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Chapter 9 (Full)
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Sources in Milan
Sources in Naples
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Sources in Milan
/Dieci Fughe In Toni Cromatici Per Cembalo, o Piano Forte Composte Dal
Sig. D. Fedele Fenaroli. Ad uso di me Vincenzo Lavigna 1795/. I-Mc R
40-5. This copy of the Dieci Fughe (Ten Fugues in Chromatic Keys) from
Fenaroli's Book V was prepared by Vincenzo Lavigna, Giuseppe Verdi's
composition teacher. At the end of the manuscript a note reads: "Laus
Altissimo. Compite di scriv[ere] Alli 30 Aprile 1795 Giovedì a sera."
/Fughe del Mtro Nicola Sala/. I-Mc Noseda Th. c. 116b. The sixty
partimenti included in this manuscript do not appear in any other
collection of partimenti credited to Nicola Sala (but see Noseda
Th.c.116d). However, some of them (nn. 7, 16, 17, 52, 55, 56, 58, 59,
60) appear in other manuscripts attributed to Leo, and nn. 17 and 55 are
sometimes ascribed to Durante. N. 20 is missing; n. 7 is not a
partimento but a Toccata by Leo (but in some sources it appears as
partimento). From n. 41, the copyist's hand changes. On the last page
there is the note: "Maestro Nappi Paroco all'Ospedaletto" (probably the
name of one of the owners).
/Fughe per Cembalo Del Sig. D. Fedele Fenaroli. Per uso di me Vincenzo
Lavigna. 1794. 29 9bre [Novembre]./ I-Mc Noseda R 40-8. This unique
manuscript includes the first five fugues of Fenaroli's book V, realized
and arranged for violin and obbligato harpsichord by Verdi's teacher
Vincenzo Lavigna. To each fugue is appended a closing movement (usually
a Rondò), probably composed by Lavigna himself. These are the earliest
known realizations of Fenaroli, and the only ones that realize fugues
for violin and obbligato keyboard. This circumstance, and the addition
of a freely composed closing movement, make this manuscript of the
utmost interest.
/N. 12 Bassi del Sig.r Pietro Raimondi disposti dal Sig.r D. Eduardo
Fulvio riportando tutte le imitazioni del proprio autore. 1858/. I-Mc
Noseda Th.c. 142/b. A collection of /disposizioni/ on basses by
Raimondi; according to OPAC, the copyist is Vincenzo Fiodo.
/N. 8 partimenti per cembalo del Sig. re D. Ciccio Durante/. Milano
Noseda Th. C-134. Four of the eight partimenti are Diminuiti, the other
four are unica (an unicum is a text that survives in only one source),
and lack the "maniere." The handwriting is inattentive and hasty.
/Partimenti numerati del Sig. Maestro Leonardo Leo./ Noseda Th. c. 113.
Oblong manuscript 108 pages long, with ornate frontispiece bearing the
name of the copyist's shop: "Copisteria magazzino di musica strada
Trinità de'Spagnuoli n. 3 dirimpetto il palazzo Stigliano a Toledo." Its
forty-two partimenti form the most complete picture of Leo's Group B.
/Regole con moti di basso, partimenti e fughe del M.tro G.mo Insanguine
detto Monopoli/. Noseda Th. 116a. The only known source for Insanguine's
partimenti is the manuscript Noseda Th. 116a, in the library of the
conservatory of Milan (the same codex, with the call number Th. 116b,
starting from p. 90, is /Fughe del Mtro Nicola Sala/). It seems to be
the work of a professional copyist. The content begins with a series of
rules, followed by fifteen short, unnumbered partimenti and by
thirty-two numbered partimenti; it closes with twelve fugues.