An Overview of the Keyboard Music

of Bernardo Pasquini (1637–1710) John Collins

T his year we commemorate the 300th

anniversary of the death of Bernardo
Pasquini. Although much attention has
new seven-volume edition, under the
general editorship of Armando Carideo
and Edoardo Bellotti, was issued in 2002;
Contrapuntal pieces and sonatas by Bernardo Pasquini included in the Haynes edition
No.
1
Title
Capriccio
Key Time signatures
D minor C-C-3/2-C
Length
169 bars
been given in the past few decades to the first 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of the major Italian composers for key- including as yet unpublished fugues in 9 Fuga G minor C 24 bars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 influential 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 figured-bass sonatas for one and for
in part I are the 14 sonatas for two bassi two players, or the figured-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 figured-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 influence of the latter being
Follia and, at the end of the section, nu- identifiable 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 first 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- first 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 florid 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 first 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 first 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 flourish 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 fig- 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 fifth 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 briefly 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
In addition to the facsimile edition of
CERTIFIED APPRAISALS
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
of grouping pieces by genres rather than
against 16th-note figures derived from
the opening subject. The following short Stephen L. Pinel, Appraiser
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- slpinel@verizon.net / (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 52 Variationi Capricciose 7 (Theme not stated) C
16 Bb 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 first opening with passagaglie complete this genre. tween hands cluding with a veritable virtuoso flourish
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 figura- The work entitled Variationi occupies
in this case D) and proceeding in main- tion in the first 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- flowing 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 first 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
flat to G via B-natural followed by B-flat, 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 figures and figures 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 first 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-flat 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 figuration 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 fifth
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 first, 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 first two beats. “in corrente”, the fourth is a sarabanda, repeat in eighth notes, with imitation notes, sometimes in broken-chord for-
the fifth 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 first of which is in quarter notes in the first 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 figuration. The second, in binary giated figures.
the Haynes edition are probably the first The final 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 first 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, fifth, 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 figure 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 first headed 6/4. In the third, flowing eighth ed entirely around an eighth note in the
school, but rather on Italian ensemble variation (its first 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 figure 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 first 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 unified 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 first six beats after
this volume. These “suites” comprise ment in one part against dotted half-note bar of eighth-note imitation before a fig- 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 fifth partita has broken-chord writ- Sarabanda, it has more in common with
including four entitled Bizzarria and no from a sequential figure 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 fifth 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 figure of dotted quarter
nature the dances, bizzarrias, and arias ing, being similar to Frescobaldi’s Cor- top and bottom notes in figures 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 final partita is
instruments, although performance on chord figures feature in the sixth, and in- is relieved in the middle of the piece by in 3/4; after the first 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 figuration 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 five-note eighth- parallel motion, but also with one hand
di in the time signatures: in the eighth note figure 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 fine 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 final partita has continuous, mainly con- niques for students. There is a precedent
variations include four based on dance rhythms, and the figure 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 final partita is headed
20 THE DIAPASON
Figure 5. Partite diversi di Follia: Variation 7 showing violinistic figuration 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
77 Ta C major C 15 bars
Figure 6a. Passagagli in C (no. 67) showing chordal writing 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, first 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-flat 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 five 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-five) 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, five, 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- flats, 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 first 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 first 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 final 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 five (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 final 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 figuration in the RH, and sequential bars of chords suitable for arpeggiations
figuration, with several variations requir- (indeed, in no. 94 the instruction “arpeg-
ing an advanced technical ability. gio” is included, relating to the first two
The two sets based on La Follia are chords) before motives are passed from
very different in character. The first 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 figure 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 first 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 figures by a variation in 3/2 before a short clos-
in the final 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 final
thematic imitation prevalent in the first 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 final 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 first 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-flat, 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
sections, and some of Pasquini’s pieces based on passagework passed between 42 E minor C 6 bars 16th note
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 figures (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
b
treat the beat freely can be applied cau- in 12/8 and 3/2 respectively. In no. 141 51 B C 4 bars 16th note
52 Bb 3/4 12 bars Quarter note
tiously here, as can the eminently sensi- much is made of sequential figures 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 final 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 figure 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, prefiguring 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 briefly 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, first 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 figuration 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 figures passed tive pieces, many not exceeding five 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 five 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 figure of natures of one less accidental than pres-
tricate contrapuntal pieces of that name chords. The first 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- flats 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 fifteen 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 first 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 first 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, flute, and reed stops were divid- Silbiger, Alexander, ed. Keyboard Music be- co Cera for his invaluable help and comments
either toccata-like figures 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 figures. 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, <www.editions-classique.com>. neous works including ten short pieces, ac-
asked questions. in duodecima [Twelfth Flute], or even Rome, Biblioteca Apostolica Vaticana Ms. Vat cadenze, pastorale, two ricercare and two toc-
Mus 569 (Mutii MS). Composers include catas; <www.corpusmusicae.com/cekm.htm>.
Ornaments: The only ornament sign Principale plus Flauto in duodecima Ferrini, Fontana, and Pasquini. Facsimile
found in Pasquini’s pieces is the letter were suggested). edited by Alexander Silbiger. Seventeenth- Opere per tastiera: seven volumes; 1–5
t, which occurs on note values down to There is plenty of scope for varied century keyboard music no. 14, Garland published by Andromeda, 6–7 published by Il
a 16th note. It is found frequently over and contrasting registration in many of Publishing. Pieces attributed to Bernardo Levante Libreria. For a detailed list of con-
the first note of a dotted eighth-16th pair Pasquini’s works in sections or multiple are Tastata Arpeggiata longa and Tastata tents of volumes 1–5 see the itemization in
(and by extension should probably be movements, but performers on mod- 2da, neither of which is in the Haynes edi- Saul Groen’s catalogue pp. 918–922 at <http://
played in this figure even when not spe- ern organs need to ensure clarity and to tion. Garland Publishing does not have its saulbgroen.nl/>.
cifically indicated) and indicates a trill, avoid heavy reeds and fat Open Diapa- own website, but many titles are available Vol 1: Introduzione e pastorale, 60 versetti,
probably better commencing on the main sons. It should be noted that pedals, if on <www.amazon.co.uk>. edited by F. Cera
Toccates & Suittes pour le clavecin de mes- Vol 2–5: Pieces from Landsberg 215, edited
note, especially in the more retrospective present, consisted in the main until well sieurs Pasquini, Poglietti & Kerle, Amster-
pieces. It is worth mentioning, however, into the 18th century and later of pull- by A. Carideo
dam 1698/99. Also included in the facsimile Vol 6–7: Pieces from MS31501, edited by
that Lorenzo Penna does describe the downs from the short octave bass in the edition is a second collection of Toccates, E. Bellotti (vol 6) and A. Carideo (vol 7)
trill beginning on the upper auxiliary in manual, and covered an octave from C to Vollentarys and Fugues Made on Purpose Volume 6 contains Tastata, Corrente, Aria,
his Li Primi Albori Musicali of 1656, re- B, with the only black note being a B-flat; for the Organ and Harpsichord composed and the figured-bass sonatas.
printed in 1672, 1684 and 1696. On short some added the tenor C, and occasional- by Pasquini, Poglietti, and others. London Volume 7 contains 314 figured-bass ver-
notes only three notes (i.e., C-D-C) can ly eleven notes were found, including an 1719, facsimile edited by Alexander Silbig- setti, 10 versi, numerous arias, Passacaglia in
be played; on longer values there can be E-flat and A-flat. Playable in most cases er, Seventeenth-century keyboard music no. G minor, Variations on La Follia, Accadenze
more repercussions, possibly even paus- by toes only, their function was primarily 17, Garland Publishing. Both books contain and Tastata in C.
Toccata 104 in C. These can be obtained from Libreria Mu-
ing on the main note before trilling. It is for long-held bass notes or to reinforce Urbana, University of Illinois MS x 786.4108/ sicale Ut Orpheus, <www.libreriamusicale.
also possible that an ornament equivalent cadences. Very few instruments had a 16′ M319 (Woodcock MS). Facsimile edited com>. See also <www.illevante-libreria.it>.
to the mordent or pincé, with the lower Contrabassi. by Alexander Silbiger, Seventeenth-century Francesco Cera has kindly suggested that
auxiliary (i.e., C-B-C), could be used in Tempi—Proportional notation: keyboard music no. 20, Garland Publishing. an e-mail to <Iosi.ac@fastwebnet.it> would
ascending passages, particularly in pieces There is an interesting description of Anthology of Toccatas by 17th-century Ro- produce information about the availability of
in the French style. In two pieces (Vari- how to play triple-time (including 6/4 but man composers. Contains two toccatas (in these volumes.
azioni 11 and Toccata con lo scherzo del not 12/8) sections in Frescobaldi’s pref- C and D minor) attributed to Pasquini, nei-
cuccu) the comment “Trillo continuo” aces to his books of toccatas and capricci, ther of which is in the Haynes edition. The Toccata con lo Scherzo del Cucco can
is found. The instruction “Arpeggio” is which, contrary to other theorists’ work, Washington, D.C. Library of Congress MS be downloaded free from Terence Charlston’s
M21.M185. Facsimile edited by Alexander website: <http://homepage.ntlworld.com/ter-
found in some of the toccatas. Naturally are NOT based on exact proportional Silbiger, Seventeenth-century keyboard ence.charlston/>.
there are possibilities for adding further interpretation but on speed by time sig- music no. 21, Garland Publishing. Anthol-
ornaments when not expressly marked, natures, ranging from adagio for 3/1 to ogy from ca. 1700. Contains Toccata 99 in Rome, Biblioteca Apostolica Vaticana Ms.
although care should be taken not to use allegro in 6/4, but there is no evidence Haynes. Vat Mus 569 (Mutii MS). Contains two pieces
anachronisms such as the turn. from later theorists as to how proportions Toccate e sonate per clavicembalo MS DD/53 attributed to Pasquini. Edited by Jörg Jacobi
Fingering: This was still based on were treated. A mathematical rhythmic del Civico Museo Bibliografico Musicale di for Edition Baroque eba4035, Bremen <www.
the concept of “good” and “bad” fingers proportion can be applied successfully in Bologna, 17th century; includes pieces by edition-baroque.de>.
for strong and weak beats, which was Pasquini’s contrapuntal pieces far more Frescobaldi, Kerll, Pasquini, Merula and
described in great detail by Diruta in Il readily than in his toccatas. others. Archivum Museum: Monumenta Giulio Cesare Arresti, 18 Sonate da organo
Musicae Revocata 5, Florence 1987. Avail- di varii Autori, published by Edition Walhall,
Transilvano in 1593 and 1609, when he The great majority of Pasquini’s works able through <www.spes-editore.com>. Magdeburg EW650. Contains three pieces
proposed using 2 and 4 as strong fingers, can be performed successfully on harpsi- Volentarys and Fugues made on Purpose for attributed to Pasquini. <www.edition-walhall.
in direct contrast to other European trea- chord, organ or clavichord, although the the Organ or Harpsichord. London 1710. de>.
tises of the period; but during the 17th suites and dance movements are clearly Performers Facsimiles PF64. This abridged
century, more theorists (including Pen- better suited to the stringed instruments. edition of Arresti’s collection contains 12 of A version of this article, with content most
na, and Bismantova in his Compendio Many are not overly difficult, and their the 17 sonatas in the original including as relevant to harpsichord and clavichord, is to
musicale of 1677) were following Ban- melodic charm will provide many hours no. 11 Pasquini’s Sonata in A minor (no. 10 appear in Harpsichord and Fortepiano maga-
chieri’s use in L’organo suonarino of of pleasure to players, from informed in AIM) and as no. 12 his Sonata in E mi- zine in autumn 2010.
1605 of 3-4 in the RH for ascending and amateurs to professionals. In this anni- nor (no. 105 in AIM). <www.jackspipesand-
hammers.com>. John Collins has been playing and research-
3-2 for descending when beginning on versary year of his death, the best pos-
ing early keyboard music for over 35 years,
strong beats, and beginning off-the-beat sible commemoration would be for his I am extremely grateful to Terence Charlston with special interests in the English, Italian,
passages with 2 or 4 in the RH for as- pieces to take their place in concerts. ■ of the Royal College of Music, London, for his and Iberian repertoires. He has contributed
cending and 4 for descending. invaluable assistance in identifying the pieces many articles and reviews to several American
For the LH, 3-2 is recommended for Bibliography and modern editions by Pasquini in the above editions by Silbiger and European journals, including THE DIAPA-
ascending when beginning on strong Apel, Willi. The History of Keyboard Music and for alerting me to the pieces in the Wood- SON, and has been organist at St. George’s,
beats, and beginning off-the-beat pas- to 1700. Bloomington and London: Indiana cock MS and in MS21 in the Library of Con- Worthing, West Sussex, England for almost
sages with 2 or 4 on weak beats, and University Press, 1972, pp. 694–699. gress. I am also extremely grateful to Frances- 26 years.
3-4 for descending when beginning on
strong beats, and beginning off-the-beat
passages with 2 or 4 on weak beats. Also Custom builder of pipe, combination

Wicks
used were 1-2-3-4, then either repeated
or followed by 3-4 for RH ascending and and all-digital organs
4-3-2-1 repeated descending, and in the
LH 4-3-2-1 for ascending, then either
repeated or followed by 2-1 and 1-2-3-4
descending, then either repeated or fol-
lowed by 3-4 in LH descending.
Articulation: While non-legato was
still the main touch, apart from rapid
divisions and passagework, the gaps be-
tween notes should be noticeably less on
the organ than on the harpsichord, as de-
scribed by Diruta. Not until well into the
Organ Company
eighteenth century did a predominantly
legato touch become the norm.
Registration: The Italian organ of the
seventeenth century generally showed
little advance on the Renaissance model,
consisting primarily of a Principale cho-
rus on one manual, from 8′ right up to
1100 5th St.
the 33rd, in separate ranks that could be
combined to form a Ripieno. Flute ranks
were present at 4′, 22⁄3′ and 2′, but very
Highland IL 62249
rarely at 8′, and were not recommended
for combining with the Ripieno, and
reeds were also rare in most of the coun-
try, although the trumpet was very com-
877-654-2191
mon in Rome. In addition, during the
seventeenth century a Flemish influence
made an impact on native development,
including provision of a second manual
allowing dialogues and echo effects. The
manual compass was extended from a3
Opus 3047 www.wicks.com
Basilica of St. Mary Minneapolis, MN
to f3. The Principale, and sometimes the

AUGUST, 2010 23