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The Figured Bass Accompaniment in Europe

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VIRTUAL CONFERENCE

Organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

PALMA CHORALIS® ̇ Research Group & Early Music Ensemble

Dipartimento di Musica Antica ‘Città di Brescia’

9-12 September 2021

Programme

 

THURSDAY 9 SEPTEMBER

10.15-10.30 Opening
• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
• Marcello Mazzetti & Livio Ticli (University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’)

10.30-11.30 Bass Accompaniments in France
(Chair: Massimiliano Sala, Centro Studi Opera Omnia Luigi Boccherini)
• David Chung (Hong Kong Baptist University), A Study of the Preludes with Figured Bass in F-Pn Vm8 1139
• Francesca Mignogna (Sorbonne Université/IReMus – Paris), Il basso continuo nelle composizioni per i defunti di Pierre-Louis Pollio (1724-1796). Uso, notazione, pratica e problematiche relative all’edizione moderna della partitura

12.00-13.00

• Clotilde Verwaerde (Université Paris 8 – Musidanse), The Three-voice Texture in 18th-century French Continuo

• Marie Demeilliez (Université Grenoble Alpes), The «Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers» (1751-1772): A Useful Source for Accompaniment on «Basso Continuo»?

••
15.00-16.00 Keynote Speaker 1

• Thérèse de Goede (Conservatorium van Amsterdam), UNfigured Bass Accompaniment in Europe

16.30-18.30 Written-out Accompaniments
(Chair: Marcello Mazzetti, University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’)

• Hilary Metzger (École Nationale de Musique de Villeurbanne), National Distinctions in Lower String Realization of Secco Recitative in the 19th Century

• Christopher Suckling (Guildhall School of Music & Drama, London), The Realisation of Recitative Accompaniment by the Handelian Cellist: A Dialogue between Historical and Modern Pedagogies

• Thomas Leininger (Schola Cantorum Basiliensis), Organ Accompaniment in Handel’s Oratorios — The Aylesford Organ Parts

• Stephan Lewandowski (Brandenburgische Technische Universität Cottbus- Senftenberg), Yes, We Can! Learning to Play the Organ Good and Regularly Within Two or Three Months as Promised and Presented by Sebastian Prixner (1744-1799)

FRIDAY 10 SEPTEMBER

9.30-11.00 Training: Performance Skills, Improvisation and Teachings
(Chair: Marcello Mazzetti, University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’)

• Edoardo Bellotti (Hochschule für Künste, Bremen), «Tanquam asinus ad liram»: basso continuo e contrappunto tra professionalità ed amatorialità nelle fonti seicentesche

• Massimiliano Guido (Università degli Studi di Pavia), L’importanza degli strumenti musicali nel processo dell’improvvisazione (storica)
• Augusta Campagne (Universität für Musik und darstellende Kunst, Wien), Keyboard Accompaniment in Italian Music around 1600 Notated in Score

11.30-13.00

• Livio Ticli (University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’), «Basso Continuo» as a «Concertato» Practice: Improvisation, Ornamentation and Counterpoint

• Thomas Allery (Royal College of Music, London), ‘Thorough-Bass Made Easy’: The Pedagogical Value of Figured Bass in Musical Education Today

• Justin Ratel (Conservatoire National Supérieur de Musique et de Danse de Paris), Réutilisation et transformation d’une matière pédagogique : la basse chiffrée comme pratique scolaire dans les premières années du Conservatoire de Paris

••

14.30-16.30 Continuo Performance Practice
(Chair: Livio Ticli, University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’)

• Michael Fuerst (Hochschule für Künste, Bremen), Hieronymus Praetorius, Multiple-Bass Notation in Organ Parts, and Continuo Performance Practices of Polychoral Music in the Hanseatic Cities of Northern Europe

• Valeria M. R. Mannoia (Università degli Studi di Pavia, Cremona), Differenti bassi per differenti tradizioni musicali – I bassi seguenti italiani in alcune antologie tedesche del Seicento

• Marcello Mazzetti (University of Huddersfield, Palma Choralis, Early Music Department ‘Città di Brescia’), Geography Matters: Brescian Sources on Instrumental Accompaniment between 16th and 17th Centuries

• Domen Marinčič (Independent Scholar, Ljubljana), «Basso Continuo» Notation in the «Parnassus Musicus Ferdinandaeus» (1615) and its Implications for Performance

17.00-18.00 Keynote Speaker 2
• Thomas Christensen (University of Chicago, IL), «Das Generalbass-Zeitalter» — Then and Now

SATURDAY 11 SEPTEMBER

9.30-11.00 From Palestrina to Mahler
(Chair: Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini)
• Bella Brover-Lubovsky – Carmel Curiel (Jerusalem Academy of Music and Dance), Figured Bass in Francesco Antonio Calegari’s Arrangements of Palestrina’s «8 Magnificati à 4»
• Thomas Neal (Independent Scholar, Oxford), Between Practice and Print: Performing Palestrina’s «Missarum liber quartus» (1582) with Alessandro Nuvoloni’s «basso prencipale» (1610)
• Giulia Nuti (Scuola di Musica di Fiesole), Antonio Vivaldi’s Use of Figures: «Per li coglioni» and Other Examples

11.30-12.30

• Martin Ennis (University of Cambridge), «Quod licet Bacho non licet Francisco»: Reevaluating the Continuo Realisations of Johannes Brahms and Robert Franz

• Majid Motavasseli (Universität für Musik und darstellende Kunst, Graz), ‘Baroque Catholic Tradition’: Figured-bass Schemata in Gustav Mahler’s Fifth and Ninth Symphonies

••

15.00-16.30 Stylistic Features and Performance Practice Issues of Accompaniment

(Chair: Roberto Illiano, Centro Studi Opera Omnia Luigi Boccherini)
• Naomi Matsumoto (Goldsmiths, University of London), Realising Arianna: Problematic Accompaniments of Claudio Monteverdi’s «Lamento d’Arianna»

• Santiago Pereira Buscema (Conservatorio Superior de Música de Badajoz ‘Bonifacio Gil’ / Universidad de la Rioja), «Reglas generales de acompañar» (1736) de José de Torres (c. 1670-1738): la modernización de la práctica del bajo continuo en España

• Marcos Krieger (Susquehanna University, PA), Figured Bass and Figured Melody: An Unusual Continuo Practice Found in the «Versetti» of G. B. Degli Antonii (Bologna, 1687 and 1696)

17.00-18.30

• Marina Toffetti (Università degli Studi di Padova), Fossil Traces of Vanished Voices: The «Basso Continuo» Part and the Reconstruction of Incomplete Polyphony

• Galliano Ciliberti (Conservatorio di Monopoli), La pratica del basso continuo a S. Luigi dei Francesi a Roma nel Seicento

• Gabriele Taschetti (Università degli Studi di Padova), The Collection «Symbolae diversorum musicorum» (Venice, 1621) and the «Basso Continuo» in the early 17th-Century Italian Sacred Concerto

SUNDAY 12 SEPTEMBER

9.30-11.00 Pinnacle and Decline: Partimenti and the Compositional Training

(Chair Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini)
• Anthony Abouhamad (Sydney Conservatorium of Music – The University of Sydney), Playing the Partitura: «Basso Continuo» Instruction and Performance in Eighteenth-century Salzburg
• Peter van Tour (Örebro University, Sweden), Counterpoint and Partimento in the School of Francesco Feo
• Eric Boaro (University of Nottingham), Nuove fonti per lo studio del partimento diminuito nel Fondo Noseda del Conservatorio di Milano

11.30-12.30

• Riccardo Castagnetti (Independent Scholar, Modena), Andrea Basili (1705- 1777):Eighteenth-Century Compositional Pedagogy between Counterpoint and Thorough Bass

• Marco Pollaci (Maynooth University), The Vincenzo Bellini’s «Corso di Contrappunto» Manuscript: An Investigation of a New Source of Partimento and Counterpoint Pedagogy in Early Nineteenth-Century Italy

••

15.30-16.00 Music Instruments: Accompaniment Notation, Performance and Pedagogy

(Chair: Livio Ticli, University of Huddersfield, Palma Choralis, Early MusicDepartment ‘Città di Brescia’)

• Matthew Mazanek (Royal Irish Academy of Music), Implicit Curriculum: Improvisation Pedagogy in Guitar Methods 1760-1860

16.30-18.00

• Maria Christina Cleary (Conservatorio ‘E. F. Dall’Abaco’, Verona / Haute École de Musique, Genève), «Basso Continuo» on the ‘Harpe Organisée’: The Recently- Discovered «Méthode pour la Harpe» by Michel Corrette

• John Lutterman (University of Alaska, Anchorage), Partimento, German Thoroughbass Practice, and Improvised Solo Performance on the Cello

• Catherine Bahn (Mannes Conservatory of Music) – Giovanna Barbati (Independent Scholar, Città Sant’Angelo, Pescara), The Partimento of Rocco Greco: Reconstructing the Pedagogical Tradition for the Early Violoncello

  • New Masterclass

    New Masterclass

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