‎Fulvia Morabito (ed)‎
‎Musical Improvisation in the Baroque Era‎

‎, Brepols, 2019 Hardback, xvi + 405 pages, Size:210 x 260 mm, Illustrations:15 b/w, 110 musical examples, Languages: English, Italian, Spanish. ISBN 9782503583693.‎

Reference : 66065

‎Summary In the Baroque period there is a large discrepancy between sound entity and musical notation. In a context where the musical tradition, handwritten and printed, at times suggests the possible execution of a passage, at times indicates a specific mode of execution often adapted by the ability of the performer or the musical occasion, the margin for improvisation is wide. The in-depth and possibly comparative study of musical sources, their historical contextualization, their evaluation on the basis of documentary and theoretical testimonies, allows us to shed light on the real aural rendering of the synthetic written page. This volume aims to investigate the role and forms of improvisation in Baroque music under many of its multifaceted aspects, in a study that will define the links between creative process and executive practice. TABLE OF CONTENTS Fulvia Morabito Introduction Improvisation into Composition David Chung, French Harpsichord doubles and the Creative Art of the 17th-Century Clavecinistes Massimiliano Guido, Sounding Theory and Theoretical Notes Bernardo Pasquini's Pedagogy at the Keyboard: A Case of Composition in Performance? Javier Lupia ez - Fabrizio Ammetto, Las anotaciones de Pisendel en el Concierto para dos violines RV 507 de Vivaldi: una ventana abierta a la improvisaci n en la obra del 'Cura rojo' Josu Mel ndez Pel ez, Cadenze per ?nali: Exuberant and Extended Cadences in the 16th and 17th Centuries Marina Toffetti, Written Outlines of Improvisation Procedures in Music Publications of the Early 17th Century: The Second (1611-1623) and Third (1615-1623) Book of Concerti By G. Ghizzolo and the Motet Iesu Rex Admirabilis (1625-1627) by G. Frescobaldi Issues of Performance Practice Giovanna Barbati , Il n'ex cute jamais la Basse telle qu'elle est crite : The Use of Improvisation in Teaching Low Strings Anthony Pryer, On the Borderlines of Improvisation: Caccini, Monteverdi and the Freedoms of the Performer Laura Toffetti, Sostener si pu la battuta, etiandio in aria . Testi e contesti per comprendere l'invenzione e la disposizione del discorso musicale nel repertorio strumentale italiano fra Seicento e Settecento Rudolf Rasch, Improvised Cadenzas in the Cello Sonatas Op. 5 by Francesco Geminiani Contemporary Treatises, Pedagogical Works, and Aesthetics Valentina Anzani, Il mito della competizione tra virtuosi: quando Farinelli s?d Bernacchi (Bologna 1727) John Lutterman, Re-Creating Historical Improvisatory Solo Practices on the Cello: C. Simpson, F. Niedt, and J. S. Bach on the Pedagogy of Contrapunctis Extemporalis Francesca Mignogna, Accompagnamento e basso continuo alla chitarra spagnola. Una cartogra?a della diffusione dei sistemi di notazione stenogra?ci in Italia, Spagna e Francia tra xvi e xvii secolo e loro implicazioni teoriche Guido Olivieri, Naturalezza o arti?cio: ri?essioni su improvvisazione e virtuosismo italiani in Francia nel Settecento Neal Zaslaw, Adagio de Mr. Tartini. Vari de plusieurs fa ons diff rentes, tr s utiles aux personnes qui veulent apprendre faire des traits sous chaque notte de l'Harmonie? The Art of Partimento Simone Ciolfi, Cantata da camera e arte del partimento in Alessandro Scarlatti. An Historical Link between Baroque Recitatives and Development Section of the Sonata-Form Movements? Marco Pollaci, Two New Sources for the Study of Early Eighteenth-Century Composition and Improvisation Giorgio Sanguinetti, On the Origin of Partimento: A Recently Discovered Manuscript of Toccate (1695) by Francesco Mancini Peter van Tour, Taking a Walk at the Molo : Partimento and the Improvised Fugue Abstracts Biographies Index of Names‎