Le 29 juin 2017
de 14h30 à 15h00
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 5
Séance précomposée - Analyzing Models and Creativity in the Long Eighteenth Century
Pré-acte / Acte
Auteur : Robert Gjerdingen
For a young student, a musical tradition only exists as it is conveyed to him or her by a teacher. The aim of this study is to report on how Parisian master teachers at the Conservatoire passed on the traditions of partimento analysis and realization. Auguste Panseron, for example, showed how to realize a partimento by Fenaroli. Hippolyte Colet published collections of Scarlatti sonatas and Bach two-part inventions to show students how to create authentic realizations of eighteenth-century partimenti. And Édourad Deldevez provided a multi-level hierarchical analysis of a Fenaroli partimento to guide a student’s process of realization. The discovery of multi-level partimento analysis has significant implications for understanding how earlier musicians conceived of musical syntax. Perhaps the most surprizing finding for a modern scholar is the ubiquity of partimento playing and written realization at the Paris Conservatory. Though the curriculum went through many changes during the nineteenth century, partimento playing remained a core activity in the foundational course known as Harmonie et accompagnement. Claude Debussy, for instance, was remembered as a gifted partimento player in the class of Auguste Bazille.ala (1713–1801) from a variety of sources (scholastic canons from printed sources, or solfeggio canons from manuscript sources), highlighting Sala’s instruction of improvised canon and his own solfeggio canons as models for this instruction. The Do-Re-Mi schema is contextualized through the identification of some of its historical roots. The wide range of examples from counterpoint notebooks and educational exercises of Sala show that the Do-Re-Mi was used systematically not only in the realization of partimenti, but also in the writing and improvisation of fugues and singing of solfeggio canons, particularly of the final stretto of the fugue (the stretto maestrale).
