0:00 Intro 0:36 Interview Start 1:53 Background and what you've been up to the last 4 years 3:43 Can you describe the scale of the scholarship needed to revive partimento 5:29 How do the partimenti appear in the database? 6:48 An example of a misattribution of a partimento in the database 7:39 Do we have all of the manuscripts of partimento catalogued in the database? 8:27 Is there a composer in the Neapolitan school who needs more attention? 9:14 What's the difference in scholarship between with the solfeggio and partimento with respect to the database? 10:30 Introduction to Peter's presentation 15:38 Did they have ear training classes in Naples? 17:28 What's the difference in fugues between Bach and the Neapolitan tradition? 18:34 André Gedalge's academic fugue 19:45 Two voiced fugues 22:14 Leo the Opera composer and Durante the Church Composer and yet differing methods of instruction 24:26 "Keyboard fluency and skills in modulation" 31:09 Leo Partimento - Largo 32:40 Are the partimenti grouped by the same key? 38:04 How does Leonardo Leo teach elementary concepts like 4-3 and 9-8? 38:41 Durante Partimento example 40:00 Looking at a partimento and being able to identify the key changes and cadences easily 41:17 Are partimenti improvised on the spot? 43:39 Durante's approach to scales and the Rule of the Octave 44:59 What does Durante mean by scales? 48:53 Comparing the difference between Leo and Durante partimenti 55:47 The nature of the Leo vs Durante School tension 57:58 Leo and Durante's personal relationship 1:01:36 How many variations of realizations should a student make out of a single partimento? 1:03:33 Are the two traditions of Leo and Durante so drastically philosophically different or is there great overlap? 1:05:06 Is Fenaroli a blend of Durante and Leonardo Leo because we find he wrote more fugues later? 1:13:10 Do we have keyboard partimento realizations by students of the Leo school? 1:14:00 Are Leo's toccatas good models for partimento realizations? 1:15:45 What's your preference between 2-voice or 3-voice realizations? 1:21:29 Padre Martini 1:25:01 Stanislao Mattei 1:26:50 The Gallipoli Manuscripts 1:30:47 Wrapping Up 1:32:26 Outro
So much fascinating information! How exciting that there are Leo, Fago and Sala partimenti with corresponding compositions. It’s sad to hear about the decline of music teaching in Naples towards the end of the century. Someone should make a film that takes place in Naples and in the conservatories, churches and opera houses in the early 1700’s
Excellent conversation, important stuff dealt with here; both the Martini and Mattei books have influenced my teaching, and are already shaping the ears and minds of young students; they are relavent across the spectrum. Nikhil, please consider inviting Edoardo Bellotti for an interview, already mentioned so many times by your guests, who has done for 17thC practical counterpoint what Peter van Tour has done for the 18th. His editions of Banchieri and Spiridione might be a 'next step' for anyone cutting their teeth on the material discussed here.
Hi Nikhil - please consider starting to post your catalog on Spotify again - I personally find your podcast extremely useful and fascinating, but my 'podcast time' is during the workday, and I cannot play videos at work. If there is an explicit reason why you do not post to Spotify anymore, no need to explain to me - I'm sure it's reasonable. Just wishing I could listen to this episode today! -Wesley Ballard
@@NikhilHoganShow Thanks for the response - I'm listening to the second John Mortensen episode on Spotify right now! I am so excited about all that you are doing. Looking forward to whatever comes next!
Notes to self. Leo was great composer. Solfegi, are they compositions? Why so long to put solfegi in database? Example of solfegi. Lineages of partimenti Other schools, naples, bolgna Castrati as copiests.unsuccesful Leo emphasized solfegi. Solfegi was Canto. Nothing but fugue in students notebooks. Fugue in Naples are looser than bachs more improvastory 2 part fugue for students. Durante school downplayed counterpoint. Leo more counterpoint .Durante emphasized flexibility
0:00 Intro
0:36 Interview Start
1:53 Background and what you've been up to the last 4 years
3:43 Can you describe the scale of the scholarship needed to revive partimento
5:29 How do the partimenti appear in the database?
6:48 An example of a misattribution of a partimento in the database
7:39 Do we have all of the manuscripts of partimento catalogued in the database?
8:27 Is there a composer in the Neapolitan school who needs more attention?
9:14 What's the difference in scholarship between with the solfeggio and partimento with respect to the database?
10:30 Introduction to Peter's presentation
15:38 Did they have ear training classes in Naples?
17:28 What's the difference in fugues between Bach and the Neapolitan tradition?
18:34 André Gedalge's academic fugue
19:45 Two voiced fugues
22:14 Leo the Opera composer and Durante the Church Composer and yet differing methods of instruction
24:26 "Keyboard fluency and skills in modulation"
31:09 Leo Partimento - Largo
32:40 Are the partimenti grouped by the same key?
38:04 How does Leonardo Leo teach elementary concepts like 4-3 and 9-8?
38:41 Durante Partimento example
40:00 Looking at a partimento and being able to identify the key changes and cadences easily
41:17 Are partimenti improvised on the spot?
43:39 Durante's approach to scales and the Rule of the Octave
44:59 What does Durante mean by scales?
48:53 Comparing the difference between Leo and Durante partimenti
55:47 The nature of the Leo vs Durante School tension
57:58 Leo and Durante's personal relationship
1:01:36 How many variations of realizations should a student make out of a single partimento?
1:03:33 Are the two traditions of Leo and Durante so drastically philosophically different or is there great overlap?
1:05:06 Is Fenaroli a blend of Durante and Leonardo Leo because we find he wrote more fugues later?
1:13:10 Do we have keyboard partimento realizations by students of the Leo school?
1:14:00 Are Leo's toccatas good models for partimento realizations?
1:15:45 What's your preference between 2-voice or 3-voice realizations?
1:21:29 Padre Martini
1:25:01 Stanislao Mattei
1:26:50 The Gallipoli Manuscripts
1:30:47 Wrapping Up
1:32:26 Outro
This presentation by Dr. Peter is awesome
Great episode! Tack så mycket (thank you very much) to the both of you.
Glad you enjoyed it!
So much fascinating information! How exciting that there are Leo, Fago and Sala partimenti with corresponding compositions. It’s sad to hear about the decline of music teaching in Naples towards the end of the century. Someone should make a film that takes place in Naples and in the conservatories, churches and opera houses in the early 1700’s
Glad to have you back!!
I appreciate that!
Excellent conversation, important stuff dealt with here; both the Martini and Mattei books have influenced my teaching, and are already shaping the ears and minds of young students; they are relavent across the spectrum.
Nikhil, please consider inviting Edoardo Bellotti for an interview, already mentioned so many times by your guests, who has done for 17thC practical counterpoint what Peter van Tour has done for the 18th. His editions of Banchieri and Spiridione might be a 'next step' for anyone cutting their teeth on the material discussed here.
Thank you Kosmo! I think I can connect with Professor Bellotti, Professor Nicoleta Paraschivescu knows him.
excited for this one!!
Hi Nikhil - please consider starting to post your catalog on Spotify again - I personally find your podcast extremely useful and fascinating, but my 'podcast time' is during the workday, and I cannot play videos at work. If there is an explicit reason why you do not post to Spotify anymore, no need to explain to me - I'm sure it's reasonable. Just wishing I could listen to this episode today!
-Wesley Ballard
Definitely a long term plan. 👍
@@NikhilHoganShow Thanks for the response - I'm listening to the second John Mortensen episode on Spotify right now! I am so excited about all that you are doing. Looking forward to whatever comes next!
@@wesleyballard860 thank you so much! 🙏
15:00 THIS REMARK ABOUT EARTRAINING IS CRUCIAL! No Eartraining was needed because it was already going on the whole time.
Notes to self. Leo was great composer. Solfegi, are they compositions? Why so long to put solfegi in database? Example of solfegi. Lineages of partimenti
Other schools, naples, bolgna
Castrati as copiests.unsuccesful
Leo emphasized solfegi. Solfegi was Canto. Nothing but fugue in students notebooks. Fugue in Naples are looser than bachs more improvastory
2 part fugue for students. Durante school downplayed counterpoint. Leo more counterpoint
.Durante emphasized flexibility
Old tradition was more counterpoint