Alessandro Scarlatti
15 Fugues (ASOT 102-116) for Keyboard
- Three- and Four-Part Elaboration from the original Two-Part version
- Editor: Francesco Tasini
- Publisher: Ut Orpheus
- Code: HS 282
- In Stock
-
€ 22.95
The two-part composition has always been an essential stage in didactic treatises for teaching counterpoint; the Duo has been of fundamental importance, since the early decades of the sixteenth century, in the teaching of singing and in instrumental practice.
The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an indispensable invention of a third or even a fourth part (to ensure, above all, “full and significant” harmony).
An indication of this practice of filling in is offered by the same ms. source containing Scarlatti’s Fughe a Due. In Fugue II in D minor, in the first eleven bars, we find indicated above the Bass a series of numbers showing the interval in relation to the respective upper line. These indications should not be confused with the “numerical marking” typical of the basso continuo and of the partimento, for they establish a clear sign of the usual practice exercised in the teaching of counterpoint in order to guide the student visually to pass safely and speedily from two to three or more parts; this type of numbering is often found in the counterpoint methods of the time, in particular in the section illustrating the “Contrapunto semplice e Diminuito”.
These fifteen Fughe a Due, unlike the many Duos and Duets which figure in the counterpoint methods, are not a simple display of formulas, but they assert themselves as a calculated sample of characterized styles and genres, a series of pieces conceived with an exquisite sense of form.
The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an indispensable invention of a third or even a fourth part (to ensure, above all, “full and significant” harmony).
An indication of this practice of filling in is offered by the same ms. source containing Scarlatti’s Fughe a Due. In Fugue II in D minor, in the first eleven bars, we find indicated above the Bass a series of numbers showing the interval in relation to the respective upper line. These indications should not be confused with the “numerical marking” typical of the basso continuo and of the partimento, for they establish a clear sign of the usual practice exercised in the teaching of counterpoint in order to guide the student visually to pass safely and speedily from two to three or more parts; this type of numbering is often found in the counterpoint methods of the time, in particular in the section illustrating the “Contrapunto semplice e Diminuito”.
These fifteen Fughe a Due, unlike the many Duos and Duets which figure in the counterpoint methods, are not a simple display of formulas, but they assert themselves as a calculated sample of characterized styles and genres, a series of pieces conceived with an exquisite sense of form.
Author: Alessandro Scarlatti (1660-1725)
Editor: Francesco Tasini
Publication Date: 1/20/2020
Pages: pp. 84
Size: 230x310 mm
Binding: Saddle stitching
ISMN: 979-0-2153-2644-6
Code: HS 282
The Organ, March 2022
... The volume is clearly printed with five systems to a page. These pieces provide an interesting contrast to the composer’s highly virtuosic toccatas and relentless fugues, and require a rather different, more cerebral approach to performance. (John Collins)
... The volume is clearly printed with five systems to a page. These pieces provide an interesting contrast to the composer’s highly virtuosic toccatas and relentless fugues, and require a rather different, more cerebral approach to performance. (John Collins)
The Consort Magazine (Summer 2021)
... Generally suited for organ or stringed keyboard instruments, the pieces provide an interesting contrast to the composer’s highly virtuosic ‘moto perpetuo’ toccatas and require a different, more cerebral approach to performance (John Collins)
... Generally suited for organ or stringed keyboard instruments, the pieces provide an interesting contrast to the composer’s highly virtuosic ‘moto perpetuo’ toccatas and require a different, more cerebral approach to performance (John Collins)
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