Ringrazio Diego Cantalupi per aver segnalato sulla sua pagina Facebook il link all’incredibile lavoro che Robert O. Gjerdingen all’interno della Northwestern University ha potuto dedicare all’immenso corpus dei “partimenti”: Monuments of Partimenti.
Dalla pagina esplicativa:
Collections of partimenti, by contrast, contained very few words and often hundreds of pages of music. A collection might begin with a statement of the rules or regole. Then there might be some pages of figured basses. The figures were like the training wheels on a child’s bicycle; once the apprentice achieved a measure of competence, the figures were removed. The bulk of the ensuing partimenti were unfigured, and hence largely incomprehensible to musical amateurs. Even more restricted to insiders were the advanced, fugal partimenti that featured rapid changes of clef and required a knowledge of preferred contrapuntal combinations. Without access to a collection of the more explicit regole, like those of the great Neapolitan maestros Fedele Fenaroli and Giovanni Furno translated in this series, an outsider might never realize that an awareness of the scale degrees in each phrase or cadence was a prerequisite for understanding a partimento. The key changed rapidly in this repertory, and the partimentisto needed to be aware of conflicts and overlaps between local and more global contexts.