An Overview of the Keyboard Music of Bernardo Pasquini (1637–1710) John Collins
An Overview of the Keyboard Music of Bernardo Pasquini (1637–1710) John Collins
his year we commemorate the 300th new seven-volume edition, under the Contrapuntal pieces and sonatas by Bernardo Pasquini included in the Haynes edition Tanniversary of the death of Bernardo general editorship of Armando Carideo No. Title Key Time signatures Length Pasquini. Although much attention has and Edoardo Bellotti, was issued in 2002; 1 Capriccio D minor C-C-3/2-C 169 bars been given in the past few decades to the fi rst volume contains 60 versets and 2 Capriccio G minor C(4/2)-3/2 (two sections)-6/4-C 103 bars Pasquini’s dramatic and vocal music, of a pastorale from a recently discovered Sigue (to above) G minor 3/4 binary form 54 bars which the scores for twelve operas and manuscript in Bologna, edited by Fran- 3 Fantasia E minor C (incomplete) 57 bars seven oratorios in addition to many can- cesco Cera. The pieces from the Lands- 4 Ricercar D minor C(4/2) two sections 100 bars tatas and motets are known to survive, berg manuscript are included in volumes 5 Ricercar con fuga G major C(4/2) two sections-C-4/2 (two sections)- in più modi 3/4(6/4)-C-6/4-12/8 345 bars his extensive corpus of keyboard music 2–5, with the pieces from MS 31501 6 Canzona Francese G major C (two sections) 32 bars has only comparatively recently received in volumes 6 and 7. A further volume 7 Canzona Francese F major C-6/4 55 bars the attention it deserves. Considered one containing pieces from other sources, 8 Canzona Francese A minor C-6/8(3/4)-incomplete 164 bars of the major Italian composers for key- including as yet unpublished fugues in 9 Fuga G minor C 24 bars board between Frescobaldi (d. 1643) and three and four voices as well as pieces of 10 Sonata D minor C 44 bars Domenico Scarlatti (b. 1685), Bernardo uncertain attribution, is in preparation. 11 Sonata C major C 43 bars Pasquini, teacher of Francesco Gaspa- This edition is far more accurate but un- 105 Sonata Elevazione E minor C 48 bars rini (author of the infl uential L’Armonico fortunately much harder to obtain; see 106 Sonata F major C (two sections, second headed pensiero) 73 bars 139 Ricercar G minor C 56 bars Pratico al Cimbalo, Venice 1708), left the bibliography at the end of this article 140 Ricercar G minor C 83 bars well over 200 pieces for keyboard. for full details of these editions. Below I shall summarize Pasquini’s Sources and early editions extant keyboard music by genre; despite Figure 1d. Fantasia in D minor: example of variation technique The great majority of Pasquini’s works its shortcomings, I have used the AIM are preserved in four autograph manu- edition, and all numbers and titles cited scripts, including 121 in the autograph are from this edition. Because of their MS of Landsberg 215. A further partial extremely limited interest to the average autograph section is included in British player, I have not included the fascinat- Library MS 31501, I–III; to be found ing fi gured-bass sonatas for one and for in part I are the 14 sonatas for two bassi two players, or the fi gured-bass versos, in continui, 14 sonatas for basso solo, and in this discussion. Figure 2a. Canzona rhythms: traditional dactyl (no. 7) and repeated notes (no. 8) parts II and III no fewer than 314 short versi, also in fi gured-bass format. More Contrapuntal works substantial works in MS 31501, part I, Pasquini is known to have made cop- include a long Tastata, a Passagagli with ies of the works of Palestrina and Fresco- 24 variations, a set of variations on the baldi, the infl uence of the latter being Follia and, at the end of the section, nu- identifi able in both the toccatas and the merous short arie, more of which are to contrapuntal works. Only eleven pieces be found in part II. A few toccatas are that fall into this category seem to have also to be found in British Library MS survived, and two of these are incom- Figure 2b. Canzona rhythms: traditional dactyl (no. 7) and repeated notes (no. 8) 36661, which almost certainly predates plete. Those that survive are variable in the autographs by some years. quality, but several of them demonstrate Very few of his works were published the continuation of the variation tech- during his lifetime; three pieces enti- nique so prevalent in Frescobaldi—they tled Sonata, ascribed to N.N. of Roma, are included in book 1 of the Haynes edi- were published in 1697 in a collection tion. The fi rst piece, in D minor, is en- by Arresti, two of which were included titled Capriccio by Haynes (although in in an English “abridged” edition, and the manuscript it is entitled Fantasia); its backward-looking work in quarter and 16th notes taking over again in bar 66. other pieces were included in a collec- fi rst section closes in the dominant and eighth notes. The fourth piece, a ricercar A deceleration achieved via a cadence tion of toccatas and suites published in second section in the tonic. Both sec- in 4/2, is also slow-moving, on an archaic leads to a section barred in 3/4 (although 1698 by Roger of Amsterdam, which tions move mainly in quarter and eighth subject that proceeds through its 100 bars headed 6/8), which starts in bar 106 and also appeared in England in 1719 and notes. In the third section the subject is in half and quarter notes, with further runs to bar 157. Of the next section en- 1731. Others were included in assorted introduced in 16th notes, followed by subjects appearing during the piece. titled Alio modo la tripla, only seven bars manuscripts; see bibliography for fur- a triple-time section in 3/2. The piece By far the longest piece at some 345 survive, a great pity since this piece is of ther details. In the preface to his edition concludes with a return to C time, the bars is the Ricercare con fuga in più a high standard (see Figure 2a–2b). The of MS 964 at Braga, Portugal, Gerhard subject in its original time being accom- modi. This piece is in many sections, in- ninth piece, of 24 bars, entitled Fuga, is Doderer has speculated that some of the panied by fl orid 16th-note writing (see cluding the subject in diminution to half an example of very loose imitative writ- over 30 Italian (mainly Roman) composi- Figures 1a–1d). and quarter notes from bar 69, a return ing; the subject in the RH has LH pas- tions included therein (on folios 218–230 to original values from bar 123, a sec- sagework beneath it immediately. and 253–259) may well have been com- Figure 1a. Fantasia in D minor (no. 1, tion in 6/4 from bar 209 to 246, which Of the two pieces entitled Sonata, the posed by the school of Pasquini, if not by Haynes edition): example of variation includes 16th-note writing, a section in fi rst is also a loosely fugal work with a Pasquini himself; certainly some of his technique C time that closes in bar 265 followed by subject that opens with an ascending run compositions seem to have been known a further section in 6/4 to bar 311, after of six 16th notes followed by an eighth throughout Europe. which 12/8 takes over to the close of the note, another eighth note an octave be- Pasquini’s compositions for keyboard piece. There is scope for shortening this low, and then returning to the note—now cover all the main genres of his time, piece, which makes considerable de- a quarter—before falling a tone, where embracing some seventeen dance suites mands upon the performer. the sequence is repeated a third below (although the term suite is not used in Of the three pieces entitled Canzone the original opening note. The second the manuscripts) as well as single move- Figure 1b. Fantasia in D minor: example Francese, the fi rst in C major runs to sonata opens with a short toccata-like ments, fourteen variations on both self- of variation technique only 32 bars, the second in F opens with fl ourish over a pedalpoint, followed by composed arias and stock basses, four the typical canzona rhythm of quarter quarter-note chords modulating to the passacaglias, sonatas including the 28 fi g- note followed by two eighth notes and dominant; the second section is imita- ured bass pieces mentioned above, over has a second section in 6/4, and the third tive, the subject rising a fi fth in eighth 30 toccatas and tastatas, about a dozen piece in A minor opens with six repeated and 16th notes, and has similarities to a contrapuntal works, and a large number eighth-note Es (the repeated note fugal Corellian fugue. Both were included un- of versets. His numerous pupils in Rome subject was very common in Germany as der the name of “N. N. di Roma” in a included Casini, Zipoli, and possibly Du- well as Italy, with examples by Reincken, collection of 18 sonatas for organ by vari- rante and Domenico Scarlatti, in addi- Figure 1c. Fantasia in D minor: example Pachelbel, Kerll, and Buttstedt, among ous authors printed in Bologna ca. 1697, tion to J. P. Krieger and Georg Muffat, of variation technique others) and soon becomes a moto perpet- of which twelve pieces, including no. 10 as well as Della Ciaja, who published a uo in 16th notes, which slows to eighth here, were included in a London reprint set of mercurial four-movement toccatas and quarter notes briefl y in bar 56, the by Walsh & Randall ca. 1710. and retrospective ricercars and versets. It is highly probable that Handel met Pasquini in Rome in the early 1700s. Modern editions ERTIFIED PPRAISALS In addition to the facsimile edition of C A the Landsberg MS, there are two mod- The second piece, entitled Capriccio, ern editions of his pieces. An edition by opens with a ricercar-like subject in 4/2, Collections of organ books, recordings, and music Maurice Brooks Haynes for the Corpus followed by a triple-time section in 3/2 of Early Keyboard Music (American In- that moves into 6/4, and a closing section for gift, tax, and estate purposes stitute of Musicology) was issued in seven of six bars consisting of half-note chords volumes in 1964; this had the advantage against 16th-note fi gures derived from Stephen L. Pinel, Appraiser of grouping pieces by genres rather than the opening subject. The following short following the somewhat haphazard order binary form piece is headed “Sigue al ca- in the manuscripts, but contained many priccio antecedente.” The third piece, re- [email protected] / (609) 448-8427 printing errors and a somewhat sketchy grettably incomplete in the MS, is entitled approach to sources and evaluation. A Fantasia and is another slower-moving,
AUGUST, 2010 19 Dances ordered into suites, individual dances, and arias by Bernardo Pasquini Variation sets by Bernardo Pasquini included in Haynes edition included in Haynes edition No. Title No. of variations Key No. Key 1st movement 2nd movement 3rd movement 4th movement 5th mvt 48 Bizzarria 1 Dm 12 G minor Untitled C time Giga 6/8 49 (Alemanda) 2 Cm 13 G minor Alemanda C time Corrente 3/4 50 Corrente 1 Am 14 F major Alemanda C time Bizzarria C time 51 Sarabanda 1 F 15 A minor Alemanda C time Giga 3/8 b 52 Variationi Capricciose 7 (Theme not stated) C 16 B major Bizzarria 6/8 Untitled C time 53 Variationi a Inventione 11 (Theme not stated) Dm 17 F major Alemanda C time Corrente 3/4 Giga 6/8 54 Partite diversi sopra Alemanda 7 Am 18 G minor Alemanda C time Corrente 3/8 Giga 6/8 19 B minor Alemanda C time Corrente 3/4 Untitled C time 55 Variationi 13 Am 20 G major Tastata C time Corrente 3/2 Aria 6/8 56 Variationi Fioritas 6 C 21 C major Aria C time Aria 3/8 Aria cut C 57 Variationi 6 Cm 22 E minor Alemanda C time Corrente 3/4 Giga 6/8 Untitled C time 58 Variationi 5 Gm 23 D major Alemanda C time Corrente 3/4 Giga 6/8 Untitled C time 59 Variationi 8 Gm 24 A minor Alemanda C time Corrente 3/2 Giga 6/8 Untitled C time 60 Variationi 9 C 25 G minor Alemanda C time Corrente 3/4 Giga 3/8 Untitled C time 61 Partite diversi di Follia 14 Dm 26 Bb major Alemanda C time Corrente 3/4 Giga 3/8 62 Variationi sopra la Follia 4 (Theme not stated) Am 27 E minor Aria Allegra Untitled C time Giga 6/8 63 Bergamasca 8 (Theme not stated) Gm 28 Bb major Alemanda C time Corrente 3/4 Giga 6/8 Untitled C time Untitled C time 64 Partite di Bergamasca 24 (Theme not stated) C 29 G minor Alemanda C time 65 Partite del Saltarello 17 (Theme not stated) G 30 F major Alemanda C time 66 Passacagli 20 Bb 31 G major Alemanda C time 67 Passacagli 17 C 32 F major Corrente 3/4 68 Passacagli 12 Dm 33 F major Giga 12/16 69 Passacagli 24 Gm 34 D minor Giga 6/8 35 D minor Giga 6/8 36 A minor Giga 6/8 37 C major Bizzarria C time Figure 3a. Variationi a inventione (no. 53): Partita 8 showing rhythmic differences 38 C major Untitled 3/8 between hands 39 F major Untitled 3/8 40 F major Bizzarria 3/8 41 F major Aria Cut C 42 G major Aria C 43 C major Aria C 44 Cm, Cm, Cm, C, C, Gm Six Arias C, C, 3/8, C, 6/8 then C, C 45 C, C, C, Am, Am, C, Gm Eight Arias 3/8, C, C, 3/8, C, Cut C, 6/8, C 46 Em, Dm Two Arias 3/8, C 47 C, C, G Three Arias C, 3/8
The two ricercars, nos. 139 and 140 Alemanda, and Fioritas, with another set Figure 3b. Variationi a inventione: Par- junct eighth-note motion against either in volume 7 of the Haynes edition, are being entitled simply Variationi. Four tita 9 showing rhythmic differences be- full chords or just one other voice, con- both in G minor, the fi rst opening with passagaglie complete this genre. tween hands cluding with a veritable virtuoso fl ourish a canzona rhythm (half note followed by A Bizzarria has just one variation in of eighth notes in contrary motion. two quarter notes, all at the same pitch, which the RH has the 16th-note fi gura- The work entitled Variationi occupies in this case D) and proceeding in main- tion in the fi rst half, the LH in the sec- some twenty pages in the Haynes edi- ly quarter-note movement with a few ond; an untitled piece that is almost cer- tion, and consists of a theme in C time eighth-note runs and two RH runs of tainly an Alemanda has two variations in in mainly two-part texture in quarter and 16th notes, bar 25 being repeated an oc- fl owing 16th notes; a Corrente mainly in eighth notes followed by thirteen par- tave higher at bar 34. There is tonal am- quarter notes has one variation in eighth tite. The fi rst is mainly RH eighth notes biguity at the close of the subject, which notes; and a Sarabanda also mainly in Gagliarda and is unusually in C time against LH 16th notes, the second is in covers the minor scale descent from E- quarter notes, some dotted, has one vari- (examples in C time are also to be found 3/4 and, although not headed as such, is fl at to G via B-natural followed by B-fl at, ation in 16th notes in which parts appear in Pasquini’s Spanish contemporary Juan a corrente with a preponderance of two- which lends the piece charm. No. 140 is a and drop out at will. Batista Cabanilles). Further broken part writing. The third partita is headed longer piece at 83 bars that also proceeds The set of variations on Fioritas has chord fi gures and fi gures of ascending or altro modo and has far more arpeg- mainly in quarter notes, with a further only six variations, but the manuscript descending thirds with the fi rst note held giated eighth-note motion. The fourth example of tonal ambiguity in the sub- contains the heading 7th, which clearly on occur throughout, and neat syncopa- is headed 3/4, but only two bars are in ject (also between B-fl at and B-natural). implies that Pasquini intended to write tions in thirds in the RH appear towards this rhythm, the rest being in 6/8, again Of interest are the written-out trill in the more. The Variationi Capricciose, on an- the end of the second part. with much arpeggiated fi guration begin- treble commencing on the upper note other tuneful theme that may have been The theme of the Partite diverse so- ning on the second eighth note. The fi fth in bar 19 and the written-out alto trill in original, is in seven partite. The theme pra Alemanda moves in quarter notes, is in 16th notes, with frequent rhythmic the penultimate bar with its Lombardic is the fi rst, the second in 3/4 is headed but each half is followed by a written-out imitation; the sixth is in 3/4 with eighth rhythm in the fi rst two beats. “in corrente”, the fourth is a sarabanda, repeat in eighth notes, with imitation notes, sometimes in broken-chord for- the fi fth in 6/4 is in quarter-note motion, between the parts, broken chords, and mat, against quarter notes; the seventh Suites, individual dances, and and the sixth in C time makes great de- contrary motion. The theme is followed has mainly conjunct eighth notes against arias/bizzarrias mands on the player, with an extended by seven partitas, the fi rst of which is in quarter notes in the fi rst section, the sec- Pasquini’s seventeen “suites” for key- trill in the alto in each half as well as oc- 16th-note movement, with the by-now ond section with eighth notes in arpeg- board that are included in volume two of casional simultaneous trills in the tenor. usual fi guration. The second, in binary giated fi gures. the Haynes edition are probably the fi rst The fi nal variation is in 3/4, with LH form, is another rhythmic conundrum, The eighth variation is another Fresco- such examples in the Italian keyboard 16th notes against a mainly chordal RH with the RH in C12/6, and the LH in baldian corrente, with mainly quarter- literature that contain several dances in the fi rst half and at the conclusion of C6/12; this can be played most success- note movement in the RH, against either grouped together in the same key—the the second half. fully as 12/8, much of it being in two quarter notes, dotted half notes, or half term “suite” is not used in the manu- Of much greater substance are the parts only. The third, fi fth, sixth, and notes in the LH. The ninth has an oscil- script. They include Alemanda, Corrente remaining three sets: the Variationi a seventh partitas are all headed 3/4 but lating 16th-note fi gure in the LH, with and Giga, based, however, not on the Inventione contains eleven partite; again barred in 6/4, the fourth actually being RH eighth notes. The tenth is construct- examples of Froberger and the French the theme is considered to be the fi rst headed 6/4. In the third, fl owing eighth ed entirely around an eighth note in the school, but rather on Italian ensemble variation (its fi rst half has mainly chords notes soon give way to treble and bass RH followed by two 16ths in the LH, music. Several movements are untitled, in the RH over a moving eighth-note quarter notes, with an alto eighth note frequently in octaves. The eleventh is an- others carry such terms as Bizzarria; but bass; the second half sees more 16th- after a rest, a fi gure that becomes wear- other movement with extended trills—in since the movements are grouped by note movement in the RH over quarter- ing when used so relentlessly as here. the fi rst section placed in the alto lasting key, they may well have been intended note chords or moving eighth notes). The The fourth partita moves in quarter throughout the section, in the second in to form unifi ed groups as presented in third set in 6/4 is in quarter-note move- notes, the second half opening with one the tenor for just the fi rst six beats after this volume. These “suites” comprise ment in one part against dotted half-note bar of eighth-note imitation before a fi g- which imitative passagework against half two to four movements in various com- chords throughout; the fourth, although ure of rest followed by two quarter notes notes progresses (see Figure 4). binations. Also included in this volume headed 12/8, is barred in 3/4 and 6/4, this is passed between the hands. Although the twelfth partita is headed are several short pieces in binary form, time with 16th-note passagework formed The fi fth partita has broken-chord writ- Sarabanda, it has more in common with including four entitled Bizzarria and no from a sequential fi gure against chords. ing in the RH over a quarter-note bass, a corrente as it progresses in quarter- fewer than twenty-eight entitled Aria, all The fi fth to seventh sets are headed Cor- with the LH also having broken chords note motion with several instances in of which are attractively tuneful. By their rente and are distinctly backward-look- in the repeats; in most of the piece, the the RH of the fi gure of dotted quarter nature the dances, bizzarrias, and arias ing, being similar to Frescobaldi’s Cor- top and bottom notes in fi gures are held bearing a t (for trill) followed by two 16th are more suited to stringed keyboard rente in his two books of Toccate. Broken on to produce a tonal build-up, but this notes and a quarter. The fi nal partita is instruments, although performance on chord fi gures feature in the sixth, and in- is relieved in the middle of the piece by in 3/4; after the fi rst bar it is in two parts a chamber organ would have been quite sistent eighth-note movement appears in only the bass notes being held, which has with eighth-note fi guration throughout, probable; for this reason a more detailed the seventh. In the eighth and ninth sets the effect of acceleration. The sixth par- sometimes in contrary, sometimes in account has been omitted here. there is a further reminder of Frescobal- tita is based around a fi ve-note eighth- parallel motion, but also with one hand di in the time signatures: in the eighth note fi gure passed between the hands, moving quite differently from the other; Variations the RH is in C time against 6/4 in the LH while other parts have held half notes this virtuosic movement brings the work These pieces are to be found in vol- (see Figures 3a and 3b). or dotted half notes; occasionally a third to a fi ne close. It may have been intended umes three and four of the Brooks In both hands, eighth notes are part in quarter notes is used as well. The as a compendium of compositional tech- Haynes edition. The twenty-two sets of grouped in duple as well as triple fi nal partita has continuous, mainly con- niques for students. There is a precedent variations include four based on dance rhythms, and the fi gure of dotted quarter movements with just one or two varia- followed by two 16ths is passed between Figure 4. Variationi (no. 55): Partita 11 showing internal trill tions, two sets on the Follia, two on the the hands. In the ninth partita, the RH is Bergamasca, with a further one on its in 12/8 against a LH of 8/12, with the in- Saltarello, and four sets entitled Varia- sistent pattern of dotted eighth followed tioni based on aria/dance-like themes by 16th. The tenth partita is headed 3/4 that may well have been by Pasquini but barred as 6/4, again a corrente in himself. Further sets are entitled Ca- form, with more broken-chord writing, pricciose a Inventione (perhaps implying sometimes in contrary motion between an original theme), Partite diverse sopra the hands. The fi nal partita is headed
20 THE DIAPASON Figure 5. Partite diversi di Follia: Variation 7 showing violinistic fi guration Toccatas and Tastatas by Bernardo Pasquini included in Haynes edition Piece no. Key Time signatures Length (Ta = tastata; P = prelude) 70 F major C-3/4-C-3/4 in binary form + variation 107 bars 71 C major C (with pedals) 130 bars 72 Ta G minor C 38 bars 73 F major C 40 bars 74 F major C (two sections) 40 bars 75 Ta A minor C 46 bars 76 E minor C (two sections) 41 bars Figure 6a. Passagagli in C (no. 67) showing chordal writing 77 Ta C major C 15 bars 78 G minor C 37 bars 79 D minor C 52 bars 80 D minor C 32 bars 81 A major C Toccata con lo scherzo del cucco 93 bars 82 Ta G minor C 38 bars 83 C minor C 29 bars 84 C major C 29 bars 85 A minor C 44 bars 86 Ta G minor C 34 bars 87 Ta G minor C 35 bars 88 F major C 62 bars 89 Ta F major C 40 bars Figure 6b. Passagagli in G minor (no. 69) showing melodic writing 90 G minor C 29 bars 91 F major C 40 bars 92 Ta D minor C 34 bars 93 Bb major C 46 bars 94 Ta C major C (two sections) 46 bars 95 P C major C (two sections) 83 bars 96 A minor C 45 bars 97 E minor C 64 bars 98 G major C-12/8-C-6/8 60 bars 99 A minor C-3/4-C 76 bars 100 G minor C-6/8-C 101 bars in Bernardo Storace’s Passo e Mezzi in is chordal and in 3/2 and is closer to a 101 D minor C (two sections, fi rst with pedals) his Selva of 1664 for including variations ciacona, they are melodic and in 3/4 (see -3/2-C(with pedals) 90 bars headed corrente and gagliarda. Figures 6a and 6b). The writing in the 102 G minor C 61 bars 103 G minor C 34 bars Together with Buxtehude’s roughly B-fl at and G minor pieces becomes in- 104 C major C 56 bars contemporary arias, the four sets of vari- creasingly virtuosic as they develop. 141 G major C-12/8-C 55 bars ations based on aria/dance-like themes 142 C major C-3/2-C 75 bars are some of the earliest examples of key- Toccatas and Tastatas board variations on original subjects after In volumes fi ve and six of the Haynes Frescobaldi’s Aria detta La Frescobalda; edition, thirty-four pieces are entitled Figure 7. Toccata with chordal opening and pedal notes they almost certainly pre-date Pachelbel’s either Toccata (twenty-fi ve) or Tastata set of six arias with variations published (nine), there is one piece entitled Prelu- in 1699 as Hexachordum Apollinis; they dio, one Sonata–Elevazione; one Sonata have six, fi ve, eight, and ten variations in two sections, the second headed Pen- respectively (although in the latter there siero; two further toccatas are included seems to be an error in the Haynes edi- in volume 7. The choice of keys is still tion: what looks like the second half of very conservative, not exceeding two the binary form theme is headed varia- fl ats, which is used for no. 83 in C minor, tion 1; this would mean that there are and two sharps used for no. 81 in A ma- actually only nine variations). The fi rst jor. Space does not permit a detailed dis- three are in the rhythm of a gavotte. All cussion of this substantial contribution to of the themes are in C time, but the fi rst the repertoire, therefore comments have set contains variations in 3/4 and 6/8; the been limited to generalizations and to second has two in 6/8 including the fi nal those pieces that are of greater interest. one; the third has two in 6/8 (one headed Most of Pasquini’s pieces are in one as 3/4, which may just be a remnant of movement, but at least fi ve (70, 98–101) the tempo theory mentioned by Fresco- are in several sections, of which nos. baldi in his books that related tempi to 98–101 are included in the earlier Brit- Figure 7a. Toccata with chordal opening, arpeggiation implied (no. 99) time signatures); and the fi nal one has ish Library MS 36661. No. 70 is one of variations in 3/4, 6/8, 3/8 and one that is the most ambitious, the sections being in 3/8 in the manuscript, although barred in C time, 3/4, C time, concluding with as 6/8. Again there is much variety of tex- a binary-form corrente-like movement ture including pseudo-polyphony, violin- with a variation. No. 71 opens with two like fi guration in the RH, and sequential bars of chords suitable for arpeggiations fi guration, with several variations requir- (indeed, in no. 94 the instruction “arpeg- ing an advanced technical ability. gio” is included, relating to the fi rst two The two sets based on La Follia are chords) before motives are passed from very different in character. The fi rst has hand to hand over long-held pedal notes; fourteen variations after the initial state- also featured are passages in parallel ment and displays Pasquini’s mastery in tenths (see Figure 7). transferring the string idiom to the key- There are several toccatas that either board in a wide variety of rhythms. Note- open with chords or contain chordal worthy are the continuous triplet eighth passages within the piece; in some the notes in the RH in variations 5 and 9, instruction to arpeggiate is included, in and the LH in variation 6, the fi gure of others it is implicit (see Figure 7a). Ped- three quarter notes followed by a burst als are also required in no. 101 through- of 16th notes in the RH of variation 7 out the fi rst section, which is markedly (see Figure 5), the virtuoso passagework similar to Frescobaldi’s Toccata Quinta for both hands in variation 10, the highly from his second book; the second section chromatic RH in the thirteenth, and the is imitative, starting in C time followed written-out trills and eighth-note fi gures by a variation in 3/2 before a short clos- in the fi nal variation. ing section in C time in which 16th-note The second set has only three varia- passagework against quarter-note chords tions, which move in eighth notes, with is passed from hand to hand, the fi nal thematic imitation prevalent in the fi rst four bars again requiring the pedals for and second, and rhythmic imitation (quar- the long-held notes. ter note or rest followed by two eighths Several pieces include the old Fresco- and a quarter) in the fi nal variation. The baldian written-out accelerating trill Bergamasca sets are similarly varied, with commencing on the upper note (two eight and twenty-four in the C time sets, 16th notes followed by four 32nds) (see and seventeen in the Saltarello, which is Figure 7b); in others it is implied via the in 3/8 as would be expected. Although in letter t placed over the fi rst note, nor- the longer works some of the movements mally a dotted eighth followed by a 16th do not rise above the formulaic, there are one degree below. Although quite a few many variations that carry the melodic of Pasquini’s toccatas do contain passages freshness and tunefulness of an accom- that remind the player of Frescobaldi’s plished composer. writing, there is not the same degree of The four passagaglias are in B-fl at, nervous discontinuity and far more reli- with twenty variations on the theme, ance on sequential writing. C with seventeen (with probably more It would seem unlikely that most of either not transmitted or never com- the suggestions on playing toccatas con- pleted), D minor with twelve (again al- tained in Frescobaldi’s prefaces to his most certainly incomplete), and G minor two books are applicable to these exam- with twenty-four. All stress the second ples, although there is scope for shorten- beat and apart from the C major, which ing those pieces that are presented in
AUGUST, 2010 21 Figure 7b. Toccata showing written out and implied Frescobaldian trills (no. 70) Versets by Bernardo Pasquini edited by Francesco Cera Verset no. Key Time signature Length Shortest note 1 D minor C 11 bars Eighth note 2 D minor 3/2 14 bars Quarter note 3 D minor 3/8 21 bars Eighth note 4 D minor C 6 bars 16th note 5 D minor C 12 bars Eighth note 6 C C 11 bars Eighth note 7 C 3/4 19 bars Eighth note 8 C C 8 bars 16th note Figure 7c. Toccata con lo scherzo del Cucco showing internal trill (no. 81) 9 A minor C 13 bars Eighth note * 10 A minor 3/4 19 bars Eighth note 11 G minor Cut C 13 bars Eighth note 12 G minor 6/8 15 bars Eighth note 13 C C 6 bars 16th note 14 C C 6 bars 16th note 15 C C 8 bars Eighth note 16 C C 6 bars Eighth note 17 D minor C 6 bars Eighth note 18 D minor C 7 bars Eighth note 19 E minor C 7 bars Eighth note Figure 7d. Preludio showing written-out trills commencing on main note (no. 95) 20 E minor C 11 bars Eighth note 21 F C 6 bars Eighth note 22 F C 6 bars Eighth note * 23 F 3/4 7 bars Eighth note 24 G minor C 6 bars Eighth note 25 G minor C 7 bars Eighth note 26 G minor 6/8 8 bars Eighth note 27 G minor C 4 bars 16th note 28 D minor C 8 bars Eighth note 29 D minor 3/2 11 bars Quarter note* 30 D minor C 7 bars Eighth note 31 D minor 3/4 10 bars Eighth note Figure 8. Pastorale, false relation 32 D minor C 8 bars Eighth note 33 D minor C 4 bars 16th note 34 E C 4 bars 16th note 35 E minor C 8 bars Eighth note 36 E minor 3/4 8 bars Eighth note 37 E minor C 5 bars Eighth note 38 E minor C 6 bars 16th note 39 E minor 3/4 9 bars Eighth note 40 E minor C 4 bars 16th note 41 E minor C 5 bars 16th note 42 E minor C 6 bars 16th note sections, and some of Pasquini’s pieces based on passagework passed between 43 F C 7 bars 16th note do indeed carry the indication to arpeg- the hands, varying between conjunct 44 F C 8 bars Eighth note* giate half-note chords. Certainly there movement and from bar 64 arpeggiated 45 F C 13 bars 16th note does not seem to be any reason to adopt fi gures (see Figure 7d). 46 A minor C 17 bars Eighth note Frescobaldi’s suggestion of dotting 16th The two toccatas included in volume 47 A minor C 8 bars Eighth note notes in those passages in which eighth seven (nos. 141 and 142) are each in 48 A minor C 3 bars 16th note notes in one hand are set against 16ths three sections, an opening and closing 49 A C 6 bars 16th note in the other. However, his injunctions to one in C time enclosing central sections 50 A 6/8 7 bars Eighth note 51 Bb C 4 bars 16th note treat the beat freely can be applied cau- in 12/8 and 3/2 respectively. In no. 141 52 Bb 3/4 12 bars Quarter note tiously here, as can the eminently sensi- much is made of sequential fi gures and 53 B minor C 5 bars Eighth note ble comments on pausing before begin- trills, both indicated and implied; the 54 B minor 3/4 8 bars Eighth note ning passages in 16th notes in both hands 12/8 section is homophonic and leads to 55 G C 6 bars Eighth note and retarding the tempo at cadences. In a fi nal section in C time, which makes 56 G C 7 bars Eighth note the longer sequential passages, there can much of seventh chords, before a brief 57 D C 6 bars Eighth note be a judicious slackening and taking up coda based on two 16th notes followed 58 D 3/4 11 bars Eighth note again of the tempo to allow the music to by an eighth note passed from right hand 59 C minor C 4 bars 16th note breathe and not degenerate into mecha- to left hand; a written-out trill in the left 60 C minor 3/4 8 bars Eighth note nistic exercises. Almost certainly, all trills hand against this fi gure is reminiscent * indicates written out resolution notes in one degree lower value should commence on the main note, this of Frescobaldi. In no. 142 the opening being appropriate also for every compo- consists of four bars of 16th notes cover- sitional genre. ing from treble G to tenor C, before a Figure 9a. Versetto 2, retrospective subject One of the most popular and virtuo- passage over a held tenor G moves into sic pieces is no. 81, the Toccata con lo a section that includes a further example scherzo del cucco, which is based on the of a chromatic progression on the third descending minor third. The cuckoo call of the scale, prefi guring the imitative is heard in eighth notes against 16th- triple-time section; the closing C time note passagework, punctuated by sec- consists of only two bars—in the pen- tions in half notes marked arpeggio or ultimate bar the LH consists of a writ- by the nervous rhythms and modulations ten-out trill, with closing notes on tenor by chords of the seventh. At bar 47 the B, the opening two beats being a C–B in RH breaks briefl y into triplets (although reversed dotted rhythms. Figure 9b. Versetto 8, more lively subject printed as 32nd notes they are actually 16th notes), and from bar 79 onwards a Versetti, Pastorale and other long-held A, fi rst in the tenor and then in works the alto, is marked trillo continuo, which Francesco Cera has recently published will pose a most severe test to the player a group of pieces that he discovered in a to maintain it against the other part to be manuscript in Bologna. Included are an played by the same hand. This piece is Introduzione e Pastorale, and 60 Verset- not too dissimilar to Kerll’s own toccata ti. The 27-bar Introduzione leads into a on the same theme (see Figure 7c). Pastorale of almost 90 bars. Both are in The Elevazione-Adagio (no. 105) is triple time and make much use of a dot- also included in the Arresti publication, ted rhythm. Long-held notes in soprano, Figure 9c. Versetto 42, Toccata style where it is entitled Sonata; after a slow alto, and bass imitate the droning of bag- introduction the writing continues in pipes, and particularly noteworthy is the 16th-note fi guration based effectively use of the Neapolitan sixth as well as the on sequences. The second piece entitled false relation (see Figure 8). Sonata (no. 106) is in two sections: sev- The Versetti are mainly short imita- enteen bars of 16th-note fi gures passed tive pieces, many not exceeding fi ve bars from hand to hand are followed by a (they are similar to the short versetti short chordal link marked arpeggio that in the 1689 collection from Augsburg leads to further sequential passages. The known as Wegweiser), but fi ve of them second section, headed Pensiero—itself (nos. 33, 34, 42, 43, and 45) are miniature in two sections—is nothing like the in- toccatas, with 16th notes against held two eighths is common, as is the fi gure of natures of one less accidental than pres- tricate contrapuntal pieces of that name chords. The fi rst four of these are built two 16th notes followed by two eighths ent usage retained (i.e., two sharps and published in 1714 by Giovanni Casini, on passagework against held chords, but and a quarter. Also notable is the insis- fl ats respectively). but opens with imitative passages based there is some imitative writing in no. 45 tent giga-like rhythm of dotted quarter Also included in Haynes’s volume on a rhythmic motive, before its second (see Figures 9a–9c). followed by an eighth and quarter in al- seven are ten short pieces (from four to section opens with passages derived from The grouping by keys in the manu- most every bar of no. 54. The most lively fi fteen bars) without title, which are ten- a further rhythmic motive that leads into scripts implies use as a series (see table). is no. 49, with its subject in 16th notes tatively entitled Versi by Armando Cari- passages based on the rhythmic motive The subjects of the versetti range from treated in inversion at the end. deo in volume seven of the Italian edi- of the fi rst section and its inversion. archaic subjects in longer note values There is one example in 3/8 and three tion. Four of these are in 3/4 and have The one piece entitled Preludio, no. (nos. 1, 2, 9, and 46, for example) to in 6/8 in equal eighth notes, two in 3/2, mainly continuous eighth-note motion in 95, is also in two sections, the fi rst alter- more lively subjects using eighth and and 10 in 3/4, with the majority in C or one hand against long chords, while the nating long-held chords with 16th-note 16th notes (such as nos. 4, 6, 8, 13, and cut C. The part writing is relatively loose others in C time are close to the minia- passagework against chords passed from 14, etc,). A canzona-like dactylic rhythm but effective. Keys used cover up to A ture toccata style noted in the versetti hand to hand. The second section is again of eighth note followed by two 16ths and major and C minor, with the old key sig- above. There are ten Accadenze (or ca-
22 THE DIAPASON dences), which again are very short, with Ottava, fl ute, and reed stops were divid- Silbiger, Alexander, ed. Keyboard Music be- co Cera for his invaluable help and comments either toccata-like fi gures or based on ed, usually between middle e and f or f fore 1700. New York and London: Rout- during the preparation of this article. short rhythmic fi gures. A different Pasto- and f-sharp. ledge, 2003, pp. 299–303. rale opens with a repeated multi-section There is no evidence that Pasquini ad- Silbiger, Alexander. Italian Manuscript Sourc- Modern editions movement in 3/2 leading to a movement hered to Diruta’s system of registration es of the 17th century. Ann Arbor: UMI Re- Collected works for keyboard edited in search Press, 1980. seven volumes by Maurice Brook Haynes. in C time full of dactyl rhythms, which by mode included in the 1609 volume of ______. “The Roman Frescobaldi includes the traditional drone bass that Il Transilvano, but the legacy of Anteg- American Institute of Musicology, Corpus of Tradition, ca. 1640–1670.” Journal of the Early Keyboard Music, CEKM 5-1 to 5-7. disappears and reappears at will. nati in offering registrations based on the American Musicological Society, xxxiii 1980, Vol 1: Contrapuntal works type of piece and its function in his 1608 pp. 42–87. Vol 2: Suites and dance movements, bizzar- Performance practice volume were still followed well into the rias and 20 arias. A few general notes on performance seventeenth century (e.g., for Canzone Facsimiles Vols 3–4: Variations. practice relating to 17th-century Ital- alla Francese, the Ottava plus Flauto in Facsimile edition of Landsberg MS edited by Vols 5–6: Toccatas and Tastatas ian organ music may be helpful in de- ottava [4′ Flute], Principale plus either Emer Buckley in 2 parts + CD: Anne Fuzeau Vol 7: Figured bass sonatas and miscella- termining answers to some frequently Ottava or Flauto in ottava plus Flauto Classique,
AUGUST, 2010 23