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1
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Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?

100%
Solecka J.
Kwartalnik Młodych Muzykologów UJ
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2020
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issue 4(47) ENG
25-68
EN
The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 mm. I and II. This material may serve as encouragement for further studies and performance of these works. They are worthy of becoming part of staple concert repertoires.
2
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Nieznane fugi z rękopisu L 1636 Biblioteki Diecezjalnej w Sandomierzu

100%
Czerwiński K.
Kwartalnik Młodych Muzykologów UJ
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2022
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issue 2(53)
93-124
EN
The aim of the article is to present the content of the unknown manuscript L 1636 of The Diocesan Library in Sandomierz, with particular emphasis on the fugues contained therein. A closer acquaintance with the manuscript, dated around 1725, allowed to enrich the image of the musical culture in Poland in the first decades of the 18th century. The text is divided into three parts: 1. Description of the source; 2. Manuscript’s contents; 3. Conclusions from the analysis of the fugues from the manuscript PL-SA L 1636. The article is also accompanied by an appendix containing a critical edition of the fugues from the described manuscript.
3
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Sonate per uno o due Cembali con il basso cifrato Bernarda Pasquiniego – błaha rozrywka czy kunsztowna szarada?

100%
Solecka J.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47)
27-69
EN
The 14 Sonatas for two harpsichords from Sonate per uno o due Cembali con il basso cifrato by B. Pasquini (British Library of London, position: Ms. Add. 31501, I) are unique examples of double partimento. So far, not many performers have referred to these works; therefore, they deserve much more attention. Employing contrapunctual techniques in their realisation seems highly interesting. The author describes and provides her own poliphonic realisation of selected pieces from this collection: Sonata II ms. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 ms. I and II. This material may be an encouragement for farther studies and performance of these works. They are worthy to be a part of the widely known performance of these works.
4

Partimenti Bernarda Pasquiniego – studium realizacji wybranych Bassi ze zbioru Sonate per uno o due Cembali con il basso cifrato1

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Solecka J.
Kwartalnik Młodych Muzykologów UJ
|
2019
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issue 4(43)
5-60
EN
Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti, albeit he did not use the word “partimento”. He titled his works for one or two keyboards, written in the form of basso continuo, as Basso, Basso continuo, Sonata, Versetto etc. One of his manuscripts that include partimenti, entitled Sonate per uno o due Cembali con il basso cifrato, is held in the British Library of London, under the signature number Ms. Add. 31501, I. Two works from this collection, Basso Continuo [II] and [Basso IV], are realised by the Author as fully composed pieces and presented below. The realisation of these Partimenti intends to engage a polyphonic texture according to the rules of basso continuo and counterpoint adequate to the aesthetics and techniques of the music from the Baroque era. Realisations represent different genres of instrumental music of the 18th century, they apply counterpoint (fugue, fughetta and imitation texture) or freer techniques (figurative sonata, polyphonic fantasia).
5
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“So you want to write a gugue?” in post-Rudolphine times, or Michael Maier’s warning to musicians in Atalanta fugiens (1617):

72%
Desmet M., Vomáčka I.
Hudební věda (Musicology)
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2020
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vol. 57
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issue 4
562-566
EN
In Michael Maier’s celebrated book of alchemical emblems, Atalanta fugiens, each one of the fifty emblems is associated with a musical fugue. The race between Atalanta and her lover Hippomenes, the victory of Hippomenes thanks to three golden apples provided by the goddess Venus, the punishment of the two lovers by the same Venus… are episodes of a narrative which seems omnipresent in each fugue, the three parts of which are named “Atalanta”, “Hippomenes” and “apples”. It has been, however, seldom remarked that the symbolic reading of the Greek myth, on the model of an “ascension, misconduct and fall” progression, enters into dissonance with the alchemical interpretation of the same narrative given by the author himself, conceived this time on the basis of a dynamics of “heat” leading to red incandescence and to the most successful completion of an alchemical experiment. The consequences of this dissonance between a moral and a performative interpretation can prove fruitful when applied to an actual musical rendition of the fugues, calling for a renewed approach to the book by musicians.
CS
Ve slavné knize alchymických symbolů od Michaela Maiera, Atalanta fugiens, je každý z padesáti symbolů přiřazen k nějaké hudební fuze. Atalantin závod s jejím milencem Hippomenem, Hippomenovo vítězství díky třem zlatým jablkům od bohyně Venuše, a Venušino potrestání obou milenců – jednotlivé epizody známého příběhu se promítají do každé z třídílných fug, jejichž části jsou pojmenované „Atalanta“, „Hippomenes“ a „jablka“. Jen málokde ovšem najdeme poukaz na to, že symbolická interpretace řeckého mýtu prostřednictvím posloupnosti „vzestup – selhání – pád“ neodpovídá alchymickému výkladu daného příběhu, jak ho podává sám autor, který v něm vychází z „horké“ dynamiky, jejímž produktem je rudé vyzařování a výsledné zdárné dokončení alchymického experimentu. Důsledků tohoto rozporu mezi morální a performativní interpretací lze využít při jeho aplikaci v reálném hudebním provedení těchto fug, z čehož plyne výzva hudebníkům k revizi dosavadního přístupu k této knize.
6
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Interpretation of the principles of stylistic play in the polyphonic cycle of M. Skoryk.

58%
Tsiganiuk L.
Edukacja Muzyczna
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2020 (EN)
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issue 15
165-190
PL
Artykuł poświęcony jest twórczości Myrosława Skoryka, wybitnego ukraińskiego kompozytora, dobrze znanego na polskiej scenie muzycznej. W szczególności chodzi tu o omówienie dwóch par preludiów i fug: C-dur nr 1 i F-dur nr 6 z polifonicznego cyklu na fortepian. Kompozycje te zostały poddane analizie muzykologicznej i wykonawczej. Rozpatrzona została specyfika stylistyczna i interpretacyjna tych utworów.
EN
The article is devoted to the works of Myroslav Skoryk, a prominent Ukrainian composer, who is well known on the Polish music scene. Two pairs of preludes and fugues from the polyphonic cycle for piano are discussed in particular: C major No. 1 and F major No. 6. The compositions are subjected to musicological and performance analysis. The stylistic and interpretative specificity of these pieces is also considered. Key words: piano, polyphonic cycle, stylistic play, interpretation.
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