplet, suggests a quasiorchestral treatment. In measures 57–60, my variant includes horn calls with alternating thirds, fifths, and sixths, accompanied by a descending pattern of trills in the upper voice. The repetition of measures 45–48 as 53–56 is given a different nuance by changing the register of the eighth-note accompaniment.

Ritornello 2 Sections AV2 and BV2 of the second ritornello (mm. 61–76, see appendix 6) also provide opportunities for variation. Here, broken chords are combined with runs and leaps while retaining many elements from the original upper voice. Parallel thirds and expressive leaps are used as ornamentation. A continuous sixteenth-note motion flows from one hand to the other. This section (couplet 2) is the longest of all and begins abruptly in E-flat major, contrasting the opening key of B-flat major. The first section of the second couplet comprises measures 77–98 (see appendix 6), while the second section lasts from measure 99 to measure 137. Measures 81–84 are a varied repetition of measures 77–80. Next, Paisiello plays with various elements, returning in measure 91 to the opening theme of the second couplet. I have added rhythms to complement the percussive bass line (see ex. 6.8). In measures 95–98 I have exchanged the parts and given the upper part the accompaniment while the theme is heard in the tenor (see appendix 6). b &b œ™ œ™ ? bb œ

91

{

œ

j œ bœ œ

œ

œ bœ œ

œ

œ œ œ

bœœ œ

œœ œ

bœœ œ

œœ œ

œ œ œ

œ œ œ

œ

œ œJ œ

‰ œ

b œ b œœ b œœ r bœ œ r œ bœ œ œ œ œœ ‰ ≈ bœ œ &b œ J œ œ œ œ b œœ œ œ œ œ ? bb œ œ œ j ‰ œ œ œ j ‰ œ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

{

Example 6.8. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 37, “Rondò” in B-flat major, mm. 91–94; top: original version; below: suggested variation by Nicoleta Paraschivescu

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132  ❧  chapter six

The function of measures 99–106 is to modulate from E-flat major to B-flat major; these measures serve as a bridge. In the original version, measures 99–102 and 103–6 are rhythmically and melodically similar; the second statement is simply transposed down a tone. This similarity invites variation in measures 103–6. b & b ≈™

103

{

? bb œœ nœ

œ œ™

œ œJ ‰

j ‰ œœœ œœœ

b œœ &b ® œ œ œ œ œ œ J ‰

{

? bb œœ nœ

≈™

œ œ™

®œœœœœ

œ œJ ‰

Ϫ

‰ œœœ J

˙˙ ˙

œ œ œJ

j ‰ œœœ œœœ

‰

‰ œœœ J

œ œ™

œ œ™

œ œ˙ œ

œ

œœœœœœœœ œœœœœ œ œ œ #œ ˙ ˙˙˙

≈™ œ œ ™ œ

œ™ œ ™ œ œ

Example 6.9. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 38, “Rondò” in B-flat major, mm. 103–6; top: original version; below: suggested variation by Nicoleta Paraschivescu

The percussive, “orchestral” bass line in measures 122–33 marks the end of the second couplet, which after a cadenza leads into the last ritornello: œ b J U ‰ œ œ œ &b

139

{

U œ œ™ œ œ œ œ J R

œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ nœ œœœœœœœœ

? bb

U b & b œ œ œ œ œ œ œj œ U œœœœ ? bb

{

Ÿ œ œ œ œ œ nœ œ #œ œ #œ œ œ nœ œ #œ

nŸœ

˙Ÿ

Example 6.10. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 140, “Rondò” in B-flat major, cadenza by Nicoleta Paraschivescu

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the practical application of partimenti today  ❧ 133

Ritornello 3 In the last ritornello (ex. 6.11), the original theme is given to the left hand, while the right hand continues the trill from the cadenza. This is intentionally redolent of Mozart’s piano variations, which regularly include a variation with trills.10 b & b ™™ œœ ? bb ™™ ˙

147

{

œ

œ

œ

œ

œ J

‰

˙

œ œ œ œ œ œ œ œ

œ

˙

˙

œœ œ œ œ œ œ œ œ

˙œ

œ

œ J

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ œ™ b ˙ nœ & b ™™ J

{

b & b ™™ œœ œ

œ

œ

œ˙

œ

œ

œ œ œ œ œ œœ J œ œ œ j ? bb œ œ œ œ b œ ™™ &b œ

151

{

b œ &b œ

{

œœ œ œ

œœj ‰ b œœœ

≈ œR ‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ nœ œœ ? bb ˙

œ œ œ

r œ

œ œœ œ œ œ

r œ

œ

œ nœ

nœ

œ

œ

™™

˙

œ

œ

œ œ œ nœ œ™ œ

nœœ œœ Œ Ÿœ nœ œ œ ‰ J

˙Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

nœ œ

?

œ

Example 6.11. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 40, “Rondò” in B-flat major, mm. 147–54, section A of the third ritornello

10 In 1783, Mozart composed his Variations in F, K. 398 (416e), on Salve tu, Domine from Paisiello’s opera I filosofi immaginari (St. Petersburg, 1779); the fifth variation of this set also features long trills in the right hand.

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™™ ™™ ™™

134  ❧  chapter six b ≈ œ œ œ ≈ œœ œ & b ™™ œ bœ

œ œœ œ

3 œœ œ œ œ œ b & b ™™ ≈ œ œ œ œ œ

œœ

155

{

? b ™™ b

{

? b ™™ œ b J

œ

∑

3 3 œŸ~~~~~~~~~~~

3

‰

b &b œ

159

{

?b ˙ b

œ

œ

≈

œœ

œ

œ

œ

3

œ œ œ œ œ œ œ œ œ œ œ œ™ œ

3 3 3 œ≈ œ œ ≈ œ œ ≈ œ œ œ

œ

œ J œ

˙

œ

œ J œ

œ

˙

œœ œ œœ œ œ œœ œ œ 3

œ œ

3

œ

œ œr œ

3

œ

œ œ œr œ

3

œ œ œ

œ

œ

œœœœœ œœ ‰ œœ 3

œ J

3

3

œ œ

œœœ 3

™™

˙ œ

œ

3 3 3 3 3 3 3 3 3 3 œœ œœœ œœ œ œœ œ b œ œ œœœœ œ œ œ œœ œ œ œ &b œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? j J ? j ? bb œ œ œ œ œ œ œ œ œ œ J œ œ œ & œ J & J œ œ 3 3 3 3 3 3 3 3

{

™™ ™™ ™™

Example 6.12. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 41, “Rondò” in B-flat major, mm. 155–62, section B of the third ritornello

The festive, buoyant character of the B section of this third ritornello returns once again at the conclusion (ex. 6.12). The triplets and sextuplets, along with the crossing of the hands (ex. 6.12, mm. 161–62), give a virtuosic touch to the piece and lead into the coda. This section is characterized by Alberti basses and alternating rhythms and once more leads us briefly into the world of Giovanni Paisiello’s operatic overtures. œ œ œ œ b &b ‰ J ‰ J

183

{

œ ? bb J ‰ œJ ‰

œœ œœ ‰ J ‰ J œ ‰ œJ ‰ J

œ ‰ œJ ‰ œœ J

œ ‰ œJ ‰ J

œ œ

j ‰ œœ œœ œ œ ‰ œJ œ

œ œ œ b œ œ ≈ œ œ ≈ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ Ÿ j œj œ J &b ≈ œ œ œ œ œœ œ œ œ j ? bb J ‰ œJ ‰ œ ‰ œJ ‰ œ œ œ ‰ œ J œ

{

j ‰ œœ œœ œ œ ‰ œJ

j Ÿ j œj œœœ œ œ œ œœ œ j ‰ œ œ œ œ

U ‰ œj œ œ œ œœ ˙ U œœ œ ˙˙ Œ œ ˙ ˙ Ÿ œ U j œœ œ œ œ J œœ œœœ œ ˙ œJ œ œœœ ˙˙˙ U œ ‰ œ œ œ ˙ œ œ J œ œ ˙

Example 6.13. Giovanni Paisiello, “Raccolta” (A-Wn Mus.Hs. 12742), p. 42, “Rondò” in B-flat major, mm. 183–90, conclusion of the coda

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Afterword The initial impetus for my research came from a desire to find ways to perform music from the second half of the eighteenth century that were both historically appropriate and able to bring the music back to life. I was keen to comprehend an artistic practice that goes far beyond the notes, and which is so often praised in contemporary sources. The extant music of the eighteenth century has, in many cases, come down to us in sketches, so we have to be able to speak the musical language of its day if we are to do it justice in performance. Partimenti provide the necessary tools to learn the rules of harmony and counterpoint as well as the arts of accompaniment, improvisation, ornamentation, and variation. The curricula of the day taught all these skills, which were an integral aspect of achieving what was considered bon goût in musical performance. Given the state of the existing sources and our abilities to interpret them, the forty-one recently discovered partimenti by Paisiello—published here for the very first time—assume great significance. They have survived in two manuscripts in the form of two- and three-part disposizioni (i.e., multi-part counterpoint exercises on a given bass), and are found alongside disposizioni based on thirty-one additional partimenti, published by Paisiello in his Regole (1782). The name “Taleyrand” [sic], written on the title page of one of the two manuscript collections, helped identify Paisiello as the author of the bass parts for these disposizioni, as he taught members of that family and obviously used these pieces for teaching purposes. These disposizioni show that partimenti were used to prepare students for counterpoint instruction and as a basis for actual counterpoint exercises. Appendices 1 and 2 feature a catalog of incipits of all extant partimenti by Paisiello and a concordance of the two main sources. Together, these two appendices offer a complete overview of the partimento oeuvre of Paisiello. Above all, the present book intends to provide a new impetus to the performance practice of partimenti, encouraging the reader to find what is hidden in the notes and hopefully engage in further study himself. The partimenti by Giovanni Paisiello are especially notable on account of their artistic quality. That should not surprise us, for he was one of the “star” composers of

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136  ❧  afterword

his day who could draw on a wealth of compositional experience in his pedagogical work. His partimenti are abbreviated, notated “works of art” from various musical genres. It is natural to relate Paisiello’s partimenti, solfeggi, disposizioni, and intavolature to his full compositions and the works of other renowned composers of his time. This is why the present study has endeavored to shed special light on the close connection between these partimenti and popular genres of the day such as preludes, rondos, concerti, arias, and sonatas, all of which were cultivated among the aristocracy and in the bourgeoisie. And as demonstrated, if we pay attention to the genre-specific context, we will find the key to identifying the different modalities of performing these partimenti. The terms used to designate these pieces, the keys in which they were written, their figured basses, and various explicit, notated indications can help us decide how to realize these different partimenti. If one wishes to go a step further, one should explore Paisiello’s environment, which was influenced by his teacher Francesco Durante at the Conservatorio di Sant’Onofrio, his patrons who commissioned his work, his pupils at court, and his friends and colleagues. Surely, such an engagement with partimento practice is not solely a matter of scholarly and practical interest but also has a pedagogical value. In the conservatories of Naples, partimenti, solfeggi, counterpoint, and intavolature were not taught as individual subjects, each in its own niche, but as closely interwoven skill sets that were interdependent and part of a holistic approach to music education. Partimenti were one crucial phase in the artistic development of a pupil, preparing him for his later career as a composer and performer. Today, the dividing line between the composer and the instrumentalist tends to be hard-and-fast, but that was not true in Paisiello’s day. Singers and instrumentalists alike were compelled to undergo thorough training in composition. If we turn our attention to contemporary curricula—both in school and university—it is striking that instrumental and theoretical subjects tend to be taught separately. It is often barely possible (if at all) to promote connections between the study of notated texts in instrumental instruction and a reflection on the harmonic and contrapuntal fundamentals of tonal music, let alone to realize such connections artistically and practically (such as by playing partimenti or improvising). It is not until their university or conservatory studies when musicians are introduced to the art of basso continuo playing, and they are young adults before they have an opportunity to acquire a wellfounded grasp of historical partimento practice and improvisation.

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afterword  ❧ 137

In recent years, the pedagogical value of this newly discovered partimento practice has been recognized more and more, both by the authors of textbooks and by established institutions such as the Schola Cantorum Basiliensis. In his Metodo per Clavicembalo. Guida pratica per Pianisti, Organisti e Clavicembalisti of 2010, for example, Enrico Baiano integrates intavolature and partimenti from the Neapolitan school within a practical, instrumental method. We can only hope that in years to come, young people will be given the opportunity to experience a similarly integrated, holistic approach to music instruction—one in which partimenti and improvisation would naturally play a role.

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Appendix 1 Incipits and Sources for the Partimenti of Giovanni Paisiello

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1 2

Paisiello 17821

Other sources2

Gj no.

p. 11

I-Nc 18.3.3/18, fol. 3v

2301

p. 11

I-Nc 18.3.3/18, fol. 4r

2302

p. 12

I-Nc 18.3.3/18, fol. 4v

2303

p. 13

I-Nc 18.3.3/18, fol. 4v

2304

p. 14

I-Nc 18.3.3/18, fol. 5r

2305

The given pages are the original page numbers of the Regole (1782). Autograph manuscript (I-Nc 18.3.3/18, olim Rari 3.4.17/1 bis); two manuscripts containing two- and three-part disposizioni based on partimenti by Giovanni Paisiello (F-Pn Rés. Vmb. ms. 10/1 & F-Pn Rés. Vmb. ms. 10/2). For more information, see chapter 2. For more precise details on these disposizioni and for a concordance, see appendix 2.

140  ❧  appendix 1

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

Other sources2

Gj no.

p. 15

I-Nc 18.3.3/18, fol. 5v

2306

p. 16

I-Nc 18.3.3/18, fol. 6r

2307

p. 17

F-Pn Rés. Vmb. ms. 10/2, p. 317 I-Nc 18.3.3/18, fol. 6r

2308

p. 18

I-Nc 18.3.3/18, fol. 6v

2309

p. 20

F-Pn Rés. Vmb. ms. 10/2, p. 333 I-Nc 18.3.3/18, fol. 7v

2310

p. 21

I-Nc 18.3.3/18, fol. 8r

2311

p. 23

I-Nc 18.3.3/18, fol. 9r

2312

appendix 1  ❧ 141

Paisiello 17821

Paisiello 17821

Other sources2

Gj no.

p. 23

I-Nc 18.3.3/18, fol. 9r

2313

p. 24

I-Nc 18.3.3/18, fol. 9v

2314

p. 24

F-Pn Rés. Vmb. ms. 10/1, p. 1 I-Nc 18.3.3/18, fol. 9v

2315

p. 25

F-Pn Rés. Vmb. ms. 10/1, p. 5 I-Nc 18.3.3/18, fol. 10r

2316

p. 25

F-Pn Rés. Vmb. ms. 10/1, p. 8 I-Nc 18.3.3/18, fol. 10v

2317

p. 26

F-Pn Rés. Vmb. ms. 10/1, p. 11 I-Nc 18.3.3/18, fol. 10v

2318

p. 27

F-Pn Rés. Vmb. ms. 10/1, p. 14 F-Pn Rés. Vmb. ms. 10/2, p. 323 I-Nc 18.3.3/18, fol. 11r

2319

142  ❧  appendix 1

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Incipit

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

Other sources2

Gj no.

p. 28

I-Nc 18.3.3/18, fol. 11v

2320

p. 29

F-Pn Rés. Vmb. ms. 10/1, p. 20 F-Pn Rés. Vmb. ms. 10/2, p. 327 I-Nc 18.3.3/18, fol. 12r

2321

p. 30

F-Pn Rés. Vmb. ms. 10/1, p. 25 I-Nc 18.3.3/18, fol. 12v

2322

p. 31

F-Pn Rés. Vmb. ms. 10/1, p. 31 I-Nc 18.3.3/18, fol. 13r

2323

p. 32

F-Pn Rés. Vmb. ms. 10/1 p. 39 I-Nc 18.3.3/18, fol. 13v

2324

p. 33

F-Pn Rés. Vmb. ms. 10/1, p. 46 I-Nc 18.3.3/18, fol. 14r

2325

p. 34

F-Pn Rés. Vmb. ms. 10/1, p. 54 I-Nc 18.3.3/18, fol. 14v

2326

appendix 1  ❧ 143

Paisiello 17821

Paisiello 17821

Other sources2

Gj no.

p. 35

I-Nc 18.3.3/18, fol. 15r

2327

p. 36

F-Pn Rés. Vmb. ms. 10/1, p. 63 I-Nc 18.3.3/18, fol. 15v

2328

p. 37

F-Pn Rés. Vmb. ms. 10/1, p. 70 I-Nc 18.3.3/18, fol. 16r

2329

p. 38

F-Pn Rés. Vmb. ms. 10/1, p. 82 I-Nc 18.3.3/18, fol. 16v

2330

p. 39

F-Pn Rés. Vmb. ms. 10/1, p. 91 I-Nc 18.3.3/18, fol. 17r

2331

p. 41

F-Pn Rés. Vmb. ms. 10/1, p. 101 I-Nc 18.3.3/18, fol. 18r

2332

p. 43

F-Pn Rés. Vmb. ms. 10/1, p. 104 I-Nc 18.3.3/18, fol. 19r

2333

144  ❧  appendix 1

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Incipit

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

Other sources2

Gj no.

p. 44

F-Pn Rés. Vmb. ms. 10/1, p. 109 I-Nc 18.3.3/18, fol. 19v

2334

p. 45

F-Pn Rés. Vmb. ms. 10/1, p. 116 I-Nc 18.3.3/18, fol. 20r

2335

p. 46

F-Pn Rés. Vmb. ms. 10/1, p. 124 I-Nc 18.3.3/18, fol. 20v

2336

p. 47

F-Pn Rés. Vmb. ms. 10/1, p. 130 I-Nc 18.3.3/18, fol. 21r

2337

p. 48

F-Pn Rés. Vmb. ms. 10/1, p. 136 I-Nc 18.3.3/18, fol. 21v

2338

p. 49

F-Pn Rés. Vmb. ms. 10/1, p. 140

2339

p. 51

F-Pn Rés. Vmb. ms. 10/1, p. 149

2340

appendix 1  ❧ 145

Paisiello 17821

Paisiello 17821

Other sources2

Gj no.

p. 52

F-Pn Rés. Vmb. ms. 10/1, p. 158

2341

p. 54

F-Pn Rés. Vmb. ms. 10/1, p. 166

2342

p. 56

F-Pn Rés. Vmb. ms. 10/1, p. 178

2343

p. 58

F-Pn Rés. Vmb. ms. 10/1, p. 188

2344

p. 60

F-Pn Rés. Vmb. ms. 10/1, p. 196

2345

---

I-Nc 18.3.3/18, fol. 22r

2346

---

F-Pn Rés. Vmb. ms. 10/1, p. 202

2347

146  ❧  appendix 1

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Incipit

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

Other sources2

Gj no.

---

F-Pn Rés. Vmb. ms. 10/1, p. 205 F-Pn Rés. Vmb. ms. 10/2, p. 1

2348

---

F-Pn Rés. Vmb. ms. 10/1, p. 208 F-Pn Rés. Vmb. ms. 10/2, p. 9

2349

---

F-Pn Rés. Vmb. ms. 10/1, p. 211 F-Pn Rés. Vmb. ms. 10/2, p. 17

2350

---

F-Pn Rés. Vmb. ms. 10/1, p. 214 F-Pn Rés. Vmb. ms. 10/2, p. 28

2351

---

F-Pn Rés. Vmb. ms. 10/1, p. 217 F-Pn Rés. Vmb. ms. 10/2, p. 36

2352

---

F-Pn Rés. Vmb. ms. 10/1, p. 220 F-Pn Rés. Vmb. ms. 10/2, p. 44

2353

---

F-Pn Rés. Vmb. ms. 10/1, p. 223 F-Pn Rés. Vmb. ms. 10/2, p. 58

2354

appendix 1  ❧ 147

Paisiello 17821

Paisiello 17821

Other sources2

Gj no.

---

F-Pn Rés. Vmb. ms. 10/2, p. 72

2355

---

F-Pn Rés. Vmb. ms. 10/2, p. 77

2356

---

F-Pn Rés. Vmb. ms. 10/2, p. 89

2357

---

F-Pn Rés. Vmb. ms. 10/2, p. 96

2358

---

F-Pn Rés. Vmb. ms. 10/2, p. 102

2359

---

F-Pn Rés. Vmb. ms. 10/2, p. 113

2360

---

F-Pn Rés. Vmb. ms. 10/2, p. 127

2361

148  ❧  appendix 1

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Incipit

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

Other sources2

Gj no.

---

F-Pn Rés. Vmb. ms. 10/2, p. 136

2362

---

F-Pn Rés. Vmb. ms. 10/2, p. 144

2363

---

F-Pn Rés. Vmb. ms. 10/2, p. 152

2364

---

F-Pn Rés. Vmb. ms. 10/2, p. 160

2365

---

F-Pn Rés. Vmb. ms. 10/2, p. 168

2366

---

F-Pn Rés. Vmb. ms. 10/2, p. 176

2367

---

F-Pn Rés. Vmb. ms. 10/2, p. 185

2368

appendix 1  ❧ 149

Paisiello 17821

Paisiello 17821

Other sources2

Gj no.

---

F-Pn Rés. Vmb. ms. 10/2, p. 193

2369

---

F-Pn Rés. Vmb. ms. 10/2, p. 199

2370

---

F-Pn Rés. Vmb. ms. 10/2, p. 204

2371

---

F-Pn Rés. Vmb. ms. 10/2, p. 211

2372

---

F-Pn Rés. Vmb. ms. 10/2, p. 217

2373

---

F-Pn Rés. Vmb. ms. 10/2, p. 224

2374

---

F-Pn Rés. Vmb. ms. 10/2, p. 226

2375

150  ❧  appendix 1

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Incipit

https://doi.org/10.1017/9781800105478.010 Published online by Cambridge University Press

Incipit

Other sources2

Gj no.

---

F-Pn Rés. Vmb. ms. 10/2, p. 227

2376

---

F-Pn Rés. Vmb. ms. 10/2, p. 230

2377

---

F-Pn Rés. Vmb. ms. 10/2, p. 231

2378

---

F-Pn Rés. Vmb. ms. 10/2, p. 232

2379

---

F-Pn Rés. Vmb. ms. 10/2, p. 234

2380

---

F-Pn Rés. Vmb. ms. 10/2, p. 235

2381

---

F-Pn Rés. Vmb. ms. 10/2, p. 240

2382

appendix 1  ❧ 151

Paisiello 17821

Paisiello 17821

Other sources2

Gj no.

---

F-Pn Rés. Vmb. ms. 10/2, p. 241

2383

---

F-Pn Rés. Vmb. ms. 10/2, p. 245

2384

---

F-Pn Rés. Vmb. ms. 10/2, p. 249

2385

---

F-Pn Rés. Vmb. ms. 10/2, p. 303

2386

---

F-Pn Rés. Vmb. ms. 10/2, p. 311

2387

152  ❧  appendix 1

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Incipit

Appendix 2 Concordance for the Sources of Giovanni Paisiello’s Partimenti Gj Nos.

Page numbers

Disposizioni à 2

Disposizioni à3

Regole (1782)

F-Pn Rés. Vmb. ms. 10/1

F-Pn Rés. F-Pn Rés. Vmb. ms. 10/2 Vmb. ms. 10/1

Gj2315

24

✓

1−4

4

Gj2316

25

✓

5−7

3

Gj2317

25

✓

8−10

3

Gj2318

26

✓

11−14

3

Gj2319

27

✓

14−19

4

Gj2320

28

−

−

−

Gj2321

29

✓

20−24

3

Gj2322

30

✓

25−31

3

Gj2323

31

✓

31−39

3

Gj2324

32

✓

39−45

3

Gj2325

33

✓

46−53

3

Gj2326

34

✓

54−62

3

Gj2327

35

−

−

−

Gj2328

36

✓

63−69

3

Gj2329

37

✓

70−81

5

Gj2330

38

✓

82−90

3

Gj2331

39

✓

91−100

3

✓ ✓

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Original page numbers, disposizioni à2

Number of examples in the disposizioni à2

154  ❧  appendix 2 Gj Nos.

Page numbers

Disposizioni à 2

Gj2332

41

Gj2333 Gj2334 Gj2335

Disposizioni à3

Original page numbers, disposizioni à2

Number of examples in the disposizioni à2

✓

101−3

1

43

✓

104−8

2

44

✓

109−16

3

45

✓

116−24

3

Gj2336

46

✓

124−29

4

Gj2337

47

✓

130−35

3

Gj2338

48

✓

136−39

2

Gj2339

49

✓

140−48

3

Gj2340

51

✓

149−57

3

Gj2341

52

✓

158−66

3

Gj2342

54

✓

166−77

3

Gj2343

56

✓

178−88

3

Gj2344

58

✓

188−95

3

Gj2345

60

✓

196−201

3

Gj2347

✓

202−4

2

Gj2348

✓

✓

205−7

2

Gj2349

✓

✓

208−11

2

Gj2350

✓

✓

211−14

2

Gj2351

✓

✓

214−16

2

Gj2352

✓

✓

217−20

2

Gj2353

✓

✓

220−23

2

Gj2354

✓

✓

223−26

2

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appendix 2  ❧ 155 Page numbers

Disposizioni à 2

Disposizioni à3

Original page numbers, disposizioni à3

Regole 1782

F-Pn Rés. Vmb. ms. 10/1

F-Pn Rés. Vmb. ms. 10/21

F-Pn Rés. Vmb. ms. 10/2

Gj2348

✓

✓

1–8

4

Gj2349

✓

✓

9−16

4

Gj2350

✓

✓

17–27

5

Gj2351

✓

✓

28–35

5

Gj2352

✓

✓

36–43, 46–47 5

Gj2353

✓

✓

44–45, 48–57 6

Gj2354

✓

✓

58–71

6

Gj2355

✓

72–76

4

Gj2356

✓

77–88

7

Gj2357

✓

89–95

5

Gj2358

✓

96–101

4

Gj2359

✓

102–12

7

Gj2360

✓

113–19

5

Gj2361

✓

127–35

5

Gj2362

✓

136–43

5

Gj2363

✓

144–51

4

Gj2364

✓

152−59

5

Gj2365

✓

160−67

7

Gj2366

✓

168−75

5

Gj2367

✓

176−84

6

Gj2368

✓

185−92

4

Gj2369

✓

193−98

3

Gj2370

✓

199−203

4

Gj2371

✓

204−11

8

Gj2372

✓

211−16

4

Gj Nos.

1 

Number of examples in the disposizioni à3

Pages 120–26 contain examples with a given upper voice, a chant donné, in three different realizations. The page numbering leaves out pages 278–79, but the text is nevertheless complete. Pages 60–61, 278–79, and 318–19 are blank.

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156  ❧  appendix 2 Disposizioni à3

Original page numbers, disposizioni à3

Number of examples in the disposizioni à3

Gj2373

✓

217−23

4

Gj2374

✓

224−25, 250−54

3

Gj2375

✓

226−27, 255−57

3

Gj2376

✓

227−29, 258−61

3

Gj2377

✓

230−31, 262−64

3

Gj2378

✓

231−32, 264−67

3

Gj2379

✓

232−34, 267−71

3

Gj2380

✓

234−35, 299−302

3

Gj2381

✓

235−39, 271−80

5

Gj2382

✓

240−41, 305−11

4

Gj2383

✓

241−45, 288−94

5

Gj2384

✓

245−48, 280−88

6

Gj2385

✓

249−50, 294−99

3

Gj2386

✓

303−5

1

✓

311−17

3

✓

317−23

3

Gj Nos.

Page numbers

Disposizioni à 2

Gj2387 Gj2308

17

Gj2319

27

✓

✓

323−27

2

Gj2321

29

✓

✓

327−33

3

Gj2310

20

✓

333−36

3

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Appendix 3 Disposizioni à 2 and Disposizioni à 3 on Partimento Gj2319 by Giovanni Paisiello Preliminary remarks Below are presented four disposizioni à 2 (F-Pn Rés. Vmb. ms. 10/1) and two disposizioni à 3 (F-Pn Rés. Vmb. ms. 10/2) on partimento Gj2319 from the Regole (1782) by Giovanni Paisiello. These examples from Paisiello’s broader circle (see chapters 2 and 4) are probably exercises by a pupil who was still busy learning his craft. We accordingly find parallel fifths and octaves along with awkward sequences of fifths and octaves (in the two-part disposizioni). Nevertheless, some of these realizations are done quite skillfully and display an endeavor to provide varied contrapuntal solutions to one and the same partimento bass.

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158  ❧  appendix 3 Disposizione à 2 on partimento Gj2319 (F-Pn Vmb. ms. 10/1), pp. 14–15 ° b3 ˙ & 4

#œ

? 3œ ¢ b4

œ

œ

˙™

œ #œ ™

œ #œ œ œ œ œ

œ

œ œ œ #œ ˙

6

° &b œ

#œ

? œ œ œ œ #œ œ œ œ œ œ ¢ b 12

° b œ & ? œ ¢ b

œ œ œ œ

Ϫ

œ

˙™

° œ™ &b œ 18

? ™ ¢ b œ

nœ

œ œ œ œ œ™

œ

œœœ

Ϫ

œ ˙

‰ œ #œ œ œ œ

œ

36

° ˙ &b

œ ˙

nœ

˙ ˙

œ

41

œ

˙

œ œ

Œ

˙

˙™

œœœ

œ™ ˙™

˙™

Œ

œ

bœ

˙

œ

œ

œ

˙™

œ œ œ œ ‰ œ œ œ œ œ ‰ œ

Œ œ

Ϫ

œ

˙

j œ œ œ

˙™

œ™ ˙

Ϫ

j œ œ œ

j œ

˙

˙

œ

œ œ œ œ œ #œ œ ‰ œ œ œ œ #œ œ œ#œ œ œ œ œ œ œ œ œ œ

œ œœœ œ

? œœ œ ¢ b œœœœœœœ œ œ œ œ œ œ œ œ#œ œ œ ° ˙ &b

œœœ

Ϫ

˙

œ œ œ œ œ œ

œ #œ j œ œ

‰ œ œ œ

˙™

? œ œ œ œ ¢ b ‰ œ

? œ ˙ ¢ b

œ

œ œœœ œ œ œ ‰ œœœ œ œ œ ‰ œœœ œ œ œ

Œ

œ

œ™ j œ œ

˙

œ

˙™

30

œ œ œ

Ϫ

œ ‰ œ œ œ

˙™ œ

˙™

œ

œ

#œ

Œ

° b ˙™ &

° œ™ &b œ

œ

œ

œ #œ #œ

Ϫ

œ Œ Œ

œ œœ

œ œ œ J

24

œ J

nœ

œ œ

˙™

˙™

‰ œ œ œ œ #œ œ ‰ œ œ œ œ #œ œ

˙

œ

œ œœœ œ

? œœœœœœ œ œœœœœœœœœ œ ¢ b œ#œ œ œ œ œ œ œ œ œ œ#œ œ œ

https://doi.org/10.1017/9781800105478.012 Published online by Cambridge University Press

œ œ

U ˙ U ˙

Œ Œ

appendix 3  ❧ 159 Disposizione à 2 on partimento Gj2319 (F-Pn Vmb. ms. 10/1), pp. 16–17 ° b3 ˙ & 4 ? 3 ¢ b4 œ

œ

œ

œ œ œ œ œ œ

œ

œ

œ #œ œ œ œ œ

œ

6 œ œ œ œ œ ° #œ ˙ &b

? œ œ œ œ #œ œ œ œ œ œ ¢ b ° b œ œ™ & 12

? œ œ nœ ¢ b

? ™ ¢ b œ

œ

Œ

35

° b œ &

j œ œ œ œ

39

˙

œ

‰ œ #œ œ œ œ

œ

˙

#œ

˙

˙

˙

œ

˙

˙

Œ

Œ

#œ œ

? œ œ œ ¢ b ‰

œ

˙™

#œ

˙

œ œ œ œ

œœœœœœœœœ œ

œ

42 ° b œ #œ œ œ œ œ œ œ œ œ &

? œ œ œ œ ¢ b œ œ œ œ œ œ

œ œ œ œ ‰ œ œ œ ‰ œ œ œ

œ

˙

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˙

œ

˙

œ

˙

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˙

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œ œ œ œ œ œ œ #œ

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œœœœœœœœœ œ

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œ œ œ œ œ œ œ #œ œ

œ

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Œ

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? œ œœœœœœœ œ ¢ b #œ ° b & œ

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https://doi.org/10.1017/9781800105478.012 Published online by Cambridge University Press

Appendix 4 Partimenti from Giovanni Paisiello’s Regole (1782) Realizations by Nicoleta Paraschivescu Partimento in D minor Gj2319 Partimento in E minor Gj2321 Partimento in E-flat major Gj2328 Partimento in D major Gj2331 Partimento fugue in D major Gj2330

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166  ❧  appendix 4 Giovanni Paisiello, partimento in D minor Gj2319, Regole (1782), p. 27 Giovanni Paisiello, Partimento in d-Moll Gj2319, Regole 1782, S. 27

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https://doi.org/10.1017/9781800105478.013 Published online by Cambridge University Press

appendix 4  ❧ 167

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168  ❧  appendix 4 Giovanni Paisiello, partimento in E minor Gj2321, Regole (1782), p. 29 Giovanni Paisiello, Partimento in e-Moll Gj2321, Regole 1782, S. 29

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appendix 4  ❧ 169

j ‰œ œ œ j œ œ œ # œ œ œ#œ œ œ œ œ œ œ œ & œœ#œ œœ œj œJ œ œ œ œJ œ œ œ‰ œœ ˙˙ ‰˙ œ œ œ œœJ œ ™ J œ6 œ # œ n 6œ œ œ œœœœœœ œœœœœ ?# œ œ ‰ J œ œœœ ‰J ‰ œJ œ œ œ œ œ œ œ œ

26

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jœ r Ÿ # œ œœ œ œ œ œ & œJ ‰ Œ œœœ‰ œœœœ œœœœœœ œœ‰ œ œ œ œ œ œ œ œr œ œ œ œ œ Imitazione œœ œ œr œ œr œ ? # ‰œ œ œœ œ œ‰ ‰ #Œœ œ Œ ‰ œ œ œ ‰

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29

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j # œ œ œ œ œ œ œ œœ œ œ œ ™ & œœ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ#œœ œ œ œ œ œ ?# œ œ ‰ œJ œ ‰J œ

33

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39

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47

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170  ❧  appendix 4 Giovanni partimentoininEs-Dur E-flat Gj2328, major Gj2328, Regole p. 36 Giovanni Paisiello, Paisiello, Partimento Regole 1782, S. (1782), 36

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appendix 4  ❧ 171

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27

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33

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172  ❧  appendix 4 Giovanni partimentoininD-Dur D major Gj2331, Regole pp. 39–40 Giovanni Paisiello, Paisiello, Partimento Gj2331, Regole 1782,(1782), S. 39-40

# & #c ‰

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23

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appendix 4  ❧ 173

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174  ❧  appendix 4

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48

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51

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https://doi.org/10.1017/9781800105478.013 Published online by Cambridge University Press

appendix 4  ❧ 175 Giovanni Paisiello, partimento fugue in D major Gj2330, Regole (1782), pp. 38–39 Giovanni Paisiello, Partimento in D-Dur Gj2330, Regole 1782, S. 38-39

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? ## #œ œ œ œ œ œ œ œ 6

7

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176  ❧  appendix 4

j # j œ œ œ œ œ œ œ#œ œ œœ œ œ œ & # #œœ œ œŒ œ œÓ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ ‰ F 2 ˙ 2 n œF œ œ6 œ œ œ œ œ œ#‰˙ œ œ œ œ ˙ ? ## œ

22

{

≈ œœœ œ œœœ œ

# œ œ œ œœ œ œœœœœœ œ & # œJ œ

25

{

Imitazione œœ œ œ œŒ œ œ œ ‰ œ œ œ œ 6 #˙ ? ## ≈œ#œ œ œ

# œ & # #œœ

≈œ œ #œ œ œ œœ œ

28

{

? ## ≈

œœœœ

≈

8 œ œ6 ≈ œ #œ

≈œ œ œ œ œ #œœ œ

œœœœ

≈ œœ œ œœ œœœ

≈ œœ œ œœ #œœœ

≈

≈

œ œ œ œ6

8

≈œœœ œœ œœ œ

œœœœ

≈

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≈œ#œœ œ œ œ œ œ œH ≈œ œ œœ œ

œ œ œ#œ

j j j ## œj œ œœ œ œœ œ œœ œ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &

30

{

6 6 6 6 6 6 6 6 6 ? ## ≈ œ#œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œœ œ œ œ œ#œ œ

≈ ## œ œ #œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ ≈ œ œ ≈ œ œ œ œ & œ œ œ œ œ œ œ œ œœœœ

33

{

4 6

? ## ˙

D 5

2 4

˙

8 3

4 6

˙

3 5

2 4

˙

8 3

4 6

˙

3 5

2 4

˙

8 3

# j œ œ œ ‰œ œœ œ œœ œ œœ œ œœ™ œ œ œ œ œœ œ œœ œ œœ œ & # #œ œ ‰œ œœ œœ œœ œ ‰ J J œ œœ œ œ ‰ 6 œ œ œ œ œœœœœœ Motivo œ œ œ #œœ œ œ œ œ œ œ œ ? ## ˙ ‰ œ œ

36

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https://doi.org/10.1017/9781800105478.013 Published online by Cambridge University Press

appendix 4  ❧ 177

# œ˙ œ œ #œ œ œ œ œœ Œ ‰ Ó &# J œ œ œ œ œ œ œ œ œ œ œ œ Œœ œ

‰ œœ œœ œœ œ œ œ œ œ œ œ œ Œ œJ

39

{

? ## œ

œ

œ

3

7 5

8 ‰ œ œ œ œ œœœœœœ œ

Œ

5 3

8 6

œ

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œ

# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œœ œ œœ œ œœ nœ œœ œ œ œ &# œ œ œ œ œ œ œ œ œ

42

{

6 5

? ## œ

6 5

œ

#œ

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5 3

œ

# œ nœ œ œ œ œ œ œ œ œ œ œ œ œœ & # œ œ œœ œœ nœ œ #œœ œœ

44

{

? ##

§6 4

œ

œ

œ

5 3

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œ

œ

œ

4 #7

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œ

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# & # œœœ

48

{

œ

œ

≈œœœ œœ œœœ

œ œ ? ## ≈ œ œ # & # œœœ

51

{

œ

5 7

≈

≈œœœ œœ œœœ

? ## ≈ œ œ œ œ

6 8

œ

œ

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œ œ œœ

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≈œœœ œ

œ

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œ

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œ

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œ

œ

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œ

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≈ œœ œ œ œ œœ œ

# œ œ nœ œ & # nœœ œ œœ œ œœ œœ œœ œœ #œœ œ œœ œ œœœ 4 Y

œ

#7 2

œ

bœ œ œ œ œœ œ œœ œ nœœ œœ œœ œœ

46

? ##

œ

8 8

œ#œ œ œ6

≈

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œ œ œœ

≈

≈œ œ œœ œ œœœ

≈ œœœ œ

https://doi.org/10.1017/9781800105478.013 Published online by Cambridge University Press

œ

œ

≈œœœ œœ œ œ œ n6œ ≈œœœ œœ œœœ

œœœœ

≈œ œ œœ œ

œ œ ≈ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœ œ

178  ❧  appendix 4

œ ## œœ &

54

{

? ## œ

œ

œ

œ

œ

œ

œœœ œ œ œ œ œ œœ

œ

œ

œ

œ

œ

œœœ œ œ œ œ

œœœ œ œœœœœœœ œ œœœ œ œœœœœœœ œ œ œ #œ œ œ œ œ

œœœ œ œ œœœ œ œ ≈œœœ≈œœœ≈œœœ≈œœœ œ œ œ œ œ œ œ œ œœ œ œœ ‰ œ œ œ œ œ œ œ œ ˙ œ ? ## œ œ œ #œ œ œ œ #œ ˙ # œ &#

56

{

≈ ## œ œ œ œ n≈œ œ œ œ ≈œ œ œ œ œ≈ œ œ œ ≈œ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ œ œ & œ œ œ œ œ ‰ ‰ œ œ nœ œ ˙ œ ? ## ˙ ˙ œ ˙

58

{

j # ≈œ œ≈ ‰ œ œ œ ‰œ œ œ#œœ œ œ œ & # œ œ œ œ œ œ œœ ‰ Œ J ‰ œ œ œ œj œ œ œ œ œ œ œ œ œ œ ˙ ? ## œ ˙ J

60

{

œ U œœ Œ ‰ œœœ œœœ œœœ U ˙ ‰ œ œ œ

# œj œ œ œ œ œ œ œ œ œj œ œ œœ œ œœœ œ œœœ œœ œœ œœœ & # œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ J J œ j œ œ œ œ œ œ œ œ ? ## œ œ œ œ œ œ œ œ œ œ œ

63

{

œ œ œ œ œ œ œ œ œ œ œ ## œj œœ œœ œœ œ œ œœ œœ & œ J œ œ œ œ œ œ œ œ ? ## œj œ œ

65

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https://doi.org/10.1017/9781800105478.013 Published online by Cambridge University Press

œ œœ

œœ œœ

œ

œ œ

U ˙˙ ˙ U ˙ ˙

Appendix 5 Historical Realizations of Partimenti by Francesco Durante from The Vessella Manuscript and The Gallipoli Manuscript

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180  ❧  appendix 5 Francesco Durante, The Vessella Manuscript, “Sonate per Organo di Varii Autori” (I-Ria Mss. Vess. 429), folios 27v–29r, a realization of the fugue in E minor (without a Gj no.)

&

{

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∑

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‰

œ œ œ #œ œ#œ œ œ œ œ œ

? # c ‰ œ œ œ #œ #œ œ œ œ ˙ œ œ

œ

œ

‰

œ #œ œ

nœ

&

œ œ œ œ œ#œ #œ

# & ‰ œ œ œ#œ # œ œ œ œ œ œ #œ nœ # œ n œ j œ œ œ #œ œ#œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ ?# œ œ œ ‰ œœœ ‰ œ œ œœœ œ œ œœœ œ ˙

4

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14

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œœœ œœœœœœœ œ # œ #œ œ œ œ œœ œ œ œ Œ ‰ J œ ‰ J œ œ œœ #œœ œœ

?œ œ #œ œ ‰ œ #œ œ œ œ

‰ œ œ œ #œ œ#œ œ œ œ œ œ

& #œ ˙ œ #œ œ œ œ œ

17

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11

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20

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& #˙ œ œ œ#œ œ œ œ #œ œ œ ?# œ‰ J œ#œ œ œ œ#œ œ œ œ#œ#œ œ œ#œ œ œ œ#œ#œ œœ

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https://doi.org/10.1017/9781800105478.014 Published online by Cambridge University Press

œ

appendix 5  ❧ 181

# nœ œ œ œ œ #œ œ#œ œ œ œ œ œ œ #œ nœ #œ nœ & œ œ#œ œ œnœ ‰ œ œ œ œœœ œ œ œœœ œ œ ?# œ œ œ œ œ œ ‰ œœ

23

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# & œ œ œ œ #œ œ#œ œ œ œ œ œ

26

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29

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? # ‰ œ œ œ #œ œ#œ œ œ œ œ ˙

œ

‰

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# œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ#œ œ & œ œœœœ #œ œ œ œ œ# œ # œ œ œ œ œ œ# œ # œ œ ?# œ œ œ œ #œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ

32

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# nœ œ œ œ œ#œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ & œ œ#œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ # œ œ œ œ œ œ œ œ ?# œ œ œ œ œ œ œ œ œ

35

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# œ œ œ œ#œ œ œ œ œ œ œ œ œ #œ œ U Œ & œ œ œ œ œ#œ#œ œ œ#œ œ œnœnœ œ œ œ œ œ œ œ œ U ?# œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

38

{

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182  ❧  appendix 5 Francesco Durante, The Gallipoli Manuscript (I-GALc Fondo Vernole 16, olim LE 2/3), pp. 24–25, realization of partimento Gj17

m œœ #3 m œ œ œœ & 8 ≈ œ œ œ œR ≈ ≈ R œ œ œ œ œ œ#œ œ œj ‰ ‰ ≈ œ R ≈ ≈ R œ œ œ œ œ œ œ œœœœœ œœœœœ œœœ œ ? # 38 œ œ œ œ œ œ œ œ œ œ œ œ

{

# œœ r #œ œ r #œ œ r #œ œ œ œ œnœ œ œ œ œ œ & œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œœ œœ œœ œ œ™ ? # œ™ œ œ™ œ œ™ œ œ œ œ œ œ J J J J œ 11 m # r œ œ ≈ ≈ œ œ œ œ & ≈ œ œ œ œr ≈ ≈ œ œ œ œ ≈ ≈ œ œ œ œ R m m œ œ œ œ ?# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

{ {

# rœœœœœ œ œ œ œr œ#œ œ œ#œ œ #œ œ nœ & œ ?# œ ≈ œ #œ œ ≈ œ œ œ #œ J J 18 œ #œ œ nœ œ œ œ œ œ # œ œ n œ # R œ œ & œR œ œ œ œ œ œ # œ œJ œ #œ #œ ? # œJ ≈ œ ≈ 15

{ {

# œ & œ œœ #œœ œ œ ?# œ œ

21

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25

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28

&

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r m ≈ œ œ œ œ ≈ ≈ œ œœ œ R #œ œ œ œ œ œ œ œ œ œ œ

r œ œ œ œ œJ œ

r œ œ œ œ œ œ #œ œ nœ œ œ J

≈ œ œ œ

œ œ œ œ œ œ œ #œ nœ R œ œ J ≈ œ œ œ

≈ œ œ œ œ œ œ œ œ R #œ œ œ œ œ

r œ œ œ œ œJ Kr r œ œ œ œ œ J œ œœ œ œœ œ œ œ œ œœ œ œ œ œ œ œ j œ™ œ œ™ œ œ™ œ J J U œ Kr r œ #œ œ œ #œ œ œ œ œ œ œ œ #œ œ #œœ œ™ œ œ œ U œ j œ œ œ™ ≈ œ œ œ œ œ Kr œ

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Appendix 6 “Preludio” and “Rondò” in B-flat major by Giovanni Paisiello, Both in the Original Version and in a Suggested Variation by This Author

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184  ❧  appendix 6 Giovanni Paisiello, “Libro Primo Raccolta di Varij Rondeaux, e Capricci col l’Accompagnamento di Violino, per il Piano, e Forte, o Clavicemballo Composte Espressamente Per S:A:I: La Gran Duchessa di Tutte le Russie Dal Sig: Giovani Paisiello Maestro di Capella all’Atual Servizio di S.M.I. L’Imperatrice Catterina II:da 1783” (A-Wn Mus.Hs. 12742), pp. 32–42. Original version by Giovanni Paisiello; followed by Nicoleta Paraschivescu’s variant with an added cadenza.

Preludio

Original

Variant

& c bœR bw w w b ˙ ?c ≈

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‰ bœ œ œ b˙

œ˙ & ˙

{ {

?

?

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? œ

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˙ œ

b˙ b˙

‰ bœ œ œ b˙

b˙ b˙

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b˙ œ

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j bbœœ

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∑ bbœœ

∑

bœœ

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bœ

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bœ œ ≈ œ œ œ bœœ bœœ œ b œ œ œœ œ œ œ bœœ œœ œ œ b œ b œ œ b œ œ & Ó œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ

9

Orig.

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∑

7

Orig.

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∑

bb œœ œœ ‰ bœ œ œ & ˙ b˙

& œœ

‰ b œ bœ nœ b˙

œ Œ bœ b œ œ œb œ œ œ œ bbœœœ Œ ‰ œ bœ nœ œ ˙ œ œ œ œ œ œ œ & c bœR bœ œ ˙ Ó b˙ w b œ w˙ b œ b w b˙ œ Œ Ó ?c ≈

4

Orig.

b˙

‰ b œ bœ nœ nœ ˙ Œ ˙ bbœœœ b˙

& b˙œ

b˙

˙

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œ

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bœ

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Ó

b˙

Ó

œ

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appendix 6  ❧ 185

Rondò Andante con moto

b2 & b 4 œœ

11

˙

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b œ ™™ &b œ

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? bb œ b œœ &b J

œ b2 & b 4 ≈ œ œ œ œ œ œ œ œ œ œJ ‰ œ ? b 42 b œ

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œ

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œœ œ ? bb œ œ œ œ œ

œ œœ J

œœ

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≈œœœœœœ

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r ≈ œR œ œ

j œ ‰

Œ

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j œ

œ œ œ œ œ™

œ œ œr œ

œ nœ nœ ˙

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https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

™™

œ

œœ œ œ œ œ œ œ œ nœ n œœ

œœ J

œ b ≈œœœ≈œœœ œœœ≈œœœ & b ™™ œ bœ œ œ ? bb ™™ ∑ T j œ ™ œ œ œœ b & b ™™ œœJ œœœœœœœ œœœœœœœœ ? bb ™™ œ

19

Var.

˙

œ

? b 42 ˙ b

15

Orig.

œ ‰ œ œ J

œ

Variant

Var.

œœœœœœœœ

{ {

Original

Orig.

œ ‰ œ œ J

œ œ

œ

rœ œ œ œ

186  ❧  appendix 6

b &b œ

23

Orig.

Var.

{ {

?b ˙ b b & b œœ™

œ T

œ

œœ J

œœ ™

œ

œ œ œr œ

œ T œ

œ œ J

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{ {

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œ

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U œ ‰ œ™ œJ U ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

b œœ œ œ & b œœ œ™ œ œ œ™ œ œ

31

Var.

œ

U œ ‰ œ™ œJ U ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ b œœ ™™ &b

Orig.

œ

?b œœœœœœœœ œœœœœœœœ œ b

b œœ ™™ &b

Var.

œ ˙

27

Orig.

œ

{ {

? bb b œœ œ œ & b œœ œ™ œ œ œ™ œ œ ? bb

∑

œ œ œ œ œj œ

‰ œ™ œ œ œ ™ œ œ œ™ œ œ œ ™ œ nœ œ™ œ ‰ œJ œ œ œ œ ‰ œ™ œ œ œ ™ œ œ œ™ œ œ œ ™ œ nœ œ™ œ ‰ œJ œœ œ œœ œœ œ ∑

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appendix 6  ❧ 187

œ œ œ œ œ œœ œ nœ ‰ b œ œ™ J &b

Orig.

{ {

?b œ b

œ

œ

j œ ‰

œ œ œ œ œ œœ œ b œ œ™ nœ ‰ b & J

Var.

? bb œ

b &b

39

Orig.

{ {

b &b

{ {

œ

œ™ œ œ

œ ™ œ œ œr nœ

œ

œ™ œ œ

œ ™ œ œj œ

? bb œ œ nœ œ œ œ œ œ b &b

Var.

œnœ

j œ ‰

œ ™ œ œ œr nœ

œœœœ

œ œ nœ œ œ œ œ œ

œ

œœœ œœœ œ

œ

œ

œœœ œœœ œ

œ

œœœœ

œ œ œ œ œ nœ œ œ

r œ

œ

œœ

œ

œœœœ

œ œ œ nœ œ

œ

œ

œ

œœœœ

r œ

œ

œœœœ œœœ nœ œ œ œ œ œ œ nœ œ

œ

? bb œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ

43

Orig.

œ™ œ œ

œ

œ

? bb œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ b &b

Var.

œ

œ

œ œ œ nœ

œ

35

œ œ œ œ œ œ œ œ

? bb œ œ nœ œ œ œ œ œ

œ

Œ Œ

œ œ œ nœ œ œ

œœ

Œ

œœ

˙ œ œ œ ‰

œ˙ œ œ œ J

‰ œ œ œ

œ œ œ œ J

˙ œ œ œ ‰

˙œ œ œ œ J

‰ œ œ œ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œ œ œ œ J

188  ❧  appendix 6

b &b

47

Orig.

{ {

? bb b &b

Var.

œœ

œœ

˙ œ œ œ ‰

˙œ œ œ œ J

‰ œ œ œ

œ œ œ œ J

˙ œ œ œ ‰

œ˙ œ œ œ J

b &b œ

51

Orig.

Var.

{ {

? bb œ b &b œ ? bb œ

b &b

55

Orig.

Var.

{

? bb b &b

{

? bb

œœ

nœœ œ

nœœ

U ˙˙ œ

nœœ

U ˙ nœœ ˙

œ

œ

˙ œ œ œ ‰

‰ œ œ œ Ÿ~~~~~~~~~~~~~~~~~~ ˙ œ œ ‰ œ œ œ ‰ œ

œœ

U œ U œ

˙œ œ œ œ J œ œ œ œ J Ÿ~~~~~~~~~~~~~~~~~~ ˙œ œ œ œ œ œ œ œ

œœ

œœ

œœ

œœ

œ œ œ œ œ nœ œ œ œ œ œ œ

œ œ œ œ J

‰ œ œ œ

?b b

œ œ œ œ œ nœ œ œ œ œ œ œ

˙ ‰ ‰

œ

œ

œ

œ

œ

œ

Ÿ˙ ‰

œœ

œœ

œœ

œœ

˙œ J œ J

œ

œ

œ

œ

œ

œ

œœ

œœ

œœ

Ÿ˙ œœ

œœ

œœ

œœ

œ œ œ œ œ nœ œ œ œ œ œ œ œœ œœ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ ˙ œœ œœ œœ œœ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œœ

œœ

Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~ œ œ œ œ œ œ œœ œ œ

appendix 6  ❧ 189

U b & b œ™ œ œr œ œ nœ nœ ˙

59

Orig.

Var.

{ {

? bb

œ

œ Ÿ Ÿ œ œ œœ b & b œ œ n œœ œ œ ?b b

U œ

œ

Ÿ œ˙ œœ

œœ

b &b œ œ œ œ œ œ œ œ œ

{ {

Var.

? bb

Var.

œ J

‰

œ

œ J

‰

œ œœ œ

œ

œ

œ

œœ J

≈ œR

˙ œ

œ

œ

œœœœœ œ œ œ œ œ ™™ œ œ œ œ œ œ œ œ œ œ

œ J

œ

œœ ™™

‰

œ

œ

œ

œ

œœ ™™ b œ œœ œ œ & b œ œ œ œ œ œ œ œ œ œ œJ ‰ œœœ œœœœœ ? bb œ œ œ œ œ œœœ œœœœœœœ œ œœ œ œ

b œr & b œ œ œ œr œ œ nœ

67

Orig.

œ

œ

œ

™™ ˙

˙

˙

œ

™™ œ œ

63

Orig.

™™ œ œ

{ {

? bb œ

nœ

œ

œ

r b œr & b œ œœ œœ œœ œœ œœ œœ nœœ œ R ? bb œ œ

˙

nœœ œ

œ

˙ ˙ œ

œ

j œ ‰ œœ J

≈ œR œ œœ

œ œ œ œ œ œ œ ≈ ≈ ™™ ™™ œ œ œ œ œ œ œ ≈ bœ œ œ ™™ ™™ ∑ œ œ œ œ œ œ œ œ œ ™™ ™™ ≈ œ œ œ œ œ œ ™™ ™™

œ

œ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œ

œ

190  ❧  appendix 6

b œ œ œ œ œ œ œ œ œ™ &b

71

Orig.

{ {

? bb b &b

Var.

œ œ

œ

œœœ

œ

œ œr œ

œ

˙

œ

œ

˙

b &b œ

œ œ œr œ

œ œ

œ

75

Orig.

Var.

{ {

? bb œ

b œ œ œ œ œ œ œ œ &b œ œ œ œ ‰

Var.

œ œ

? bb ˙

b & b œœ bœœ

œœ

?b b œ

œ

{ {

œ

b & b œœ bœœ ? bb

œ

œ

œœ œ

œ œ œ œ œ œ

œ œ œ

œ

œ œ œ

œ

œ

œ œ œJ œ

‰ œ ‰ œ

œ

œ

œ

œ

œ

œ™ œœ ™™ œ™

œœ

œœœœ œœœœ œ œœ œœœ œ

j ™™ ™ œ œ œ œ bœœ bœ bœ œ™ œ œ œ œ œ ™™ œ œ œ œ

˙ ˙ œ œ œ

œ œ J

œ

j ™™ œ œ œ™ œ bœœ b œ bœ œ™ œ ™™ œ œ œ œ œ œ œ œ

˙ œ

œ

79

Orig.

œ

œ

˙

˙

œ œœœ œœœ œœœœ œ

? bb œ

œ

œ™ œ™ œ

œ

j œ bœ œ

œœ ™™ œ

œ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œ

œ

j bœœ œ

œ bœ œ

œ

bœœ œ

œ

œ œ bœ œ œ œ bœ œœ œ œ

œ

appendix 6  ❧ 191

b œ œ & b œœ œ œ œœ

83

Orig.

Var.

{ {

b &b

{ {

œ

œ bœ œ

Var.

œ œ œ

œ œ œ J

‰

œœ œ

œb œ œJ

‰

bœ

œœœ

œœ œ

œœœ J

‰

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ œ bœ œ

œœ œ

œb œ œJ

‰

b œ œ œ œ œ œ œ œ œb œ œ œ œ bœ œ œ

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj ‰

b &b œ™ œ™ ? bb œ œ

91

Orig.

œ œ œ

œ œ œ œ œ œ œ œ Œ œ œ œ œ œ j ‰ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œœ œ œ j b œ œ ‰ & b J bœ œ œœ œœ bœ nœ œ œœj ‰ J J ? bb Œ j ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b œ &b

Var.

bœ

?b b

87

Orig.

j œœ ‰

œœ

{ {

j œ bœ œ

œ

œ bœ œ

œ

œ œ œ

bœœ œ

œœ bœœ œ

‰

œ

œ

œ œ œ

œœœ j ‰ œ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œ œJ

œ œ

œ œ œb œ b œœ r rœ œ bœ œ œ œ œ œ œœ bœ œ œ

b ≈ bœ œ &b œ œ b œœ œ ? bb œ œ œ j ‰ œœœ j œ œ œ œ

œ

œœ

œ

œ

œ œœ J

‰ œ ‰

œœœœœ œ œ

192  ❧  appendix 6

b Ϫ &b Ϫ

95

Orig.

Var.

{

? bb

œ

œœ J œ

œ

œ

b œ œ œ œ &b œ œ œ œ œ™ œœj ? bb ˙œ ™

{

Var.

bœœ œ œ

œ

œœ œ œ

œ

œœ b œœ ˙

œ

œ

œ

Var.

œ œR bœ

œ œ œ˙

œ

œ

œ

œ œ œ œ œ œ œ bœ œ œœ œ œ œœ œœ r œœ œ bœ œ

œ œ ≈ ™ œ œ™ J ‰

œ™ b œ œ œ œ œ

? bb nœœœ

œœœ

{ {

‰ œœœ J œ b & b ≈ ™ œ nœ ™ œ J ‰

‰ œœœ J œ œ ≈ ™ œ œ™ J ‰

˙ n˙˙

? bb œœ nœ

œœœ

˙ n˙˙

‰ œœœ J

‰ œœœ J

œ œ b ™ œ J ‰ œ™ & b ≈ ™ œ œ™ œ J ‰ ≈ ™ œ œ

{ {

? bb œœ nœ

j ‰ œœœ œœœ

? bb œœ nœ

j ‰ œœœ œœœ

bœ˙

œ

œ

˙

œ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œ

œ

œ œ™ œ œ ˙

‰ œœœ ˙˙˙ œ J œ œ œ œ œ œ œ œœ œ œ œ œ œœ b ® œ œ œ œ œ œ ‰ ®œ œ œ œ œ œ œ œJ ‰ œ #œ ˙ b J & œœ ‰ œœœ ˙˙˙ J

œ œ

œ T œ™ b œ œ œ œ œ œ m ˙

œ œ™

œ

œœ

œ

103

Orig.

œ

b œ œ & b ≈ ™ œ nœ ™ J ‰

99

Orig.

j œœ

œ

œ™ ≈ ™œ œ ™œ œ œ ™œ

appendix 6  ❧ 193

b &b œ

107

Orig.

{ {

b Ϫ &b

{ {

œ

r œ

œ

œœ

j œ ‰

œœ œ

œ J

œj

r œœ

œœ

œ J

? bb œ œ œ œ œ œ œ œ

Ϫ

œ J

œ

œj

œ ™™ œ

œœ J

œœ

Var.

œ J

Ÿ œ œ œœ

j œ

œ

œ

œ

œœ

œœ

œœ

œœ

Ÿœ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ

. œ . œ bœ b ≈ œ bœ œ ≈ œ œ œ œ œ bœ œ ≈ œ œ œ n œ œ œ œ œ b & œ bœ œ œ bœ œ bœ œ ? bb ∑ . œ . œ bœ b ≈ œ bœ œ ≈ œ œ œ œ œ bœ œ ≈ œ œ œ n œ œ œ œ œ b & œ œ œ œ bœ œ bœ œ ? bb

115

Orig.

œœ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? bb œ œ œ œ œ œ œ œ b œ ™™ &b œ

Var.

r œ

‰

œ J

‰

?b œœœœ œœœ œœœœœœœœ œœœœ œœœ œœœœœœœœ b œ œ

111

Orig.

œœ

j œ ‰

œœ œ

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ &b

Var.

œ

r œ

{ {

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

bœ œ bœ œ

œœ ‰ J j ‰ œ œœ ‰ J j ‰ œ

œ J ‰ œ ‰ J œ J ‰ œ ‰ J

194  ❧  appendix 6

. . ≈ œbœ œ ≈ œ œ œ œ œbœ œ œ œ œ œ œ b œ œ œ œ œ œ œj n œ b ‰ ≈ œr ≈ &b œ œ œœ b œœœ bœ œ œ ? bb œ œ œ œ ∑ œ œ œ œ œ. œ b œ œ œ. œ œ œ œj œ œ b œ œ b œ œ œ œ œ œ œ œ œ œ b ‰ ≈ œr ≈ ≈ &b ≈

119

Orig.

Var.

{ {

œ

œ

bœ

b & b bœ

≈œœ

≈œ œ

? bb

123

Orig.

{ {

? bb

œ

œ

b & b bœ

Var.

? bb

œ

œ

b bœœ &b

Var.

{ {

œ

œ

œ

≈œœ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ ≈ œ bœœ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

≈œ bœ œ

œ

œ

œ

œ

œ ≈ œ œœ

œ

œ

œ

œ

œ

œ

œ

œ

≈ œœ bœœ

œ

œ

œ

œ

œœ

œ

œ

œ

≈ bœœR œ

œ

œ

≈ bœœR

‰

œ œ

œ

‰

œ

≈œ bœ

≈œœ

≈ œœR bœœ

‰

œ

≈œ bœ

≈ œr œ

‰

œ œ

œ

œœœ

≈ œr œ

‰

œ

≈œ œ

œœ ≈ œ bœ

127

Orig.

œ

œœ œ

œ

œ

œ

œ

≈ œœ R

‰

? bb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b œœ bœœ ≈ œœ œœbœœ ≈ œœ nœœ œœ œœ ‰ ≈ œœ œœbœœ ≈ œœ œœ œœ ≈ œœ œbœœ œœ ‰ ≈ œœ &b R R R R R œ R ? bb

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

appendix 6  ❧ 195

b œ &b œ

≈ œœ bœœ

131

Orig.

Var.

{ {

? bb

œ

œ

œ

œ

œ

Var.

Var.

œ

œ

œ

œ

œ

‰ œ

œ

œ

≈ œœ bœœ R œ

œ

œ

≈ œœ nœœ œ

œ

œ

œ

≈ œœ œ

œ

œ

≈ œœ œœ bœœ ≈ œœ œœ nœœ ≈ œœ R R R

‰

?b œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ

nœ b œ œ & b œ œ ‰ œJ

{ {

? bb j ‰ bœ ‰ J œ

œ b nœ œ & b œ œ ‰ œJ ? bb j ‰ bœJ ‰ œ

œ ‰ œ ‰ nœœ J J œ ‰ bœ ‰ J J

œ ‰ œ ‰ nœœ J J œ ‰ bœJ ‰ J

b &b

∑

∑

? bb

∑

∑

139

Orig.

œ

œœ

œ œ œ b bœ œ œ bœ & b œ œ ≈ œR œ œ ≈ œR œ œœ œœ

134

Orig.

≈ œœ nœœ

{ {

œ ‰ œ ‰ nœœ J J

nœ

œ ‰ bœ ‰ J J

œ ‰ œ ‰ nœœ J J œ ‰ bœJ ‰ J

∑

U ˙ ˙ œ

nœ œ

U ˙ ˙ u œ

∑ U œ U œ

∑

T T œ™ œ œ™ œ Kadenz

∑

∑

∑ ∑ U œ™ œ œU œ œ œ J œR œ œ œ œ œ œ œ œ œ œ œ œ#œ œnœ œ œ œ œ œ œ b J œ œ œœ ‰ œ œ &b ?b b

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196  ❧  appendix 6

b &b Ó

Ó

Ó

Ó

? bb Ó

Ó

Ó

Ó

143

Orig.

Var.

{

U b & b œ œ œ œ œ œ œjœ U œœœ ? bb Œ œ

{

Var.

œ œ

œ œ œ J ‰

b & b ™™ œœ œ

œ œ

œ œ˙ œ

{ {

b œ ™™ &b œ

Ó

&

œ œ œ œ œ œ œ œ œ œ œ ‰ J

{

{

œœ œ œ œ œ œ œ œ œ œ œ ˙

œ œ œ œ œ œœ ≈ œ œr œ J R

? bb œ œ œ œ b œ &b œ

Var.

Ó

Ÿ˙

? bb ™™ ˙ ˙ ˙ ˙ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ ˙ œ™ b ™˙ nœ b & ™ J

151

Orig.

Ó

b & b ™™ œœ

147

Orig.

Ÿ Ÿ œ #œ œ œ nœ œ œ œ nœ œ #œ œ #œ œ œ nœ

œœ œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~ ? bb ˙

œ

œ j œ ‰

œœj ‰ b œœœ

Ÿœ~~~~~~~~~~~~~~~~~~ œ œ nœ œœ

œ œ

œ œœ œ

œ œ

r œ

œ

œ nœ nœ ˙

œ

œ

™™ œ

œ œ œ nœ nœ œ œ™ œ œ œ Œ Ÿ Ÿ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~nœ œ œ n œ œ œ ‰ J

https://doi.org/10.1017/9781800105478.015 Published online by Cambridge University Press

?

™™ ™™ ™™

appendix 6  ❧ 197

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ™ ≈

b ≈ œœ œ ≈ œ œ œ & b ™™ œ bœ

155

Orig.

Var.

{

? bb ™™

œ

œ

œ

œœ œ œ œ b ™ ≈ œœœ œ œ œ œ œ œ œ œ≈œ3 œ ≈3 œ≈œ3 œ œ œ œœ œ œ œ œ b œ & ™ œ œ 3 3 3 3 3 3 3 3 3 œŸ~~~~~~~~~~ œ œ œ œ œ œ œ œ ? bb ™™ œ ‰ J J J œ œ

{

b &b œ

159

Orig.

œ

∑

{ {

? bb ˙

œ

œ

œ

œ

œ

œ

œ œ œr œ

œ

˙

œ œ

œ

œ œr œ œ

˙ 3 œœœœœ œ ‰ œœ œ 3

3

œ J

œ

œœœ

œ

3

™™

˙ œ

œ

3 3 3 3 3 3 3 3 œœ œœ œ 3 3 œ b œ œ œ œ œ œ œœœœ œœ œ œ œ œ œœ œ &b œœœœ œ œ œ œ œ œ œ œ œœ œ œ œœ 3 3 3 3 œ ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ? j œJ J? j & œ J& œ œ 3 3 3 3 3 3 3 3

b œœ &b œ

163

Orig.

{ {

? bb œ

œ œ™ œ J

‰

œœœ

œ œ œ œ œj œ

™™ ™™

Œ

œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœœj œ œ œ œ œ œ œj œŸ Œ J œ œ œ œ œœœ œœœœ œœœ œœœ œœœœœœœœ œ œ ?b œ œ œ œ œ b b œœ &b œ

Var.

œœœœ œ

™™

œ œ œ œ œ T œ ™ œ œJ

‰

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198  ❧  appendix 6

b œœ &b œ

{ {

Orig.

?b œ b

œ œ™ œ J

œœœœ œ

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Appendix 7 Emanuele Imbimbo: Observations sur l’enseignement mutuel (1821) Emanuele Imbimbo: Observations sur l’enseignement mutuel appliqué à la musique, et sur quelques abus introduits dans cet art, précédées d’une notice sur les conservatoires de Naples (Observations on peer-to-peer teaching applied to music, and on certain abuses introduced to this art, preceded by a note on the conservatories of Naples; Paris 1821), pp. 3–7 and 17. [3] With regard to their musical

[3] Les élèves, sous le rapport de

[4] for keyboards, strings, and winds. The vocal classes were divided into soprano, alto, tenor, and bass, each with its own class.

[4] touches, à cordes, et à vent. Les voix étaient classées en soprano (dessus), alto (haute-contre), tenore (taille), et basso (basse-taille); et chaque espèce de voix formait une classe à part.

There were external teachers, paid by each conservatory, who only communicated with the advanced pupils of each class (these external teachers were almost all former pupils of the conservatory); they were in addition to teachers for writing and Latin.

Il y avait des maîtres externes, payés par chaque conservatoire, qui ne communiquaient qu’avec les élèves supérieurs de chaque classe (les maîtres externes provenaient presque tous des élèves supérieurs du Conservatoire), outre les maîtres d’écriture et de langue latine.

instruction, the pupils were divided into classes that one might describe as follows: the class for musical elements, which included solfeggio; the singing class; the partimenti class; the counterpoint class, and finally, the instrumental classes

l’instruction musicale, étaient divisés par classes, qu’on peut réduire aux suivantes: la classe des éléments, y compris le solfège; celle du chant; celle des partimenti; celle du contrepoint; enfin, les classes des instruments à

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202  ❧  appendix 7 When the bell announced the arrival of a teacher, such as the teacher for counterpoint, the advanced pupils of the class gathered at the agreed place with their cartella (this was a thick varnished cloth, with staff lines, on which one could write and wipe away music as he pleased); the teacher would examine each cartella carefully, and correct all of them, one by one, in the presence of all the pupils of the class. The other teachers followed the same procedure with the advanced pupils in their respective classes.

Lorsque la cloche annonçait l’arrivée d’un maître, par exemple, du maître de contrepoint, les élèves supérieurs de la classe se rendaient, avec leur cartella (grosse toile vernie et rayée comme le papier de musique, sur laquelle on pouvait écrire et effacer la musique à volonté), au lieu destiné ; le maître examinait soigneusement chaque cartella, et les corrigeait toutes, l’une après l’autre, en présence de tous les élèves de la classe. Les autres maîtres suivaient la même marche dans leurs classes respectives, avec les élèves supérieurs.

The external teachers only worked with the advanced pupils in rooms allocated for this purpose; the mass of less advanced pupils was obliged to gather in a large room to devote themselves to their own tasks. At first glance, it was difficult to imagine how the pupils could perform pieces different in tempo, style, and key without confusing each other, given they were surrounded by the noise from their being together. I concur with Fenaroli, who

Les maîtres externes ne travaillant qu’avec les élèves supérieurs dans des locaux particuliers, la masse des élèves inférieurs était obligée de se réunir dans un grand salon, pour se livrer chacun à son travail particulier. Au premier abord, l’on conçoit difficilement comment les élèves pouvaient exécuter, sans se confondre, des morceaux différents par le mouvement, par le style, par le ton, au milieu du bruit qui résultait de leur réunion ; et je tiens de Fenaroli, que,

[5] did not fail to observe this phenomenon when Emperor Joseph II of Austria visited the conservatory of Saint Mary of Loreto. It was pointed out to him that the confusion occasioned by the great number of voices and instruments in the same premises brought forth a kind of buzzing of sounds that was indistinct and indefinable to the ear, which let every pupil engage completely with his own task. This would not have been the case if they were alone or just gathered in twos or threes, because then the sounds

[5] lorsque Joseph II, empereur d’Autriche, visita le conservatoire de Ste.-Marie de Loreto, il ne manqua pas d’en faire la remarque. On lui fit observer que la confusion occasionnée par le grand nombre de voix et d’instruments dans le même local, produisant une espèce de bourdonnement par des sons indistincts et inappréciables à l’oreille, laissait à chaque élève la faculté de s’occuper entièrement de son objet ; ce qui ne pourrait pas avoir lieu, s’ils étaient seulement au nombre de deux, ou de trois, parce que, dans ce cas, les sons

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appendix 7  ❧ 203 they made would have been distinct and definable, and the attention of every pupil would have been distracted at every instant (see the descriptions of the Conservatory of St. Onofrio in the Dictionary of Musicians by Fayolle and in Burney’s General History of Music).

étant distincts et appréciables, l’attention des élèves serait à chaque instant détournée (voyez la description du conservatoire de Santo Onofrio, dans le Dictionnaire des Musiciens, de Fayolle, et l’Histoire générale de la Musique, de Burney).

Among the advanced students, a certain number were designated mastricelli (the diminutive of “master,” which was the name for the deputy teachers or the heads of class). The mastricelli gave instruction to the less advanced pupils in their respective classes. In general, the stronger pupils fulfilled the function of teachers to the weaker students, and lessons were communicated in this manner from one pupil to another. This work occupied them the entire mornings. At midday, the bell announced lunch, and the pupils went to the refectory. After lunch, they had recreation time. In the evenings, they had roll call, and those who spent the night elsewhere without permission were punished the following day.

Parmi les élèves supérieurs, il y en avait; un certain nombre qui étaient désignés sous le nom de Mastricelli (diminutif de maître, on désigne par ce nom les seconds maîtres ou les chefs de classe), et qui instruisaient les élèves inférieurs des classes respectives. En général les élèves les plus forts remplissaient les fonctions de maîtres vis-à-vis des plus faibles, et par ce moyen, les leçons se transmettaient d’élève à élève. Ainsi le travail les occupait toute la matinée : à midi, la cloche annonçait le dîné, et les élèves se rendaient dans le réfectoire ; l’après-dîné, ils étaient en récréation. Le soir, on faisait l’appel nominal, et ceux qui passaient la nuit dehors sans permission, étaient punis le lendemain.

[6] Every year, an exam took place in the presence of all external masters. The less advanced pupils were subjected to the most rigorous tests in order to see what progress they had made under the auspices of the more advanced pupils. Those who had been negligent were punished; those who did not possess the necessary talent for music or who did not like to work were expelled. Those who distinguished themselves by their progress were given small rewards, and much attention was given to the orphans among the pupils.

[6] Un examen, en présence de tous les maîtres externes, avait lieu tous les ans. C’étaient les élèves inférieurs qui étaient soumis aux épreuves les plus rigoureuses, pour voir quels progrès ils avaient faits sous la direction des élèves supérieurs. Les négligents étaient punis ; on renvoyait ceux qui n’avaient pas les dispositions nécessaires pour la musique, ou qui n’aimaient pas le travail ; on encourageait par de petites récompenses ceux qui se distinguaient par leurs progrès, et on avait grand soin des élèves orphelins.

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204  ❧  appendix 7 In their first years, the pupils practiced solfeggio without singing; they simply named the notes and beat times. Once their voice was formed, after that critical time when the voices of the two sexes changed, they were asked to practice solfeggio individually by singing because it was believed that judging the correctness of a voice and recognizing and correcting its faults was possible only if the pupil sang alone. To ensure that pupils sang in tune, they had to practice pieces together without the aid of any instruments. Finally, external composers were allowed to rehearse their music in the conservatories, which rehearsals were a great aid to the pupils as they helped them develop good taste and judgment.

Dans les premières années, les élèves solfiaient sans chanter ; ils nommaient seulement les notes, et battaient la mesure. Lorsque la voix était formée, après l’époque critique où chaque voix mue chez les deux sexes, on les faisait solfier séparément, et en chantant ; car on était persuadé qu’on ne pouvait juger de la justesse d’une voix, et qu’on ne pouvait connaître et corriger ses défauts, qu’en la faisant chanter seule. Pour affermir les élèves dans l’intonation, on les exerçait dans des morceaux d’ensemble, sans le secours des instruments. Enfin, il était permis aux compositeurs externes de faire répéter leur musique dans les conservatoires, et ces répétitions contribuaient beaucoup à exercer les élèves, et à former leur goût et leur jugement.

After practicing solfeggio for as long as the masters judged necessary, each pupil decided whether he wanted to sing, compose, or play an instrument according to his talent. At the same time, the pupils practiced

Après l’exercice du solfège, qui durait aussi longtemps que les maîtres le jugeaient nécessaire, chaque élève se décidait, selon ses dispositions, ou pour le chant, ou pour la composition, ou pour quelqu’un des instruments. Ils s’exerçaient en même temps à

[7] writing music and copied out their lessons or those of their peers; by this means, the principles and rules of their art were engraved in their souls.

[7] écrire la musique, en copiant leurs leçons, ou celles des autres ; et par ce moyen, les principes et les règles de l’art se gravaient dans leur esprit.

This manner of mutual teaching encouraged the pupils to emulate each other while the teachers still corrected everyone’s mistakes; these corrections were all the more useful as they were a lesson to everyone in the class.

Cette espèce d’enseignement mutuel entretenait l’émulation parmi les élèves, et mettait les maîtres à même de corriger les défauts de chacun; correction d’autant plus utile, qu’elle était une leçon pour les élèves de toute la classe.

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appendix 7  ❧ 205 Earlier, we mentioned that external composers were allowed to rehearse their music at the conservatories, and we saw that this practice offered great advantages. But there were other benefits of promoting emulation among masters and pupils, namely the judgment of the public, which was very often called upon to give its opinion in a kind of competition between the three conservatories. Every year, for nine days, the pupils were obliged to take turns playing music in the church of the Order of Minims of St. Francis of Paola in honor of St. Irene and St. Emidio.

Nous avons dit qu’il était permis aux compositeurs externes de faire répéter leur musique dans les conservatoires; et nous avons fait entrevoir que l’on devait retirer de grands avantages de cette pratique. Mais il y avait un autre grand moyen pour exciter l’émulation des maîtres et des élèves, le jugement du public, qui était appelé très souvent à prononcer dans des espèces de concours, qui s’établissaient entre les trois conservatoires. Chaque année ils étaient obligés, pendant neuf jours, de faire alternativement de la musique dans l’église des Pères minimes de St.-François de Paule, en l’honneur de sainte Irène et de saint [sic] Emidio.

The three best pupils of the composition class of every conservatory were then obliged to write a mass for a large orchestra, a large motet with solos, and choral works for vespers.

Les trois premiers élèves de la classe des compositeurs de chaque conservatoire, étaient obligés de composer chacun une messe à grand orchestre, un grand motet avec des solo, et des chœurs pour les vêpres.

[17] It seems appropriate to add that we might usefully apply the same method to the teaching of harmony by dividing this section of the curriculum into two parts—that of partimenti and that of counterpoint.

[17] Nous croyons pouvoir ajouter qu’on peut aussi appliquer utilement la même méthode à l’enseignement de l’harmonie, en divisant cette partie de l’instruction en deux sections, celle des Partimenti et celle du Contrepoint.

One would show on the board the division of the monochord, the theory of all the intervals, the combination and progression of all the chords above different motions of the bass line, and then prescribe the rules of composition. By following this method and applying all the appropriate improvements, one would undoubtedly succeed in producing very well-taught musicians.

On démontrera, sur le tableau, la division de la corde sonore, la théorie de tous les intervalles, la combinaison et la marche de tous les accords sur les différents mouvements de la basse, et l’on dictera les règles de la composition. En suivant cette méthode, et en lui donnant tout le développement dont elle est susceptible, on parviendra, sans doute, à faire des musiciens trèsinstruits.

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Appendix 8 A Solfeggio Attributed to Giovanni Paisiello in Its Original Version and with a Varied Upper Voice by This Author

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208  ❧  appendix 8 [Attributed to] Giovanni Paisiello, “Solfeggi del Signor Maestro Paisiello” (US-Eu Ms. 1336), Solfeggio no. 10

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appendix 8  ❧ 209

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https://doi.org/10.1017/9781800105478.017 Published online by Cambridge University Press

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Appendix 9 Giovanni Paisiello, Regole per bene accompagnare il Partimento, St. Petersburg, 1782 About this edition: In this edition, the original clefs, accidentals, and beaming have been retained. Altered or added accidentals are placed in brackets; altered pitches are presented in smaller font. Differences between the print and the autograph are marked with an asterisk and explained in a footnote. Gj numbers have been included for the partimenti to make this edition more reader-friendly. The page numbers of the original edition are here given in square brackets. RULES on how to accompany Partimento or Basso Continuo well on the Harpsichord by Signor Maestro Giovanni Paisiello Composed for HER IMPERIAL HIGHNESS THE GRAND DUCHESS of All Russias.

REGOLE Per bene accompagnare il Partimento, o sia il Basso Fondamentale sopra il Cembalo Del Signor Maestro Giovanni Paisiello Composte per SUA ALTEZZA IMPERIALE LA GRAN DUCHESSA di tutte le Russie.

Published in the press of the Naval Gentry Cadet Corps in 1782

Печатано в типографии морского шляхетского кадетского корпуса, 1782 год.

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214  ❧  appendix 9 [2] Correction.

[2] Correzione.

On page 7, read Oblique motion instead Al’a Pagina 7, in luogo di leggere Il of Direct Motion, and Direct Motion Moto Retto, devesi dire Il Moto Obliquo; where it says Oblique Motion. e dove v’è Il Moto Obliquo, devesi dire Il Moto Retto. [3] MADAME,

[3] MADAME

I was also greatly honored to be granted permission to dedicate them to YOUR IMPERIAL HIGHNESS.

Come ancora m’é stato di somma gloria la permissione concessami di poterle a VOSTRA ALTEZZA IMPERIALE dedicare.

For this reason, I humbly beseech YOU to honor me with YOUR incomparable protection in perpetuity, as I humbly declare myself with all the deepest respect and devotion, YOUR IMPERIAL HIGHNESS’s most humble, most devoted, most obedient, and most faithful true servant Giovanni Paisiello, Saint Petersburg, 1782.

Fra tanto umilmente LA prego di voler sempre più farmi degno della SUA impareggiabil protezzione; mentre che con tutto il profondo rispetto, ed’ ossequio umilmente mi dichiaro. Di VOSTRA ALTEZZA IMPERIALE Umilissimo, Devotissimo, Ubbidientissimo, e Fedelissimo Servo vero Giovanni Paisiello S. Pietroburgo. 1782.

I was exceedingly pleased when YOUR IMPERIAL HIGHNESS kindly gave me permission to print the present Rules for accompanying the Partimento, or Figured Bass well, which I expressly composed for YOUR IMPERIAL HIGHNESS.

M’e stato di gran piacere la permissione che VOSTRA ALTEZZA IMPERIALE si è compiacciuta accordarmi in far dare alle stampe le presenti Regole per bene accompagnare il Partimento, o sia il General Basso espressamente da me composte per VOSTRA ALTEZZA IMPERIALE.

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appendix 9  ❧ 215 [5] First of all, it is necessary to know

[5] Primieramente bisogna sapere, che

The first note of the scale is accompanied by . The second note of the scale is accompanied by , and the third note of the scale by . The fourth note of the scale is accompanied by , and when it leads to the fifth, it is accompanied by , while when it descends from the fifth of the scale to the third, it is accompanied by .1

La Prima di Tono si accompagna con . La Seconda di Tono si accompagna con . La Terza di Tono si accompagna con . La Quarta di Tono si accompagna con ,

The fifth note of the scale is  accompanied by . The sixth note of the scale is accompanied by , but, when it does not lead to the seventh note of the scale, and does not fall to the fifth, in that case it is

La Quinta del Tono si accompagna  con . La Sesta del Tono si accompagna con , e quanda non và alle Settima del Tono, nè discende alla Quinta del Tono, all’ora si

[6] accompanied by . The seventh

[6] accompagna con . La Settima del

that every scale consists of seven different notes, namely the first, second, third, fourth, fifth, sixth, seventh, and the octave.

ogni Prima di Tono ha sette corde, cioè, Prima. Seconda. Terza. Quarta. Quinta. Sesta. Settima, e Ottava.

note of the scale is accompanied by , but when it leads to the eighth note of the scale, then it is accompanied by . Let us look at the example.

?c

e quando và alla Quinta, si accompagna con , e quando discende dalla Quinta del Tono, che và alla Terza del Tono, si accompagna con .

Tono si accompagna con , e quando và all’ Ottava del Tono, allora si accompagna con . Vediamone l’Esempio.

8 5 3

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216  ❧  appendix 9 In the above example, one may also harmonize the bass with the chord of   and   when it rises stepwise, and with the chord of   and   when the bass falls stepwise, with the understanding, however, that the seventh must be prepared by the sixth and resolved onto the sixth, and that the last sixth must be major.

Al sudetto esempio si puole anche dare l’accordo di , e  quando però ascende di grado, e quando discende ancora di grado, si puol dare l’accordo di , e ; ben inteso però, che la Settima dev’esser preparata dalla Sesta, e risoluta all Sesta, e l’ultima Sesta dev’esser Maggiore.

Example: 5 3

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6 3

7 3

5 3

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6 3

7 3

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6 3

3

5 3

6 3

6 3

7 D

6 3

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[7] It is necessary to know, moreover,

6 3

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6 3

5 3

6 3

5 3

7 3

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that three types of motion are possible, namely, direct,2 oblique and contrary motion. Oblique motion occurs when a hand holds still and the other one ascends or descends. Direct motion occurs when the two hands ascend and descend together. Contrary motion occurs when one hand ascends and the other one descends at the same time. One must be aware, however, that direct motion is employed only in unison passages, and that it must not be used for any other reason, as one might make the mistake of playing parallel fifths or octaves, which would be an error, as they produce a very poor effect.

2

5 D

w

w

w

w

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Esempio:

H 3

w

8 5 3

w

[7] È necessario sapere ancora, che i

moti per suonare il Cembalo sone tre, cioè, Moto Retto, Obliquo, e Contrario. Il moto Obliquo, è quando una mano resta ferma, e l’altra ascende, o discende. Il Moto Retto, è quando le due mani ascendono, o discendono insieme. Il Moto Contrario, è quando una mano ascende, e l’altra discende insieme. Bisogna però sapere, che del Moto Retto se nè fà uso solamente per l’unissono, e non bisogna farne uso per altra cagione, perchè si potrebbe cascare infare due Quinte, o due Ottave, e questo sarebbe errore, perchè fanno un cattivissimo effeto.

The common English name for “direct” is “similar” motion.

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appendix 9  ❧ 217 It is important to know that there are three types of cadences, namely the simple cadence, the double cadence, and the compound cadence. We recognize the occurrence of a cadence by the fact that the first note of the scale goes to the fifth, and from the fifth to the octave.

Bisogna sapere, che le Cadenze sono di tre Sorti, cioè, Cadenza Semplice, Cadenza Doppia, e Cadenza Composta. La Cadenza si conosce quando la Prima del tono và alla Quinta, e dalla Quinta và all’ Ottava.

[8] In order to distinguish each one

[8] Per distinguere ciascheduna di dette

An example of the simple cadence presented in its three types, namely in first, second, and third position.

Esempio della Cadenza Semplice in tre Maniere, cioè, in Prima, Seconda, e Terza Posizione.

of the aforementioned cadences, it is necessary to know that in the simple cadence, the fifth of the scale is accompanied by the chord of  or  and .

8 5 3

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˙

8 5 3

#3 8 5

3 8 5

w

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Prima Posizione

8 5 3

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4 8 5

˙

D 8 5

8 5 3

5 #3 8

3 8 5

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w

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˙

Seconda Posizione

3 8 5

w

Prima Posizione

Cadenze, bisogna sapere che alla Cadenza Semplice si dà l’accordo alla Quinta del Tono di , o pure di  e .

˙

5 4 8

˙

5 D 8

3 8 5

In order to distinguish the simple cadence from the double cadence, it is necessary to note that, just as we assigned the chord of  or  and  to the fifth note of the scale in the simple cadence, in the double cadence [9] we must ascribe the chord  to

the fifth note of the scale, as we can see in the following example.

5 3 8

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Terza Posizione

5 3 8

w ˙

Seconda Posizione

8 5 #3

8 5 4

8 5 D

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5 3 8

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Terza Posizione

Per distinguere la Cadenza semplice, dalla Cadenza Doppia, bisogna sapere, che altra differenza non vi è, se non che, siccome nella Cadenza semplice abbiamo dato, l’accordo alla Quinta del Tono di , o pure di  e  alla Cadenza Doppia nella Quinta del Tono; [9] si deve dare l’accordo di  come si vedrà dall’Esempio seguente.

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218  ❧  appendix 9 An example of the double cadence in its three types, in first, second, and third position.

Esempio della Cadenza Doppia anche in tre maniere, cioè, in Prima, Seconda, e Terza posizione.

For the said double cadence, you can also add to the last chord on the last note of the scale a minor seventh.

Nella sudetta Cadenza Doppia vi si puole anche aggiungere nell’ultimo accordo della Quinta del Tono la Settima Minore.

[10] An example of the compound

[10] Esempio della Cadenza Composta.

Another example.

Altro Esempio.

cadence.

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appendix 9  ❧ 219 It is necessary to know that there are four consonances, namely the third, the fifth, the sixth, and the octave. Similarly, there are also four dissonances, which are the second, the fourth, the seventh, and the ninth. These, however, cannot be employed if they are not prepared by one of the consonances. It is therefore important that we consider the following example, beginning with the fourth.

Bisogna sapere, che le Consonanze sono Quattro, cioè, La Terza, La Quinta, La Sesta e l’Ottava. Le Dissonanze anche sone Quattro, cioè, La Seconda, La Quarta, La Settima, e La Nona. Ma queste non possono adoprarsi, se non sono preparate da una delle Consonanze, onde è necessario vederne l’Esempio, ed in tanto principieremo dalla Quarta.

If one wants to employ the fourth, it can be prepared by any of the four consonances, namely the third, the fifth, the sixth or the octave. Let us look at an example.

Volendosi adoperare, ò far uso della Quarta, si puó preparare da tutte quattro le Consonanze, cioè, dalla 3a: dalla 5a: dalla 6a: e dall’ 8a: Vediamone l’Esempio.

[11]

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5 3

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The seventh, as it is also a dissonance, cannot be employed if it is not prepared by one of the four consonances. If one wants to use it, it can also be prepared by any of the four consonances.

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La Settima essendo anche Dissonanza, non si puole adoprare se non è preparata da una delle quattro Consonanze, volendosene adunque far uso, si può anche preparare da tutte quattro le Consonanze.

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220  ❧  appendix 9 Let us consider an example.

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3 8 6

6 3

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6 3

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The ninth can only be prepared by the fifth or the third. It is forbidden to prepare it with the octave, as it produces a poor effect and one would then encounter two consecutive octaves, which is a mistake.

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La Nona si prepara solamente dalla Quinta, e dalla Terza, venendo proibita di prepararsi dall’Ottava, facendo cattivo effetto, e s’ incontrerebbe da fare due Ottave, che sarebbe errore.

[12] An example of the ninth, prepared

[12] Esempio della Nona preparata by the third and by the fifth, where said dalla 3a: e dalla 5a:, e detta Nona si ninth is accompanied by the tenth. accompagna con la Decima.

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appendix 9  ❧ 221 As an exception, only the second can be used without having to be prepared when the partimento is tied. In this case, the said second is always accompanied by the perfect fourth. It is important to know, however, that sometimes this second is prepared by the octave, when the fifth note of the scale moves to the fourth and then to the third note of the scale. Then the fourth that has to accompany said second must be an augmented fourth.

Solamente la Seconda há un’eccezzione di potersi adoprare senza esser preparata, allora quando il partimento è legato, e detta 2a: viene sempre accompagnata con la Quarta Minore. Bisogna però sapere, che alle volte detta 2a: vien preparata dall’Ottava, allora quando la Quinta del Tono passa alla Quarta, e poi alla Terza del Tono, ma la Quarta, che va unita con detta 2a: dev’esser Maggiore.

[13] It also occurs that said second

[13] Accade ancora, che detta 2a: venga

is prepared by the octave, when the first note of the scale descends to the seventh and then to the sixth note of the scale. In this case, the fourth that has to accompany the second must be perfect, while the sixth note of the scale must be played alongside the third and the fifth.

preparata dall’Ottava, quando la prima del Tono discende alla Settima, e alla Sesta del Tono, ma la Quarta, che và unita con detta 2a: dev’esser minore, e la Sesta del Tono si accompagna con Terza, e Quinta.

Let us look at an example.

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3 5

Vediamone l’Esempio. 8 5 6 3

3 5

5 D 8

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5 D

3 8 5

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œ

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w

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3 8 5

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#˙

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6

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222  ❧  appendix 9 N.B. Every time one encounters a tied note that lasts for several measures, which will be accompanied by a variety of chords (as in the case of the D in the previous example), that note is called a pedale. This occurs often, but only in the case of the first or fifth note of the scale.3

N.B. Tutte le volte che s’incontra una Nota tenuta di piu battute, e che la medema se li darà varj accordi (siccome si è veduto nel delasolrè nell’esempio di sopra), detta Nota vien chiamata pedale, e questo accade spesse volte nella Prima del tono, o nella Quinta del tono solamente.

[14] As we noted earlier, when the

[14] Siccome abbiamo veduto di sopra,

partimento is tied, it is accompanied by the chord of the second and fourth. Similarly, when one encounters a succession of tied notes in the bass, they must be accompanied by the same chord, paying attention that the last tied note is accompanied by the augmented fourth, as we shall see in the following example.

3

che quando il partimento è legato si dá l’accordo di Seconda, e Quarta, così ancora quando sieguono più legature consecutivamente, si deve dare l’istesso accordo; ma però bisogna sapere, che all’ultima Nota legata, se li deve dare Quarta Maggiore, come vedrà dall’Esempio seguente.

This note is absent in the autograph, which suggests that Paisiello proofread the publication carefully, and added it at that stage. For more details, see chapter 4.

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appendix 9  ❧ 223 5 3 8

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3 7

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6 3

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6

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œ

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6 3

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6 3

œ

œ

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6 4 2

6 3

6 4 2

6 3

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œ

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7 3

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œ

œ

nœ

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3 5

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6 3

6

N

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6 3

5 3 8

8 5 3

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3

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œ

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7

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6 3

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˙

6 4 2

6 3

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8 5 3

5 3

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œ

? œ œ œ œ œ 17

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F

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* m. 18, third beat: the figure for the lowered sixth is absent in the print, and has been added here as in the autograph.

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224  ❧  appendix 9 [15] The augmented fourth changes the

[15] La Quarta Maggiore fà variare

key. Thus, if the first note of any scale tone is accompanied by the chord of a second, augmented fourth, and sixth, such first note immediately becomes the fourth note of the scale. This occurs on any note that is accompanied by the chord , namely, it becomes the fourth note of another scale. Let us look at an example.

8 5 3

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il Tono, sicché se alla Prima del Tono, ò in qualunque altro Tono se li dasse l’accordo di Seconda, Quarta Maggiore, e Sesta, allora la Prima del Tono diventa immediatamente la Quarta del Tono, e a qualunque altro Tono, se li dá il sudetto accordo di  nell’istesso momento diventa Quarta del Tono. Vediamone l’Esempio.

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appendix 9  ❧ 225 [16] It is important to know that when

[16] Bisogna sapere, che quando il

the partimento ascends by a step and descends by a third, one must play a  chord above the ascending note, and a  chord above the descending note, as we will see in the following example.

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partimento ascende di grado, e discende di Terza, si deve dare l’accordo alla Nota che ascende di , e alla Nota che discende si deve dare l’accordo di  come si vedra dall’Esempio seguente.

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226  ❧  appendix 9 [17] In the same pattern in a

[17] Si può anche all’istesso partimento,

partimento, it is possible to assign the chord  to the note that falls by a third, as we noted previously, and as we can observe in the following example.

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come abbiamo veduto antecedentemente, alla Nota che discende di Terza, dare l’accordo di , come si vedrá dall’Esempio, che siegue.

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appendix 9  ❧ 227 [18] When the partimento bass ascends

[18] Quando il partimento fa salto di

by a fourth and descends by a third, both the ascending and the descending notes are accompanied by the chord , as we can see in the following example.

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Quarta nel salire, e salto di Terza nel calare, tanto alla nota, che ascende, quando a quella, che discende, se gli dà l’accordo di  come si vedrà dall’Esempio seguente.

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228  ❧  appendix 9 [19] As per the previous example, a

[19] Al sudetto Esempio, alla Nota, che

When the partimento ascends by a fourth and descends by a fifth, it is necessary to give both the ascending and descending note the chord of   . Such a seventh must be prepared by a third and also must be resolved onto a third. Let us look at an example.

Quando il partimento ascende di Quarta, e discende di Quinta, se gli deve dare l’accordo di  tanto alla Nota che ascende, quanto alla Nota che discende, e detta Settima viene preparata dalla Terza, e si risolve alla Terza. Vediamone l’Esempio.

note that descends by a third can be accompanied by the chord , with the ninth resolving onto the third of the same bass note. Moreover, in the same example, a note rising by a fourth can be given, finally, a chord of minor seventh at the end, while a note descending by a third can be given, finally, a chord of an augmented fifth.

discende di Terza si può dare l’accordo di , e detta Nona viene risoluta alla Terza dell’istessa Nota. Di piu, al sudetto Esempio alla Nota, che ascende di Quarta, si può dare in ultimo l’accordo di Settima Minore, e alla Nota, che discende di Terza si può dare l’accordo in ultimo di Quinta Maggiore, che sarebbe Quinta superflua.

https://doi.org/10.1017/9781800105478.018 Published online by Cambridge University Press

appendix 9  ❧ 229 [20]

[20]

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augmented fourth has the power (forza) to change the key, thus it is also necessary to know that the minor second is endowed with the same power. Therefore, while the note to which is assigned the  chord immediately becomes the fourth note of the tone, similarly the note that receives the unrelated minor second becomes the fifth of the key. Let us see.

[21] Siccome abbiamo veduto qui dietro,

che la Quarta Maggiore hà la forza di far variare il Tono, cosi ancora è necessario sapere, che la Seconda Minore hà l’istessa forza. Sicché, come si è veduto di sopra, che a quella Nota, che se gli dá l’accordo di  diventa immediatamente la Quarta del Tono, cosi a quella Nota, che se gli darà l’accordo di Seconda Minore assoluta, diventa immediatamente la Quinta del Tono. Vediamo.

https://doi.org/10.1017/9781800105478.018 Published online by Cambridge University Press

230  ❧  appendix 9 5 3 8

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236  ❧  appendix 9

N.B. L’imitazione s’intende, quando un Canto propone qualche passaggio, e da un’altro si risponde dell’istessa maniera; come si vedrá dall’esempio seguente.10

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Paisiello includes the following note for Gj2321, on p. 29: N.B. Imitation is understood to occur when a voice offers forward a particular passage that is answered in the same manner by another voice, as we shall see in the following example. (N.B. L’imitazione s’intende, quando un Canto propone qualche passaggio, e da un’altro si risponde dell’istessa maniera, come si vedrá dall’esempio seguente.)

10

«N.B. Unter Imitation versteht man, wenn eine Stimme eine Wendung vorgibt und eine andere auf dieselbe Art und Weise antwortet, so wie im folgenden Beispiel.»

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appendix 9  ❧ 237 Andante

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238  ❧  appendix 9

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appendix 9  ❧ 243

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20

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b JB

22

Imitazione

F ? bb œJ œ œ œ œ bœ b

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244  ❧  appendix 9

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appendix 9  ❧ 245

Gj2330

B ## c

B ## œ œ œ ? J

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246  ❧  appendix 9 52

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appendix 9  ❧ 247 33

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https://doi.org/10.1017/9781800105478.018 Published online by Cambridge University Press

248  ❧  appendix 9 21

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appendix 9  ❧ 249

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49

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250  ❧  appendix 9

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266  ❧  appendix 9

Commentary Gj2319 m. 1, third beat: figure 7 in the print corrected as in the autograph. mm. 22–29: added from the autograph. See appendix 4. Gj2320 mm. 15–17, third beat each time: the figures in the print are given directly over the notes; here, we follow the autograph in placing them slightly to the right each time. The measure divisions here that diverge from the print are given as in the autograph. Gj2326 m. 21: a half measure in the print and the autograph. Gj2328 m. 31, second beat: figure 9 in the print has here been corrected as in the autograph. Gj2329 m. 7: rhythm corrected as in the autograph. Gj2330 m. 18, second beat: D in the print, corrected here to E as in the autograph. Gj2331 mm. 9 and 47: half-measures in the print and the autograph. Gj2334 m. 48, first beat: B-flat in the print corrected here to A as in the autograph (analogous to mm. 17–20). Gj2335 m. 38, second beat: A in the print corrected to G-sharp as in the autograph. Gj2336 m. 23, third beat: figure #3 in the print notated slightly to the left; given here directly above the note, as in the autograph. Gj2338 m. 17, first beat: B-flat missing in the print (before the D); added here as in the autograph. Gj2339 m. 39, second beat: B-flat in the print corrected to A-flat in analogy to m. 32. This partimento is not in the autograph.

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Appendix 10 Newly Discovered Partimenti by Giovanni Paisiello Sources: F-Pn Rés. Vmb. ms. 10/1 F-Pn Rés. Vmb. ms. 10/2 For more details about the individual concordances, see appendices 1 and 2. F-Pn Rés. Vmb. ms. 10/1, S. 202-204 Gj2347

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appendix 10  ❧ 269

F-Pn Rés. Vmb. ms. 10/1, S. 211-214 F-Pn Rés. Vmb. ms. 10/2, S. 17-27 Gj2350

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270  ❧  appendix 10

F-Pn Rés. Vmb. ms. 10/1, S. 217-220 F-Pn Rés. Vmb. ms. 10/2, S. 36-43, 46-47

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appendix 10  ❧ 271

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272  ❧  appendix 10

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Bibliography Primary Sources Manuscripts Azopardi, Francesco. “Il Musico Prattico,” autograph (M-Vnl Ms. 328bis). Cotumacci, Carlo. “Principj e Regole di Partimenti con tutte le lezioni,” autograph (I-Nc Rari 1.9.14/1). Dol, Giuseppe [Joseph Doll]. “Regole per accompag[nare] il Basso del Sig.r Giuseppe Dol Napolitano” (CH-Gc R253/18). Durante, Francesco. “Duetti Per Studio di maniera di cantare e per Esercizzio d’accompagnare al Cembalo del Sig.r Francesco Durante Ridotti nelle sue giuste diminuzzioni secondo l’autore da Gio. Masi” (GB-Lcm MS 181). ———. “Duetti Per Studio di maniera di cantare E per esercizio di accompagnare al Cembalo Del Sig.r Francesco Durante Per uso Della Sig.ra Teresa Masi” (I-Rsc G.Ms. 302). ———. “Maniera Da ben suonare il Cembalo Ritrovata Dal Sig.r D. Francesco Durante per uso di me Ignazio M.° De Sanguine. A.D. 1798.” (I-Nc M.S. 1898). ———. “Maniera Dà ben suonare il Cembalo Ritrovata Dal Sig.r D. Francesco Durante Proprie di D. Giuseppe Sigismondo” (I-Nc M.S. 1897, olim 22.1.20/1). ———. [no title: Partimenti manuscript] (D-MÜs SANT Hs. 1428). ———. “Partimenti di Domenico Cimmarosa [sic] Anno D. 1762” (Most partimenti are by Francesco Durante), (I-MOe Campori γ L.9.26). ———. “[113] Partimenti diminuiti” (I-Nc 22.1.14). ———. “Partimenti O studii per Cimbalo Del Sig.r D. Franco Durante 1ère Suite” (F-Pn Acp. 4105/1). ———. “Partimenti per Studio del cimbalo Del Sig.r D. Franco Durante 2ème Suite” (F-Pn Acp. 4105/2).

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292  ❧  bibliography ———. “Regole E Partimenti Numerati e diminuiti del Sig.r D. Francesco Durante. Per uso di me Agostino Fontana copiati nel 1801” (I-Ria Mss. Vess. 283). ———. “Regole per imparar di sonare il Cembalo del Sig.r D. Francesco Durante.” Naples, 1754 (F-Prousset). ———. “Regole per l’Accompagnamento Del Sig.r Francesco Durante” (I-Fc B. 360). ———. “Studj per Cembalo con Partimenti diversi, Partimenti da potersi diminuire a più maniere del Sig.r D. Francesco Durante, D. Giuseppe Sigismondo Pne 1769” (I-Nc M.S. 1895, olim 22.1.20/3). ———. “Studj per cembalo Del Sig.r Francesco Durante” (I-Gl A.7b.48 [B-2-10]). Fenaroli, Fedele. “Intavolature Per il Cembalo del Sig.r D. Fedele Fenaroli Libro Primo” (I-Mc Noseda H.12). Furno, Giovanni. “Metodo facile, e breve per accompagnare i Partimenti senza numeri Del Sig.r Giov.ni Furno, Maestro del Real Collegio di Musica in Napoli” (I-Mc Noseda, L 36-8). Furno/Fenaroli. “Regole di Partimento Per imparare a sonare bene il Cembalo Del Sig.r D. Giovanni Furno” (I-Mc Noseda Th.c.121). Greco, Gaetano, “Intavolature per Cembalo Del Sig.r D. Gaetano Grieco” (I-Nc M.S. 2851). Guglielmi, [first name unknown]. “Il Trattato del moderno Contrapunto cavato dalla Scuola o sia Conservatorio di Napoli del 1756 dal Sig. Guglielmi, ad uso di S. Eccellenza, il Sig. Marchese Antonio Nerli” (I-OS Mss. Teoria B1). Insanguine, Giacomo. “Regole con moti di Basso, Partimenti e Fuge Del M.tro G.mo Insanguine Detto Monopoli” (I-Mc Noseda Th.c.116a). Paisiello, Giovanni. Astra coeli scintillate, motet (D-HVs Kestner no. 27). ———. “La bella mia Tiranna,” aria from the opera Il Negligente (Parma, 1765) (RobP deest CH-N XB obl. 205 [Ms.9806]). ———. “Libro Primo [Secondo] Raccolta di Varij Rondeaux, e Capricci col l’Accompagnamento di Violino, per il Piano, e Forte, o Clavicemballo Composte Espressamente Per S:A:I: La Gran Duchessa di Tutte le Russie Dal Sig: Giovani Paisiello Maestro di Capella all’Atual Servizio di S.M.I. L’Imperatrice Catterina II:da 1783” (A-Wn Mus.Hs. 12742). ———. “Originale Concerto di cembalo Con più instromenti di Giovanni Paisiello Fatto per S.E. La Sig.ra De Sianavine dama d’onore di S.M.I. L’Imperatrice di tutte Le Russie,” autograph (I-Nc 19.1.4, olim 19.1.5). ———. “Regole e Partimenti del M.o Giovanni Paisiello” (I-Nc 20.8.20). ———. “Regole per bene accompagnare il Partimento, o sia il basso fondamentale sopra il Cembalo di Giovanni Paisiello. Fatte per’ uso di S.M.I. La Gran Duchessa di tutte Le Russie” (I-Nc 18.3.3/18, olim Rari 3.4.17/1bis).

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bibliography  ❧ 293 ———. “Regole per bene accompagnare il Partimento, o sia il Basso Fondamentale sopra il Cembalo Del Signor Maestro Giovanni Paisiello. Composte per Sua Altezza Imperiale La Gran Duchessa di tutte le Russie, 1782” (I-Bc II.73). ———. “[42] Solfeggi del Sig.r Maestro Paisiello Principi di Musica in Tenore e Solfeggi del Sig: Paisiello. é XII Duetti del Sig: Asioli. Dresda 1804” (Many solfeggi in this manuscript are by Baldassare La Barbiera), (US-Eu Ms. 1336). ———. [no title], Three-part disposizioni on partimenti by Paisiello (F-Pn Rés. Vmb. ms. 10/2). ———. [no title], Two-part disposizioni on partimenti by Paisiello (F-Pn Rés. Vmb. ms. 10/1). Pulli, Pietro. “Solfeggi Del Sig:r Pietro Pulli” (D-MÜs SANT Hs. 3351). Ricupero, Francesco. “Studio di musica, istruzione pratica per utile e vantaggio di chi desidera divenire buon sonator di cembalo. Con un nuovo metodo di facilezza e chiarezza, per poter giungere in breve tempo alla prefezzione di suonare numerico e fugato il cembalo e l’organo Originale di Francesco Ricupero. Napoletano,” autograph, 1803 (I-Nc 20.2.2/1, olim 46.1.27/1). Zanetti, Francesco. “Bassi del Fenaroli abbelliti e rifioriti” (I-Nc 20.6.16).

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294  ❧  bibliography De Villeneuve, Daniel Jost. Lettre sur le méchanisme de l’opéra italien. Naples and Paris: Duchesne and Lambert, 1756. Di Villarosa, Marchese [Carlo Antonio De Rosa]. Lettera biografica intorno alla patria ed alla vita di Gio: Battista Pergolese. Naples: Dalla Stamperia e Cartiera del Fibreno, 1831. Fenaroli, Fedele. Partimenti ossia Basso Numerato Opera Completa di Fedele Fenaroli Per uso degli alunni del Regal Conservatorio di Napoli a Niccola Zingarelli Maestro di S. Pietro in Roma, direttore del medesimo Conservatorio. Dall’Editore Dedicata. . . . Paris: Typographie de la Sirène, Chez Carli, [1813]. ———. Regole Musicali Per I Principianti Di Cembalo. Naples: Vincenzo MazzolaVocola, 1775 (reprint Bibliotheca Musica Bononiensis sez. 2, 140 [1975]). ———. Regole Musicali Per I Principianti Di Cembalo Nel Sonar Co I Numeri, E Per I Principianti Di Contropunto. Naples: Domenico Sangiacomo, 1814. Ferrari, Giacomo Gotifredo. Aneddoti piacevoli e interessanti occorsi nella vita di Giacomo Gotifredo Ferrari. London: A. Seguin, 1830 (2 vols.). Fétis, François-Joseph. Biographie universelle des musiciens et bibliographie générale de la musique. Brussels: Leroux, 1835–44 (8 vols.). ———. Méthode élémentaire et abrégée d’harmonie et d’accompagnement, suivie d’exercices gradués et dans tous les tons, par l’étude desquels les Amateurs pourront arriver promptement à accompagner la basse chiffrée et la partition. Paris: Magasin de Musique et d’Instrumens de Ph. Petit, 1824. Florimo, Francesco. Cenno storico sulla scuola musicale di Napoli. Naples: tip. di L. Rocco, 1869–71 (2 vols.). ———. La scuola musicale di Napoli; e suoi conservatorii. Naples: tip. di Vin. Morano, 1880–82 (4 vols.) (reprint Bologna: Arnaldo Forni Editore, 2002). Framery, Nicolas-Étienne and Pierre-Louis Ginguené. Encyclopédie méthodique ou par ordre de matières: Musique, vol. I. Paris: Chez Panckoucke libraire, 1791. Furno, Giovanni. Metodo facile breve e chiaro delle prime ed essenziali regole per accompagnare i partimenti senza numeri del Maestro Giovanni Furno per uso degli Alunni del Real Conservatorio di Musica. Naples: no publisher, n.d. [ca. 1817]. Gagliardo, Giovanni Battista. Onori funebri renduti alla memoria di Giovanni Paisiello. Naples: Angelo Trani, 1816. Gasparini, Francesco. L’Armonico pratico al cimbalo. Venice: Bortoli, 1708. Grosley, Pierre-Jean. Mémoires, ou observations sur l’Italie et sur les Italiens, données en 1764, sous le nom de deux Gentilshommes Suédois. Traduits du Suédois. Tome second. London: Jean Nourse, 1764. ———. Neue Nachrichten oder Anmerkungen über Italien und über die Italiener in drei Theilen von zween schwedischen Edelleuten. Aus dem Französischen übersetzt. Leipzig: Carl Wilhelm Holle, 1769. ———. New observations on Italy and its inhabitants. Written in French by two Swedish gentlemen. Translated into English by Thomas Nugent, L.L.D. and fellow of the Society of Antiquaries. London: L. Davis and C. Reymers, 1769 (2 vols.).

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bibliography  ❧ 301 Serebrennikov, Maxim. “Book for Thoroughbass (1786) owned by Ms. Avdot’ja Ivanova.” Harpsichord & fortepiano 16, no. 1 (2011): 21–26. ———. “From Partimento Fugue to Thoroughbass Fugue: New Perspectives.” Journal of the Riemenschneider Bach Institute 40, no. 2 (2009): 22–44. Sprick, Jan Philipp. “Schema, Satzmodell and Topos: Reflections on Terminology.” International Journal of the Dutch-Flemish Society for Music Theory 1, nos. 1 and 2 (October 2014): 101–6. Stella, Gaetano. “Partimenti in the Age of Romanticism, Raimondi, Platania, and Boucheron.” Journal of Music Theory 51, no. 1 (2007): 161–86. Tufano, Lucio. “Der Beruf des Musikers: Ausbildung, Markt, Bewusstsein, Darstellung.” In Musik und Theater in Neapel im 18. Jahrhundert, vol. 2. Edited by Francesco Cotticelli and Paologiovanni Maione, 791–831. Kassel and Basel: Bärenreiter, 2010. Tuzzo, Anna Maria. “Un Manoscritto Anonimo nella Gallipoli del ’700.” Conservatorio di Musica Tito Schipa, Lecce, 2013 (unpublished undergraduate thesis). van Tour, Peter. Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. Uppsala: Uppsala Universitet, 2015 (Studia Musicologica Upsaliensia, Nova Series 25). ———. “The Lost Art of Partimento.” Early Music 41, no. 2 (2013): 340–41. ———. “Partimento Teaching according to Francesco Durante, Investigated through the Earliest Manuscript Sources.” In Studies in Historical Improvisation: From “Cantare super Librum” to Partimenti. Edited by Massimiliano Guido, 131–48. New York: Routledge, 2017. van Tour, Peter, ed. The Gallipoli Manuscript, 2 vols., Visby: Wessmans Musikförlag, 2017 (Monuments of Partimento Realizations 1). Villinger, Christine. “Mi vuoi tu corbellar”: Die opere buffe von Giovanni Paisiello. Analysen und lnterpretationen. Tutzing: Hans Schneider, 2000 (Mainzer Studien zur Musikwissenschaft 40).

Electronic Resources Digital Mozart Edition. http://dme.mozarteum.at Gjerdingen, Robert O. (Ed.), Authentic Lessons in How to Improvise and Compose in Classic European Styles. www.partimenti.org van Tour, Peter (ed.), UUPart: The Uppsala Partimento Database, Uppsala: Uppsala University. http://www2.musik.uu.se/UUPart/UUPart.php van Tour, Peter (ed.), and Paolo Sullo, UUSolf: The Uppsala Solfeggio Database, Uppsala: Uppsala University. http://www2.musik.uu.se/UUSolf/UUSolf.php

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Index Acerbo, Nicola, 45 Adams, Oliver Brantley, 58n32 Agujari, Lucrezia, 12 Asioli, Bonifazio, 41–42 Azopardi, Francesco, 58–61, 70n20, 73–75; Il Musico Prattico, 58–62, 73, 74, 111n33 Bacciagaluppi, Claudio, 45n5 Bach, Carl Philipp Emanuel, 2; Versuch über die wahre Art das Clavier zu spielen, 3 Bach, Johann Sebastian, 103n22 Baiano, Enrico, 92, 137 Baragwanath, Nicholas, 36, 58n33 Bass motions (moti del basso, movimenti del basso), 65, 77, 107 basso continuo see thoroughbass Beethoven, Ludwig van, 26, 91n49 Bonaparte see Joseph Bonaparte, Napoleon I Bötticher, Jörg-Andreas, 29n43 Broschi, Carlo see Farinelli Buhagiar, Spiridon Vincent, 58n32 Burney, Charles, 15, 16, 49, 51, 203 cadence, 27, 65-69, 76, 97, 121, 217– 18; cadenza, semplice, 65–69, 76, 217; cadenza composta, 65, 66, 68, 69, 217, 218; cadenza doppia, 65, 66, 68, 69, 77, 217, 218; cadenza breve, 66, 67, 69; cadenza lunga, 66, 68 cadenza (improvised), 7, 32, 42, 110, 113, 121, 129, 132, 133, 184

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Caffarelli (Gaetano Majorano), 32n49 Cafaro, Pasquale, 47n9 Cafiero, Rosa, 35, 44n3, 46n6 Caputi, Nicola, 107 cartella, 59, 202 castrato, 6, 42 Catelani, Angelo, 40 Catherine the Great, Empress of Russia, 2, 16, 18, 20, 83 Cavallo, Giuseppe, 45 Ceccarelli, Francesco, 42 Cedronio, Marchese Giovanni Battista, 102n18 Cervelli, Giuseppe, Piano d’un Collegio Filarmonico, 46 chant donné, 8, 60n37, 155n1 Chiarelli, Paola, 36 Chiriatti, Giuseppe, 107 Choron, Alexandre-Étienne, 11, 58 Christensen, Jesper Bøje, 29n43 Christensen, Thomas, 28, 29n42, 71n22, 75 Cimarosa, Domenico, 50, 95n3 Cinque, Filippo, 102n18 Clementi, Muzio, 4n12 Coltellini, Celeste, 113n35 corpo Armonico, 60, 75 Cotticelli, Francesco, 1n2 Cotumacci, Carlo, 50, 51, 58; Principj e Regole di Partimenti con tutte le lezioni, 51 De Brosses, Charles, 19 De Sanguine, Ignazio, 119 De’ Santi, D. Giustino, 95–97

304  ❧  index De Sianavine, Signora, 24 De Talleyrand, Auguste-Louis, 8, 24, 26–27 De Talleyrand, Charlotte, 27 De Talleyrand, Louis-Marie, 24, 25 De Talleyrand, Marie-Louise Fidèle, 24, 26 De Villeneuve, Daniel Jost, 47 DelDonna, Antonio R., 2n4, 22n22 Dellaborra, Mariateresa, 37 Demeyere, Ewald, 63n3 Di Giacomo, Salvatore, 44n3, 49, 50 Diergarten, Felix, 37n66, 38n1, 93 disposizioni (à 2 and à 3), 8, 9, 27, 32–33, 38, 40–41, 53, 56–57, 80–82, 105, 106, 112–17, 135–36, 153–63 dissonance, 27, 65, 76, 219 Dol, Giuseppe, 51, 58, 69, 71; Regole per accompagnare il Basso, 51, 64, 71 Doll, Joseph, see Dol, Giuseppe Drüner, Ulrich, 26 Durante, Francesco, 9, 10, 27, 29–31, 36n61, 37, 47n9, 50–51, 54–55, 63–64, 69, 72–73, 75, 81n43, 88, 94–100, 102–4, 107–8, 110–12, 118n41, 119, 125, 136, 179, 180, 182; Duetti Per Studio di maniera di cantare, 29; Maniera Da ben suonare il Cembalo, 10, 31, 73, 98–99, 111, 119; Regole E Partimenti Numerati e diminuiti, 54–55; Regole per imparar di sonare il Cembalo, 95–96, 99; Regole per l’Accompagnamento, 63; Studj per Cembalo con Partimenti diversi, 31n46 Durantisti, 36 Farinelli (Carlo Maria Michelangelo Nicola Broschi), 7, 32n49 Fayolle, François Joseph-Marie, 11, 203

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Fellerer, Karl Gustav, 35 Fenaroli, Fedele, 27, 33–34, 45, 63–64, 69, 76–77, 100–101, 119, 123, 202; Partimenti ossia Basso Numerato, 63, 100; Regole Musicali Per I Principianti Di Cembalo, 27, 33–34 Ferdinand IV, King of Naples, 2, 12, 16, 18 Ferrari, Giacomo Gotifredo, 25 Florimo, Francesco, 1n3, 50 Framery, Nicolas-Étienne, 58 Frescobaldi, Girolamo, 103n22 Froebe, Folker, 35, 71n23 Fuchs, Aloys, 52 fughe see fugue fugue, 8, 25, 60, 64, 82, 89, 95, 98, 102–6, 114, 165, 175–78, 180–81 Furno, Giovanni, Metodo facile, e breve, 63–64; Regole di Partimento Per imparare a sonare bene il Cembalo, 76n32 Gagliardo, Giovanni Battista, 26n33, 80n39 Galeazzi, Francesco, Elementi teoricopratici di musica, 71n25 Galiani, Abbé Ferdinando, 16, 20–21, 23 Gallipoli Manuscript, 107–8, 179, 182 Galuppi, Baldassare, 20 Gasparini, Francesco, L’Armonico pratico al cimbalo, 77 Gherardeschi, Giuseppe, 81 Gialdroni, Teresa Maria, 17n14, 113n35 Giornale Musicale del Teatro italiano di St. Pietroburgo, 20 Giovani, Giulia, 45n5 Gjerdingen, Robert O., 2n7, 35, 47n10, 54, 81n42, 85n44, 89, 121n2, 122n3, 123n4

index  ❧ 305 Grampp (Bassani), Florian, 28n39 Greco, Gaetano, 118 Grimm, Friedrich Melchior, 20–21 Grosley, Pierre-Jean, 6 Guarnaccia, Emmanuele, Metodo Nuovamente Riformato, 100–101 Guglielmi, Trattato del moderno Contrapunto, 62n24, 97–98 Hadrava, Norbert, 17, 113n35 Hasse, Johann Adolph, Artaserse, 7; Demofoonte, 6 Haydn, Joseph, 26 Heartz, Daniel, 21n21 Holtmeier, Ludwig, 37n66, 38n1, 93 Hunt, Jno Leland, 36 Imbimbo, Emanuele, 59n35, 76; Observations sur l’enseignement mutuel, 47–48, 201–5 imitation (imitazione), 60, 64, 70, 72, 81–83, 85, 86, 88, 90, 93, 101, 104–6, 114, 122–25, 127, 236 improvisation, 3, 17, 18, 33, 35, 47, 75, 118, 135-137 Insanguine, Giacomo, 63, 69; Regole con moti di Basso, 63 intavolature, 45–46, 57, 95, 118–19, 136–7 Intermezzo buffo, 12 Ivanova, Avdot’ja, 24 Joachim Murat, King of Naples, 18 Joseph Bonaparte, King of Naples, 18, 45 Joseph II, Holy Roman Emperor, 2, 16, 202 Kirnberger, Philipp, 17n14 Koopman, Ton, 95n5 La Barbiera, Baldassare, 41, 110, 125

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Laborde, Jean-Benjamin de, Essai sur la musique ancienne et moderne, 18 Latilla, Gaetano, 19, 25 Lattanzi, Alessandro, 26 Lauritano (notary), 50 Lavigna, Vincenzo, 81 Leisti, 36 Lenzi, Carlo, 81 Leo, Leonardo, 19, 36n61, 102n18 Maione, Paologiovanni, 1n2 Majorano, Gaetano, see Caffarelli Maria Carolina, Queen of Naples, 12 Maria Feodorovna, Grand Duchess of Russia, 2, 21, 23–24, 39, 84 Martini, Johann Paul Aegidius, 24 mastricello, 47 Mattheson, Johann, 28 Mayr, Simon, La Lodoïska, 27 Mellace, Raffaele, 45n5 Menke, Johannes, 37n66, 38n1, 93 modi (primo modo, secondo modo, terzo modo), 54, 98, 99, 108, 110 Monte Principale, 54, 57, 60, 116, 123 motion, types of, 69, 70; contrary motion (moto contrario), 70, 72, 76, 111, 214, 216; oblique motion (moto obliquo), 70, 214, 216; similar motion (moto retto), 70, 214, 216 Mozart, Leopold, 2, 12n9, 51 Mozart, Wolfgang Amadeus, 4n12, 12n9, 26, 42, 51, 91n49; Variations in F, K. 398 (416e), 133 Muscogiuri, Biagio, 81 mutual teaching, 204 Naples, conservatories: Conservatorio dei Poveri di Gesù Cristo, 44–45, 51, 107; Conservatorio di Sant’Onofrio, 12, 37, 44–45, 49–51, 53, 58, 63, 107, 136, 203;

306  ❧  index Naples, conservatories (cont’d) Conservatorio di Santa Maria di Loreto, 27n37, 44–45, 50, 202; Conservatorio San Pietro a Majella, 17n15, 102n18; Conservatorio Santa Maria della Pietà dei Turchini, 41n10, 44–45; Real Collegio di Musica di San Sebastiano, 27n37, 45 Naples, theaters: Teatro dei Fiorentini, 1; Teatro del Fondo, 1; Teatro di San Bartolomeo, 1; Teatro di San Carlo, 1, 16; Teatro Nuovo, 1, 12, 15; Teatro San Ferdinando, 1 Napoleon I, Emperor of the French, 2, 18, 26 Neri, Benedetto, 81 Nuti, Giulia, 28 octaves, parallel, 76, 77, 101n16 opera buffa, 1, 12, 16, 23 opera seria, 1, 16 Paisiello, Giovanni, works by (compositions): Achille in Sciro, 84; Astra coeli scintillate, 12n6, 51–53; Festa Teatrale in Musica, see Peleo e Teti; Harpsichord Concerto in C major, 24; Harpsichord Concerto in G minor, 84–85; I filosofi immaginari, 133n10; Il barbiere di Siviglia, 19, 20, 84; Il Demetrio, 83, 84; Il furbo malaccorto, 12; Il Negligente, 86–87; Il re Teodoro in Venezia, 16; L’idolo cinese, 12, 83; Le ’mbroglie de le bajasse, 12; Le trame per amore, 15; Lucio Papirio dittatore, 12; Nina ossia la Pazza per amore, 91n49; Nitteti, 20–21, 84; Peleo e Teti, 12–14; Socrate immaginario, 23; Te Deum, 18 Paisiello, Giovanni, works by (theoretical/didactic): Disposizioni à 2 and à 3, 8–9, 27, 32–33, 38, 40–41,

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56–57, 80–82, 105–6, 112–17, 135, 153–63; Lo studente del contropunto, 33n53, 80; Raccolta di Varij Rondeaux e Capricci, 2–3, 5, 9, 19, 21–22, 37, 84, 121, 127–34, 184–99 palimpsestus see cartella Panareo, Salvatore, 11n2, 12n5, 16n12, 23n23 partimenti diminuiti, 9, 54–55, 72, 88, 95, 98–99, 110, 112, 119–20 partimenti numerati, 54 55, 98 Paul I, Tsar of Russia, 23 pedal point (pedale), 53, 69, 81, 124 Perfidia, 102 Pergolesi, Giovanni Battista, 19 Piccini, Nicola, 27n38 progression see bass motions Porpora, Nicola, 47n9 Pulli, Pietro, 6n14, 9, 109, 111–12 Quantz, Johann Joachim, 2 Rameau, Jean-Philippe, 75 Reichardt, Johann Friedrich, 94 Ricupero, Francesco, 46, 118 Rinaldo di Capua, 19 Robinson, Michael, 1n2, 12n7, 39, 45n4, 51n24, 86n45 Romanesca bass, 122 Rousseau, Jean-Jacques, 28–29, 59n35, 94 Rousset, Christophe, 95n5 Rule of the Octave (RO), 65, 71–72, 74–75, 78 Sacchi, Giovenale, 7 Sala, Nicola, 47n9 Salari, Francesco, 81 Salini, Giovanni, 81 Sanguinetti, Giorgio, 3, 28, 36, 40, 64–65

index  ❧ 307 Santini, Abbate Fortunato, 35 Santucci, Marco, 101 Satzmodelle, 35n55, 71n23 Scale mutation, 65, 78-79, 117 Scarlatti, Alessandro, 19, 51 Scarlatti, Domenico, 88, 90; Sonata K. 45 in D major, 89; Sonata K. 52 in D minor, 90–91; Sonata K. 58 in C minor, 103; Sonata K. 62 in A major, 90 schemata, 35, 71, 81, 120, 122 Schulthesius, Paul, 17 Serebrennikov, Maxim, 23, 24, 39, 102n19 Setz-Kunst, 29 Sigismondo, Giuseppe, 10, 31, 47n11 solfeggi, 3, 6n14, 9, 27, 32, 36–38, 41–42, 45–48, 57, 73, 109–112, 120, 125, 136, 207–10 solfeggi diminuiti, 9, 109–10, 112, 120 Sophie Dorothee von Württemberg, see Maria Feodorovna, Grand Duchess of Russia Spontini, Gaspare, 27n38 St. Onuphrius, 58n33 Stein, Johann Andreas, 17n14 stile antico, 61, 64n7, 89 suspensions, 60, 65, 73, 75, 76, 101. See also dissonance Sweelinck, Jan Pieterszoon, 103n22

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Tagliavini, Luigi Fernando, 95n4 Telemann, Georg Philipp, Methodische Sonaten, 111n34 thoroughbass (basso continuo), 10, 24, 28–29, 31, 33, 35, 71n24, 102n19, 125, 136, 213 Traetta, Tommaso, 20 Tritto, Giacomo, 27n37, 45 Tufano, Lucio, 44n3 Tuzzo, Anna Maria, 107n25 Uppsala Partimento Database, 8, 41n9, 80, 98n12 Uppsala Solfeggio Database, 41 van Tour, Peter, 3, 8n18, 32n51, 36, 40n6, 72, 80n41, 105, 107n26, 109n29 Veneziano, Gaetano, 45 Vessella Manuscript, 102–3, 125, 180–81 Vessella, Alessandro, 102n18 Villinger, Christine, 1n1 Vinci, Leonardo, 19 Walther, Johann Gottfried, 59n35 Zanetti, Francesco, 101 zibaldone, 50, 101 Zingarelli, Niccolò Antonio, 47n9