The Practical Application of Partimenti Today

Abstract

Per aspera ad astra. 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: 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. 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. 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. The music rises by the span of an octave in the next four measures, ultimately modulating to the dominant key (mm. 10–14).

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