0:00 Intro 0:36 Start 1:14 What have you been up to since the last interview? 5:01 Who was Fedele Fenaroli? Why should we use his partimenti? 12:20 Did he teach during the political turmoil of the 1770s, when there was a decline in the level of music education in Naples? 17:49 Primary Sources 22:58 Did Fenaroli teach with the same for partimenti exercises for 50 years? 24:30 Are there contemporary accounts of Fenaroli's reputation? 29:58 Teaching beginners with lots of notes in the chords as opposed to less notes 34:24 Was partimenti instruction only reserved for the future composers in the Neapolitan conservatories? 41:39 Does Fenaroli expect a high level of sophistication in realization for the first book? 47:13 How many realizations should you do before going to the next partimento? 49:11 Book 2 51:07 Does Dissonance = Suspension? 57:09 Are dissonances "superior" to position changes? 1:03:47 Why is there such an interesting chord on the descending 6th scale degree in the rule of the octave? 1:10:55 How did you come to decide on a definitive or authoritative version of each Fenaroli partimento? 1:15:48 Why not just use Imbimbo's edition of Fenaroli, which has Fenaroli's personal endorsement? 1:19:39 Talking about Fenaroli's "Book 4" which deals with Fugues 1:24:41 Will you be creating a critical edition of Book 4? 1:30:54 Doesn't Bach strictly keep a certain number of voices in his fugues? 1:25:27 Book 3 1:37:41 Final observation and note, possibly attributed to Fenaroli 1:41:05 Ewald's reaction to his old television appearance 1:43:55 Ewald's new blog: Essaysonmusic.com 1:49:50 Basso Continuo trained musicians are able to understand music, even later styles, faster and better 1:55:16 Wrapping Up 1:56:22 Outro
This interview is so full of great questions and explanations. I need to make a commitment to myself to watch the whole thing through - probably several times!
1:24:43 - Why Ewald isn't going to do a critical edition of Book 4 (Imbimbo has done a good enough job) 1:32:28 - Switching the number of voices in a partimento depending on the musical situation 43:09 - Teaching the same basic partimento with different realizations, depending on the level of the student 1:27:08 - A diatonic vs. a chromatic realization by Fenaroli of a descending scale in the bass, treating the bass with suspensions These were some highlights of the interview for me. Great job, Nikhil, and so nice to have Demeyere on the show again!
Such a useful interview for those of us trying to learn the old school. I'll be watching this one more than once. Sincere thanks to you both. Many insights and nuances.
fantastic video. Unfortunately I didn't fully get the part from about 59:50 to about 1:07:00 where Ewald explains the modulation based on the bass moving down to E instead of up to G, though I'd really like to understand. Does anyone have a tip on a youtube video or blog that explains this part a bit more, or that could summarize this? I feel the "aha i get it now" is right around the corner, so any tips are appreciated!
If the bass moves back to G, then all the upper voices are notes that are still in the key of G major - G, B, and D, in some order. If the bass moves down to E, then the upper voices include a C-sharp. C-sharp is not in the key of G, so in modern language, it's a brief tonicization of the key of D major. Afterward, this D major key can either be confirmed (1:05:35), or the player can go back to G major (1:05:14). Hope that helps!
tx it does! Ive subscribed to your channel several months ago 😊 So do i get it right that the E in m2 suggests a modulation to D, and to highlight this, you should already raise the c to c# in measure 1 during the bass suspension-resolution? I think im now also getting the descending RO comment, i think he says: if in G you do G F E D, it may seem that you didnt do 1765 in G, but it may sound as if you did 4321 in D. Therefore in descending RO you include a voicing with a c or C# so there is no discussion that you are descending in G or D scale?
@@blouies I think that's pretty much right - I don't have extra information besides what Demeyere says, but what I understand him to be saying is that G F♯ E D sounds like 4321 in D major, so to emphasize that sound, in the style of Fenaroli, the interval ♯4 was used over the bass G. Thanks for subscribing to my channel too! I've been busy getting better at sight-reading and basic organ skills, but hopefully one of these days I'll be able to upload something new again :)
40:08 That statement is actually more true than funny. We have gone overboard with the talking and the analyzing. Not only can it become boring really quickly, it also wastes such precious little time that exists in student to teacher context. For instance, a student starts playing their first piece from sheet music, a teacher can easily spend the entire lesson explaining what meter is, the different kinds of meter, what a key signature is, the different kinds of key signatures, what every note symbol is, etc. But isn't that a giant waste of time? Does it even matter? Why not simply tell them what the notes mean in relation to the keyboard as they play, say "this symbol means there is 3 counts to a beat, so 1 2 3 start playing", even be nonchalant about it. The goal should be to have them play as much as possible, as difficult as possible, as quickly as possible. Like lesson one, draw them an C octave up and down, play it, have them replicate it, then write out the rule of the octave over it, play it, and have them replicate it. It would be interesting to try, I suspect that people learn it way faster than we currently think, that they only need a tiny amount of all this theorizing and breaking things down into small pieces.
0:00 Intro
0:36 Start
1:14 What have you been up to since the last interview?
5:01 Who was Fedele Fenaroli? Why should we use his partimenti?
12:20 Did he teach during the political turmoil of the 1770s, when there was a decline in the level of music education in Naples?
17:49 Primary Sources
22:58 Did Fenaroli teach with the same for partimenti exercises for 50 years?
24:30 Are there contemporary accounts of Fenaroli's reputation?
29:58 Teaching beginners with lots of notes in the chords as opposed to less notes
34:24 Was partimenti instruction only reserved for the future composers in the Neapolitan conservatories?
41:39 Does Fenaroli expect a high level of sophistication in realization for the first book?
47:13 How many realizations should you do before going to the next partimento?
49:11 Book 2
51:07 Does Dissonance = Suspension?
57:09 Are dissonances "superior" to position changes?
1:03:47 Why is there such an interesting chord on the descending 6th scale degree in the rule of the octave?
1:10:55 How did you come to decide on a definitive or authoritative version of each Fenaroli partimento?
1:15:48 Why not just use Imbimbo's edition of Fenaroli, which has Fenaroli's personal endorsement?
1:19:39 Talking about Fenaroli's "Book 4" which deals with Fugues
1:24:41 Will you be creating a critical edition of Book 4?
1:30:54 Doesn't Bach strictly keep a certain number of voices in his fugues?
1:25:27 Book 3
1:37:41 Final observation and note, possibly attributed to Fenaroli
1:41:05 Ewald's reaction to his old television appearance
1:43:55 Ewald's new blog: Essaysonmusic.com
1:49:50 Basso Continuo trained musicians are able to understand music, even later styles, faster and better
1:55:16 Wrapping Up
1:56:22 Outro
This interview is so full of great questions and explanations. I need to make a commitment to myself to watch the whole thing through - probably several times!
Fantastic video 👍
You have so many excellent interviews with excellent musicians. But this was really something special!
1:24:43 - Why Ewald isn't going to do a critical edition of Book 4 (Imbimbo has done a good enough job)
1:32:28 - Switching the number of voices in a partimento depending on the musical situation
43:09 - Teaching the same basic partimento with different realizations, depending on the level of the student
1:27:08 - A diatonic vs. a chromatic realization by Fenaroli of a descending scale in the bass, treating the bass with suspensions
These were some highlights of the interview for me. Great job, Nikhil, and so nice to have Demeyere on the show again!
Thanks so much Alessandro! And nice time stamps!
@@NikhilHoganShow 🙌🏻
Yes! Been anticipating this. Looks like I'm arriving early.
Glad to hear it!
Mr. Hogan, this is wonderful.
Thank you, I really appreciate that.
Such a useful interview for those of us trying to learn the old school. I'll be watching this one more than once. Sincere thanks to you both. Many insights and nuances.
Thank you for your kind words.
fantastic video. Unfortunately I didn't fully get the part from about 59:50 to about 1:07:00 where Ewald explains the modulation based on the bass moving down to E instead of up to G, though I'd really like to understand. Does anyone have a tip on a youtube video or blog that explains this part a bit more, or that could summarize this? I feel the "aha i get it now" is right around the corner, so any tips are appreciated!
If the bass moves back to G, then all the upper voices are notes that are still in the key of G major - G, B, and D, in some order.
If the bass moves down to E, then the upper voices include a C-sharp. C-sharp is not in the key of G, so in modern language, it's a brief tonicization of the key of D major. Afterward, this D major key can either be confirmed (1:05:35), or the player can go back to G major (1:05:14).
Hope that helps!
tx it does! Ive subscribed to your channel several months ago 😊 So do i get it right that the E in m2 suggests a modulation to D, and to highlight this, you should already raise the c to c# in measure 1 during the bass suspension-resolution? I think im now also getting the descending RO comment, i think he says: if in G you do G F E D, it may seem that you didnt do 1765 in G, but it may sound as if you did 4321 in D. Therefore in descending RO you include a voicing with a c or C# so there is no discussion that you are descending in G or D scale?
@@blouies I think that's pretty much right - I don't have extra information besides what Demeyere says, but what I understand him to be saying is that G F♯ E D sounds like 4321 in D major, so to emphasize that sound, in the style of Fenaroli, the interval ♯4 was used over the bass G.
Thanks for subscribing to my channel too! I've been busy getting better at sight-reading and basic organ skills, but hopefully one of these days I'll be able to upload something new again :)
40:08 That statement is actually more true than funny. We have gone overboard with the talking and the analyzing. Not only can it become boring really quickly, it also wastes such precious little time that exists in student to teacher context.
For instance, a student starts playing their first piece from sheet music, a teacher can easily spend the entire lesson explaining what meter is, the different kinds of meter, what a key signature is, the different kinds of key signatures, what every note symbol is, etc. But isn't that a giant waste of time? Does it even matter? Why not simply tell them what the notes mean in relation to the keyboard as they play, say "this symbol means there is 3 counts to a beat, so 1 2 3 start playing", even be nonchalant about it. The goal should be to have them play as much as possible, as difficult as possible, as quickly as possible. Like lesson one, draw them an C octave up and down, play it, have them replicate it, then write out the rule of the octave over it, play it, and have them replicate it. It would be interesting to try, I suspect that people learn it way faster than we currently think, that they only need a tiny amount of all this theorizing and breaking things down into small pieces.
“Mattheson is a bad composer” YOU HEARD IT HERE. I’M NOT CRAZY. :P