Partimento as a research object in the 21st century musicology
DOI:
https://doi.org/10.21638/11701/spbu15.2018.202Abstract
In the 18th century, the Italian clavier tradition of partimento was widespread in Europe. It is being considered as a research object only from the end of the 20th century, and nowadays it is being explored by scholars from the various countries. Despite the ongoing increase in the number of publications on the partimento, its general idea is still ambiguous because of the complexity of the practice. Today the existence of its different interpretations (from the hyperbolization of its significance in the music of the eighteenth century to its denial) calls for the need to turn to the features of the scientific reception of partimento. In the works of the researchers, the practice is shown from the various aspects. The main discrepancies are related to the comprehension of the problem of the phenomenon of partimento. They extend from the discussion of the etymology to the comprehension of the peculiarities of the practice: the correlation of its instructive and artistic nature; features of improvised and composed music; its connection with basso continuo. The article highlights the most controversial issues connected with the understanding of the partimento.
Keywords:
partimento, improvisation, basso continuo, clavier music, music pedagogy of the 18th century, Italian music of the 18th century
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References
Литература
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36. Demeyere, Ewald. “La fugue partimento: exercice ou composition?” In Les écritures musicales, édité par Jean-Pierre Deleuze, Sébastien Van Bellegem, 125–35. Bruxelles: Éditions Margada, 2007.
37. Goede, Thérèse de. “Giorgio Sanguinetti, The Art of Partimento. Review”. Dutch Journal of Music Theory 18, no. 3 (2013): 194–202.
38. Tour, Peter van. Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. Uppsala: Studia musicologica Upsaliensia, 2015.
39. Tour, Peter van. “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.
40. Fellerer, Karl Gustav, ed. Der Partimento-Spieler: Übungen in Generalbass-Spiel und in gebundener Improvisation. Leipzig: Breitkopf & Härtel, 1940.
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References
1. Holtmeier, Ludwig. “Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave”. Journal of Music Theory, 2007, vol. 57, no. 1, рр. 5–49.
2. Tour, Peter van. “The Lost Art of Partimento”. Early Music 31, no. 2 (2003): 340–1.
3. Mitiukova, Zalina and Aleksandr Maklygin. “Partimento kak vid improvizatsionnoi pedagogicheskoi praktiki XVIII veka” [“Partimento as an improvisational educational practice of the 18th century”]. Muzyka. Iskusstvo, nauka, praktika [Music. Art, research, practice], no. 3/11 (2015): 11–22. (In Russian)
4. Paisiello, Giovanni. Regole per bene accompagnare il Partimento, o sia il Basso Fondamentale sopra il Cembalo Del Signor Maestro Giovanni Paisiello. St. Petersburg: Tipografïia morskago shliakhetnago Kadetskago Korpusa, 1782.
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10. Lutz, Rudolf. “The playing of Partimento”. In Partimento and Continuo Playing in Theory and Practice, edited by Dirk Moelants, 113–27. Leuven: Leuven University Press, 2010.
11. Rabinovitch, Gilad and Johnandrew Slominski. “Towards a Galant Pedagogy: Partimenti and Schemata as Tools in the Pedagogy of Eighteenth-Century Style Improvisation”. Music Theory Online 21, no. 3 (2015). Accessed July 10, 2017. http://www.mtosmt.org/issues/mto.15.21.3/mto.15.21.3.rabinovitch.php.
12. Borgir, Tharald. The Performance of the Basso Continuo in Italian Baroque Music. Ann-Arbor: UMI Research Press, 1987.
13. Lester, Joel. Compositional Theory in the Eighteenth Century. London: Harvard University Press, 1992.
14. Christensen, Thomas. “The ‘Règle de l’Octave’ in Thorough-Bass Theory and Practice”. Acta Musicologica, vol. 64, fasc. 2 (1992): 91–117.
15. Cafiero, Rosa. “La didattica del partimento a Napoli fra Settecento e Ottocento: note sulla fortuna delle Regole di Carlo Cotumacci”. In Gli affetti convenienti all’idee. Studi sulla musica vocale italiana, a cura di Maria Caraci Vela, Rosa Cafiero, Angela Romagnoli, 549–79. Naples: Edizioni Scientifiche Italiane, 1993.
16. Rosenberg, Jesse. “Il ‘leista’ Raimondi contro il ‘durantista’ Bellini”. In Francesco Florimo e l’Ottocento musicale, a cura di Rosa Cafiero e Marina Marino, 75–97. Reggio Calabria: Jason, 1999.
17. Gjerdingen, Robert. “Gebrauchs-Formulas”. Music Theory Spectrum 33, iss. 2 (2011): 191–9.
18. Gjerdingen, Robert. Music in the Galant Style. London: Oxford University Press, 2007.
19. Gjerdingen, Robert. “Partimento, que me veux-tu?”. Journal of Music Theory 51, no. 1 (2007): 85–135.
20. Arenskii, Anton. Sbornik zadach (1000) dlia prakticheskogo izucheniia garmonii. Moscow: Muzgiz, 1960. (In Russian)
21. Taruskin, Richard. “Catching up with Rimsky-Korsakov”. Music Theory Spectrum, no. 33/2 (2011): 169–85.
22. Renwick, William. The Langloz Manuscript: Fugal Improvisation through Figured Bass. Edition and facsimile, with introductory essay and performance notes by William Renwick. New York: Oxford University Press, 2001.
23. Fellerer, Karl Gustav. “Le Partimento et l’organiste au XVIIIe siѐcle”. Music Sacra, no. 41 (1934): 251–4.
24. Serebrennikov, Maksim. “Sol’naia klavirnaia general-bas-fuga epokhi barokko”. PhD diss., Gos. institut iskusstvoznaniia, 2013. (In Russian)
25. Sanguinetti, Giorgio. The Art of Partimento: History, Theory and Practice. London: Oxford University Press, 2012.
26. Kirchhoff Gottfried. L’ABC Musical. Faksimil’noe vosproizvedenie original’nogo izdaniia ok. 1734 goda. Implementation of basso continuo, introductory article and comments by Anatolii Milka. St. Petersburg: Kompozitor, 2004. (In Russian)
27. Milka, Anatolii. “Preface to the Facsimile Reproduction of the Original Edition of Gottfried Kirchhoff’s L’A. B. C. Musical: Contenant des Preludes et des Fugues les Tons Pour l’Orgue, ou le Clavecin Fort utile aux disciples pour aprendre a accompagner de la Basse Continue et a faire des Preludes et des Fugues. Amsterdam, c.1734”. Bach: The Journal of the Riemenschneider Bach Institute 42, no. 2 (2011): 1–39.
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31. Tour, Peter van, ed. The 189 Partimenti of Nicola Sala: Complete Edition with Critical Commentary. Uppsala: Acta Universitatis Upsaliensis, 2017, vols. 1–3.
32. Tour, Peter van, ed. The Gallipoli Manuscript: Partimento Realizations of Francesco Durante’s Studj per Cembalo con partimenti diversi. Visby: Wessmans Musikförlag, 2017, vol. 1a, 1b.
33. Sanguinetti, Giorgio. “The Realization of Partimenti: An Introduction”. Journal of Music Theory 51, no. 1 (2007): 51–83.
34. Rousseau, Jean-Jacques. Encyclopédie, ou Dictionnarie raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, édité par Denis Diderot and Jean le Rond d’Alembert. Paris, 1751, vol. 15. Accessed December 15, 2017. https://fr.wikisource.org/wiki/L’Encyclopédie/1re_édition/SONATE.
35. Paraschivescu, Nicoleta. “Una chiave per comprendere la prassi del partimento: la sonata Perfidia di Francesco Durante”. Rivista di Analisi e Teoria Musicale, no. 15 (2009): 50–65.
36. Demeyere, Ewald. “La fugue partimento: exercice ou composition?” In Les écritures musicales, édité par Jean-Pierre Deleuze, Sébastien Van Bellegem, 125–35. Bruxelles: Éditions Margada, 2007.
37. Goede, Thérèse de. “Giorgio Sanguinetti, The Art of Partimento. Review”. Dutch Journal of Music Theory 18, no. 3 (2013): 194–202.
38. Tour, Peter van. Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples. Uppsala: Studia musicologica Upsaliensia, 2015.
39. Tour, Peter van. “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.
40. Fellerer, Karl Gustav, ed. Der Partimento-Spieler: Übungen in Generalbass-Spiel und in gebundener Improvisation. Leipzig: Breitkopf & Härtel, 1940.
41. Williams, Peter and Rosa Cafiero. “Partimento”. The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie and John Tyrrell. 2nd ed. London: Macmillan, 2001, vol. 19. Accessed December 20, 2017. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo–9781561592630-e–0000020981.
42. Bach, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen. 2 Bände. Berlin, 1753–1762. Translated as Essay on the True Art of Playing Keyboard Instruments by Carl Philipp Emanuel Bach, edited by William John Mitchell. 2nd ed. London: Cassell and Company, 1951.
43. Christensen, Thomas. “The Improvisatory Moment”. In Studies in Historical Improvisation: From Cantare Super Librum to Partimenti, edited by Massimiliano Guido, 9–24. New York: Routledge, 2017.
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Published
2018-06-08
How to Cite
Mitiukova, Z. Z. (2018). Partimento as a research object in the 21st century musicology. Vestnik of Saint Petersburg University. Arts, 8(2), 179–194. https://doi.org/10.21638/11701/spbu15.2018.202
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Music
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