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Sources in Milan

*Library of the Conservatorio "G. Verdi," Milan (I-Mc)*

/2 Bassi numerati /[recte:4] /del Sig. Greco Gaetano./ I-Mc Noseda N

49-1. It consists of four short partimenti for the study of imitation.

/Alcuni bassi di Raimondi disposti dal M° Fiodo/. I-Mc Noseda Th.c.140.

A four-voice, strict realization of some partimenti of Pietro Raimondi
by composer Vincenzo Fiodo (Taranto 1782–Naples 1862).

/Bassi per esercizio d'accompagnamento al antico. Di Giuseppe

Saratelli/. About two-thirds (up to page 53), of the manuscript is
damaged in the lower right corner (probably eaten by mice), but the
partimenti are still easily readable. This manuscript is the only
surviving copy of this work, which is clearly conceived as a complete
and well-ordered method of partimento. It begins with scales and
cadences in all keys, followed each by a short unfigured partimento.
From page 30 begins a series of fifty-six figured partimenti, each
bearing at the end the number of its bars. Their style is very
demanding, and they count among the finest examples of non-Neapolitan

/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."

/Disposizioni a tre, e quattro parti, ossiano Partimenti del sig. Carlo

Cotumacci/. I-Mc Noseda E.66-16. Fair copy realized by a professional
copyist, probably in early nineteenth century. The content matches the
twenty-four /Disposizioni/.

/Disposizioni imitate a soggetto, e contro soggetto del celebre M° D.

Nicola Sala/. Noseda Th.c.116d. This manuscript is an almost perfect
duplicate of nn. 1-28 of Noseda Th.c.116b, but in addition it includes
n. 19, which was missing in the other codex. N. 19 is a two-movement
partimento: a Largo with the title "Gloria" is followed by an Andante in
B-flat major, which is the replica of the previous piece (n. 18).

/Fiodo—Studio sulle cadenze originale/. I-Mc Noseda Th.c. 143.

Realization, mostly in chordal style, of partimenti from Mattei's
/Pratica d'accompagnamento sopra bassi numerati /by Vincenzo Fiodo.

/Fiodo—Studj di partimento. Originale/. I-Mc Noseda Th.c. 142/a. In the

nearly seventy pages of this autograph, the author has composed an
impressive series of counterpoints from two to four voices on four
partimenti of an unknown author.

/Fughe con soggetto, e contro soggetto a suono placale del S. D. Nic:

Sala/. Noseda Th.c. 116c. Despite the title, this mutilated manuscript
includes twenty-one partimenti credited to Leo by most sources, and
included in Group B (reference collection Noseda Th.c.113), plus three
of unknown authorship. The numbering of the partimenti included in this
manuscript starts from n. 61, suggesting that these leaves once were
part of a larger codex.

/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.

/P. [Pietro] Scarlatti, [4 partimenti/]. I-Mc Noseda L 24.43. This

single, untitled, four-page leaf preserves four partimenti with the name
of P. Scarlatti written on the right top of the first page.

/Partimenti—Principj di Cembalo Del Sig.r D. Saverio Valente Accademico

Filarmonico/. I-Mc Noseda Q 13-15 (partial autograph). [/Regole di
partimento/]. I-Mc Noseda Q 13-16 (autograph). /Partimenti di Saverio
Valente Accademico Filarmonico/. I-Mc Noseda Q 13-17 (autograph). The
partimenti by Saverio Valente survive only in four sources, all
autograph or partially autograph. The main bulk is preserved in the
Fondo Noseda at the Conservatory of Milan and consists in three
successively numbered fascicles: Q 13-15, Q 13-16 and Q 13-17. This
subdivision is actually very doubtful, because the three booklets
consist of loose leaves whose current foliation is the result of some
random ordering. Only Q 13-15 is a self-standing work, however
incomplete. It was scribed by a professional copyist and successively
corrected by the hand of the author, perhaps in view of publication
(which never occurred). Q 13-16 and 13-17 are two distinct works, but
not in the order in which they stand. The first is a fragmentary and
untitled collection of rules, with examples (I will refer to it as
/Regole/), and the second consists of a collection of partimenti titled
/Partimenti di Saverio Valente Accademico Filarmonico/. The leaves
belonging to both works are scattered among Q 13-16 and Q 13-17 in such
a way that is possible to recontruct the original foliation of (at
least) the Partimenti (my reconstruction of the correct foliation is as
follows: for /Partimenti/: Q 13-17, p. 1; Q 13-16, pp. 8 to 11; Q 13-17,
p. 3; p. 2; pp. 22 to 33; pp. 4 to 21; pp. 52 to 58. For /Regole/: Q
13-16, pp. 1 to 7; lacuna; Q 13-17, pp. 34 to 51; unfinished). The
surviving part of the /Regole/ show a complete course in partimento,
from the first rules (the Rule of the Octave and the cadenze) to the
bass motions. There are no real partimenti, but only examples of bass
patterns. /Partimenti—Principi di Cembalo/ (Q 13-15) is coherent, but
probably unfinished. It includes twelve partimenti, of increasing
difficulty, dealing each with a bass pattern: scalar motion of different
types, sequences, and /dissonanze/ (suspensions). /Partimenti/ (in my
reconstruction using fragments of Q 13-17 and 13-16) is a collection of
fifty-five partimenti, whose last page is signed with the formula /Finis
Ad Majorem Dei Gloriam/.

/Partimenti Cembalo n. 4 del Sig. Gaetano Greco/. I-Mc Noseda Z 16-13.

This manuscript is made up of fifteen sheets in an uncommon vertical
format, written by a single hand in clear, but not calligraphic,
writing; Rizzo (1991) regards this manuscript as autograph. The caption
“n. 4” on the title page has been written by another hand and probably
refers to the position of the manuscript within a collection now lost.
The manuscript includes seventy-three partimenti, ordered by difficulty
and length, from a minimum of 6 bars to a maximum of 146 (n. 68).

/Partimenti del M° Cotumacci./ I-Mc E 66-15. Calligraphic copy dating

from early nineteenth century, probably mutilated (there are only seven
of the twenty-four Disposizioni). On the title page the name of the
owner, a G. Viola.

/Partimenti del Sig. D. Francesco Durante./ Noseda Th.c.107. This large

volume (236 pages) results from assembling several separate fascicles
bound together; some are clearly the work of a professional copyist, and
others have been scribbled by a student. Very interestingly, here and
there are attempts of realizations, notes, and sketches. This manuscript
may have had several owners, but one left a trace: a note on page 54
reads "Vincenzo Bellini Padrone" ("Vincenzo Bellini owner").

/Partimenti del Sig.r Fedele Fenaroli. Proprietà della Litografia

Patrelli./ I-Mc Noseda O 40-6. Incomplete copy of the first two books of
Fenaroli's partimenti. Established ca. 1816, the Litografia Patrelli was
the first lithographic printing factory in Naples. It specialized in
views of the city of Naples for travelers of the Grand Tour but
published music as well. Interestingly, they continued to produce and
sell manuscript copies, as this volume demonstrates.

/Partimenti (Porpora Nicola)/. I-Mc Ms. Nc. 176. This recently

discovered collection was part of the bequest of Michele Saladino
(1835-1912), a student of Pietro Raimondi who taught counterpoint and
fugue at the conservatory of Milan between 1870 and 1906. The
manuscript, whose general title has been penciled on the frontispice,
contains two series of partimenti, written by different hands, separated
by seven empty leaves. The partimenti in the first series (c. 2r to c.
18v) are in part unknown, and in part they appear also in other sources
with differing attributions (to Leo, Durante, and Sala). The second
series (c. 27r to c. 36r) bears the title in ink "Partimenti del Sig. D.
Nicola Porpora," probably the only authentic ones. The second series
consists of rules, partimenti (some of them with traces of realization),
and a somewhat eccentric version of the Rule of the Octave with the
title "Scale invented by D. Nicola Porpora" (c. 36v).

/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.

/Partimenti ossia Basso numerato. Del Padre Stanislao Mattei di Bologna.

Cifrati esattamente dal M.tro Quadri suo Allievo./ I-Mc Noseda Th.c 127.
The title reads "Partimenti or figured bass by Father Stanislao Mattei
from Bologna. Carefully figured by Maestro Quadri, his student."
Domenico Quadri (1801-1843) eventually published an annotated edition of
Mattei's partimenti with the title /La Ragione armonica dimostrata sui
partimenti del Padre Maestro Mattei/ (Naples: Tramater, 1830).

/Partimenti per ben sonare il Cembalo. Del Sig.r D. Fedele Fenaroli.

Maestro di Cappella Napolitano, e del Real Collegio di S.a. M.a. di
Loreto/. I-Mc Noseda Th.c.115. Handwritten copy of Fenaroli Book I-V
(Book V is incomplete).

/Piccoli Bassi su tutti li toni per introduzione alli Bassi numerati o

siano Partimento del Padre Maestro Stanislao Mattei Minore Conventuale/.
I-Mc Noseda Th.c.128. This work constitutes a preparation for Mattei's
major partimenti collection; for each key there are four short
partimenti (one line each) arranged in order of difficulty. Differently
for the /Pratica d'accompagnamento sopra bassi numerati /(published in
1825), the /Piccoli bassi/ remained in manuscript.

/Regole con moti di basso, partimenti e fughe del M.tro 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.

/Regole di Partimenti numerati e diminuiti del Maestro Francesco

Durante/. I-Mc Noseda Th.c.133. Fair copy written by a professional
copyist, probably in the early nineteenth century. The manuscript was
clearly planned to contain the complete series of Rules, Numerati, and
Diminuiti, but the better part of the Diminuiti is missing.
Interestingly, there is an isolated example of diminution for a Numerato
(Gj 238): "Modo di diminuire la mossa di questo Basso" (p. 94).

/Regole di partimenti numerati e diminuiti del Sig. Francesco Durante/.

Noseda Th.c.123 A professional fair copy, probably produced between the
late eighteenth century and early nineteenth. The manuscript includes
all four series of Durante's partimento output: /Regole, Numerati,
Diminuiti, /and /Fughe/.

/Regole di partimento per imparare a sonare bene il Cembalo Del Sig.r D.

Giovanni Furno/. I-Mc Noseda Th.c.121. The title refers only to the
first fascicle of this large, composite manuscript, which was produced
by sewing together dissimilar material. Furno's short rules are followed
by material drawn from Fenaroli's Books 1, 2 (with the Regole), 3, 4,
and 5, followed by a fascicle with a partimento and some intavolature
The presence of editorial notes suggests that this might be an
engraver's copy for an edition of Fenaroli.

/Studio intero di partimenti e fughe di Cotumacci/. I-Nc Noseda

Th.c.106. Fair copy of the entire series of /Principi e Regole/,
/Partimenti/ (or /Lezioni di partimenti)/ and /Disposizioni./

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