Bernardo Pasquini

Opere per organo o cembalo

dal manoscritto MSDD53
della Biblioteca del Civico Museo Bibliografico Musicale di Bologna
Toccata 2o tuono Ricercare p.o 2.o tuono
Toccata 5o tuono Ricercare 2.o tuono
Toccata 8o tuono Sonata 7a p.o tuono

A cura di Edited by
Luigi Cataldi

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 Toccata
2.o tuono

ˇ ˇ 2ˇ ˇ ˇ ˇ Ä
Ä ÊÊ
2 S ˇ ˇ = = ˘˘ ˘˘ ˇ ˇ ˇ ˇ ˇ ˇ
G @ ÉÉ ˇ ˇ ˇ 4ˇ ˇ ˇ 2ˇ ˘ ˘
Ê Ê ĹĹ ĽĽ
ˇ ˇ ˇ ˇ Ĺš
ě
IS = ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ 6ˇ ÊÊ ˘
˘
4˘
ˇ ˇ ˇ ˇ ˇ
˘
ˇ`
˘
2 ˇ 2ˇ ˇ ˇ ˇ ˇ
Ä Ä ¯

Ê Ê
ĽĽ
ˇ ˇ ˇ ˇ Ĺš >˘ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ĽˇĽ ĹĹ ˘ ˇ ˇ 2ˇ ˇ ˇ ˇ ĹĹ
G ˘ 2 ˇ ¯ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Ř ˇ Ä
Ä ˇ ˇ ˇ ˇ ˇ ˇ ˇ
Ê 2ˇ Ř Ï Ï Ã Ã
ĽĽĹĹ Ê > ĹĹ ĹĹ
ě 2˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2 ˇ ˇ ˇ ˇ
ˇ ˘ ˇ ˘ @ ˇ ˇ ˇ
I2 ˘ ˘ ˘ ˘ ˇ ˇ 2ˇ ˇ ˘ ˇ ˇ ˘
Ê Ê
 ÏÏ Ŕ
` ˇ ( ˘ ˘ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
2ˇ ˇ ˇ Ŕ
G ˘ 2 ˘ ˇ ˘ ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ` 2ˇ ˘ @ ÏÏ ÏÏ - @ ˇ
ě - ˘
ˇ ˇ ˇ ˇ ˇ ˘ @
ˇ 2ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ @
ˇ 2ˇ ˇ ˇ
I 2 ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ
ˇ ˘ ˘ ˘
@ ÏÏ ˇ ˇ
Ű Ř ő
 Ê
Ê Ł Ł ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G 2 ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ 2ˇ ˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
@ IJ IJ
ě ÉÉ @
ˇ
I @˘ ˇ ˇ ˇ ˘˘ ˇ˘ ˇ ˘ ˘ ˘
˘ 2˘
˘ ˘
˘
2 ˘ ˘
tr

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 3


ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ > ˇ ˘˘
G 2 ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˘ ˘˘ ˘˘ ˘˘ ˘˘
IJ IJ
ğ
˘
I ˘˘ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
2 ˇ ˇ


ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G 2 ˘˘ ˘˘ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
˘˘ IJ IJ
ğ .
I ˇ ˇ ˘ ˘ ˘˘ 2˘˘ ˘˘
2 ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ
˘

ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˇ (
G2 ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ 4˘˘ ˘˘
Ű Ű @
ğ Ě Ě ˇ ÏÏ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
I ˘˘ 2˘ ˘ 2ˇ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
2 ˇ ˇ Ű
Ű

˘˘ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ Ê P
G2 ˘˘ ˘˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ¯¯
IJ 6¯
ğ
ˇ ˇ ˘ ˘ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˘˘
I2 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ` ˇ ˘ ˘˘
˘ ˘ ˘ ¯P
IJ ĽĽĹ
Ĺ Ã
ÃÁÁ ¯

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 4

Toccata
5.o tuono

ĽĽ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Ê Ê Ł Ł Ê
ˇ
GS @ ˇ ˇ ˇ Ł ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇÊ <
Ł ÊÊ ˇ ˇ ˇ ˇ ˇ ˇ( ? >
ę
IS = = ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
@ ĽĽ Ê Ê Ä Ä Ê Ê
 Ä Ä
= ˘˘ tr
`ˇ ˇ ˇ ˇ ˇČˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˘ ĎĎ Ê ˇ ˇ Ď
Ď Č
Ľ Ê
ę
˘˘ ˘˘ ˘˘ ˘˘ ˘`
I ¯ ˘ ˘ ˘ ˘ 4ˇ
¯

ˇ ˇ ˇ ÈÈ ĹĹ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇĆơ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ
G ÈÈ ˇ Ď
Ŕ Ŕ Ê Ê Ê Ê
Ê
ÈÈ Ď ÄÄ Ď
Ď ? ÈÈ ? ? ŁŁ
Ê ĎĎ
ę
ˇ ( ˇ ˇ ÈÈˇ ˇ ˇ ˇ
ÈÈ ˇ ˇ 4ˇ ˇ` 6ˇ ( `ˇ ˇ( ˇ`˘ ˇ ( ˘`ˇ
I ˘ ?˘ ˘ ˇ ˇ˘ ˘ ˘ ˇ(
˘

ˇ Ł Ł Ä Ä
ˇ ˇ` ˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ
G ÏÏ É Ä
Ä Ã ˇ Ê Ê ˇ ĎĎ
ę ˇ ( `ˇ ˇ( `ˇ Å Å
ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ
I ˇ˘ ? ˘ ˘ ˘ ˇ ˇ˘ ˇ ˇ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 5


ˇ ˇ ˇ ˇ ˇ ˇ ˇtr ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G Å Å
ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ
- - Ä
Ä Ã
à Å
Å @ ŁŁ
ğ ČČ ÏÏ ŁŁ
ˇ ˇ ˇ ˇ ˇ 4ˇ` ˇ( ˘ @ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
I ˇ˘ ˘ ˘ ˘ ˘ ˘ ˇ ˇ

 ĹĹ
ˇ ˇ ˇˇ ˇ ˘˘ ¯¯ ˘˘ 4ˇ`˘ ˇ ˇ 4ˇ˘ ˘ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ
ğ ?
ŁŁ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ
I ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇŁ Ä
Ä
ˇ ĎĎ ˙ ˘ ˘ ˘
ÄÄ Ê Ê ˇ Ł ˘ ˇ
>

ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇˇ ˇ ˇ ˇ 6ˇˇ ˇˇ 2ˇ ˘ˇ
G 4ˇˇ ˇˇ 2ˇ ˘ ˇ 4ˇ 6ˇ ˘ˇ ˇ 2ˇ ? ÈÈ ˇ 2ˇ ˘ˇ ˇ
ğ ? ÈÈ
ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
I ˘ ˇ ŽŽ
ˇ ˇ ˇ 2ˇ ˘ˇ ˇ ˘ˇ > Ã
Ã
IJ
IJ ?


G ˘ˇ ˘ˇ ˇ` ˇ ˇ 3
4ˇ 6ˇ 4ˇ 6ˇ ˇ ˇ ( ˘ˇ ?
ˇ ˘ˇ 2ˇ ˘˘ ¯¯ 2
ğ É
É tr
ˇ ˇ 4ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ˘ ˇ ˇ˘ ˇ ¯
I ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ Ż ˘ ¯ 3
Ü ÜÛ IJ
IJ 2

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
6


ˇ ˇ ˇ ˇ ˇ ˇ ¯ 2˘ tr
¯` ˘ 4˘ ˘ ˘ ˘ ¯ 4˘
G 32 <
ğ
I3 = = = ˇ
2 H ˇ ˇ ˇ ˇ ˇ ¯ 2˘ ¯`


ˇ 6ˇ ˇ ˇ ˇ ˇ ¯ ˘ ¯ ˘˘ ¯ ¯` ¯` ¯
G ˘ ¯ ¯` ˘
˙
ğ
˘ ˇ ˇ ˇ ˇ ˇ ˘ ˘ < J
G ¯ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ 2˘ ¯`

¯ ˇ
G ¯`˘ ˇ 4˘˘ ˘¯ ` ˇ ˇ ˇ ˇ ˇ ¯ ˘˘ ¯¯ `
˘
𠯯 ` 4˘ ˘
ˇ 2˘˘ ˘
I ˇ ˇ ˇ ˇ ˇ ¯ ¯` ˙ ˇ ˇ ˇ ˇ ˇ ˇ


= ˇ ˇ ˇ ˇ ˇ ˇ ¯ 2˘ ¯`
G ¯¯ ` ˘ ¯¯ ˘˘
ğ
˘ ˇ ˇ ¯ ˘¯ ` ˘ 2˘ ˘ 2˘ ˘ ˘
I ˇ ˇ ˇ ˇ ˇ ˇ ˘ ¯ ˘ ¯` ˘˘ ¯ ˘
˘

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 7


ˇ ˘ ˘ 4¯ 6˘ ˘ ˘ ˘˘ ¯ ¯`
G ˇ ˇ ˇ ˇ ˇ ˘ ˘ ¯`
˙ ¯
ğ
I ¯¯ 4˘˘ ¯ ˇ ˇ < J ˇ ˇ ˇ ˇ ˇ ¯ 2˘
¯ H2˘ ˇ ˇ ˇ
ˇ
¯ ˇ



G ¯ˇ ˇ ˇ ˇ
˘ˇ ˇ
¯`
˘ 2¯
˘
˘
2¯¯ ¯ ˘` 4˘ 6˘ ¯ ˘` ˘ ˙
ğ 2˘
ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ¯
I ¯` ˘` ˇ 2ˇ ˇ ˘`


ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ 2ˇ ¯ˇ ˇ ˇ ˘ ˘ 2˘˘ ¯ ˘` ¯ ˘`
G ˇ 6¯ ˘ 2˘ ¯ ¯ ˘` 4˘ 6˘
ğ ˇ ˇ ˇ ˇ ˇ ˘ ˘
¯ ˘` ˘ 2˘ ¯ ˘` ¯ ¯` ˇ ˘
I ˇ ˇ ˇ ˇ ˇ
ˇ


S `˘ P
G ¯ ˘ ` 4˘ 6˘ ¯ ˘` ˘ ˘ ¯˘ ` ¯ ¯ ˘` ˘ 2˘ ¯ ˇ ¯¯
ğ
ˇ ˇ ˇ ˇ ¯ ˘ ˙ ˇ ˇ ˇ ˇ ˘¯ ` ¯ ˇ `ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯P
I 4˘ ¯ S ÇÇÈÈ Ã ÃÁÁ ¯
˙

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
8

Toccata
8.o tuono

ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ = =
GS @ ˇ ˇ ˇ ˇ ˇ
ę 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
IS = ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ P
ˇ ˇ ˇ
 trÃÃ tr Ţ
Ţ ÃÃ
G ¯¯ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ 4ˇ ˘ˇ ˇ ˇ ˇ
¯ ĞĞ
ˇ ˘ 4ˇ 4ˇˇ` ˇ ˇ` ˇ ˇ ˇ
ę trĎ
ĎĆĆ @ ĹĹ ÃÃ ÃÃ Ã
Ã Ď Ď -
ĆĆ -
I ¯¯ ˇ˘ ˇ ˇ ˇ ˇ`ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ
4˘ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ĎĎ ĆĆ
ÈÈ ˘ ˇ ˇ ˇ ˇ
¯ tr tr

ĎĎ ČČĄĄ ĎĎ 4ˇ ˇ 4ˇ
G ˇ 4ˇ ˇ ˇ` ˇ 4˘? ˇ ˇ ˇ ˘
ˇ 4ˇ ˇ ˇ 4˘ˇ˘ ˇ ˇ ˇ ˇ 4ˇˇ ˇ ˇ ˇ @ ˇ ˘ ˇ
ˇ Ď
Ď ÉÉÇÇ Ä Ä
ę ĚĚ ĎĎ ˇ ` ˇ Ã
ˇˇ ˘˘ trˇ ˇ 4ˇ >˘˘ ˇ 4ˇ ˇ ˇ ˇ
I 4˘? ˇ ˇ ˇ ˇ ˇ 4˘
ˇ
 ÃÃ ĎĎ Č Ď
Ď Č
G ˇ˘ ˇ ˇ 4ˇˇ ˇ ˇ ˇˇ ( 4ˇ? ˇ 4ˇ ˇ ˇ 4ˇˇ ˇ ˇ ˘ˇ 6ˇ ˇ ˇ ˇ˘ ˇ ˘ˇ` ¯
Č Ď Č ˇ ¯
ę Ď Ď
ĎĎ Ď ĎĎ Č Ď Ď -
4ˇ` ˇ( ˇ ȡ Ď
Ď Č ˇ Č Ä Ä Ã
I 4˘ ˇ ȡ 4 ˇ ˇ ˇ ˇ ˇ 4 ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ˘ ˇ ¯
Ď
Ď ˇ ˇČ4ˇ ˇ ˇ ˇČˇ 6ˇ ˇ ˇ ˇ ˇ ˇ ¯
Ď
Ď ĎĎ Ä
Ä Ã

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 9



G ˇˇ ˇˇ ˘˘ ˇ ˇ 4ˇ ˇ ˇ 4ˇ ˇ ˘ˇ` ˇ ˇ
4˘˘ ˘˘
Ď
Ď Ď
ğ @ @ Ď Č
Č ĎĎ
ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ `ˇ˘ ˘˘ 4ˇ ˇ ˘
I ˇ ˇ ˘˘ @ˇ ˇ ˇ 4ˇ 4ˇ ˇ ˇ` ˇ ˇ
Ď
Ď Ď Ď
Ď Č
@ @ Ď Č
Č @ Č

ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘`ˇ ˇ ˇ ˘ˇ
ˇ ˇ ˇ ˇ
ˇ ˇˇ ˘ˇ ˇ ˘
G @ Ł Ł @ Ł ˘
Ł tr Ľ @ ŁŁ
ğ Ł
I ˘˘ ˘˘ @ ˇ ˇ ˇ
˘ ˇ
Ł
ˇ Ł
H@ ˇ ˇ @ ˇ 4ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˘`ˇ ˇ ˇ
@ Ł
Ł Ľ
 ĎĎ
ˇ ˇ ˇ
G @ ˇ ˇ 4ˇ ˇ 4ˇ ˇ ˇ ˘˘ ˇ ˇ ˇ ˇ 4˘
ˇ
@ @ Ď Ď
ğ
J 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G 4ˇ˘ > ˇ ˇ 4ˇ ˇ ˇ > @ ˇ ˇ ˇ @ Ď Ď Å
Ď ˇ ˇ ˘
@ Ď @

ˇ ˇ ˇ ˇ ˇ ˇ ˇ 12
G ˘ ˘ ˘ ˇ ˇ 4ˇ ˘ 8
˘ ˘ ˘
ğ Ä
ˇ ˇ ˇ 4ˇ Ä Ł
I ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ Ł
ˇ Ř
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ H 12
8
Ř ŘŘ ˇ IJ Ř Ř ˇ ˇ
IJ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
10


`ˇ`ˇ ˇ`ˇ` ˘ `ˇ` ˘` ˘`
G 12
8
`ˇ ˘` ˘` 4ˇˇ``
`ˇ`ˇ ˘ ˇ`` ˇ`
ğ
Ã
Ã Ď Ã
Ã Ď ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ`
Ď ĎJ 4ˇ ˇ
G 12
8 ? ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˘4ˇ`` ? ˇ 4ˇ ˇ ˇ ˇ ?
Ã
Ã Ď Ď Ŕ
ˇ ˇ
? Ŕ
ˇ ˇ `˘ ? Ŕ
Ŕ tr -
 ˇ` ˇ`
`˘ `˘ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ` ˇ ˘`ˇ` ˇ 4ˇ`˘` ` ˇ`
G `˘ `˘ ˇ`ˇ` ? É ĽĽ ˇ ˇ ˘
4ˇ``ˇ ? Ţ tr -
ğ ÈÈ ĽĽ ÈÈ ĽĽ
I 4ˇ`˘` ˇ 4ˇ ?˘` 4ˇ ˇ ˇ ˇ
ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ`ˇ`ˇ` `ˇ ˇ``ˇ ˇ` ` ˘ ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ
- ? É ĽĽ ` ˇ ` ˇ ˘` ? ˘` ˇ
ŻŻ ĽĽ
 Ã
Ã Ď Ď
ˇ` 4ˇ` ˇ` `ˇ ˘`˘` `ˇ
G ˘` `˘ ?˘` ˇ ˇ ˇ ˇ ˇ `˘ ˇ ˇ ` ˇ
4ˇ ˇ ˇ ˘`
Ã
Ã Ď ? Ã
Ã Ď Ď
ğ Ď `ˇ
I 4˘?`
ˇ ˇ ˇ ˇ ˇ ˇˇ` ˇ ˇ `ˇ ˇ ˇ 4ˇ`˘` ˇ ˇ ˘
˘`
`
ˇ`
` ˘
ˇ ˇ ˇ ˇ ˇ
ˇ Ű Ď Ď
Ŕ
? Ŕ - Ű

`ˇ ˇ` ˇ` ˇ` ˇ` ˇ` ˇ`
G `˘ ˘` `˘ ˇ` ˇ` 4ˇ` ˘` `ˇ
˘` ˘` ˇ`
ğ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
I ˇ
Ď Ď
Ď Ď Ď 4ˇ
Ď ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ 4ˇ ˇ ˇ ˇ
Ď Ď Ď Ď
Ď Ď Ď Ď Ď Ď Ď
Ď
Ď Ű Ď
Ű

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 11

 ˇ ˇ 4ˇ ˇ ˇ
G ? ˇ Ã
à Ď
Ď Ã
Ã Ď Ď ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ`
4ˇ ˇ ˇ ˇ ? Ď Ď
Ď Ď Ď Ď Ď Ď Ď Ď
Ď Ď Ď Ď
ğ
4˘``˘ ˘ `ˇ ˘ `ˇ`
I 4ˇ` ˇ` ˇ` 4ˇ` ˘ ˇ`` ˇ` 4ˇ `ˇ` `ˇˇ ˇ ˇ

 `
ˇ ˇ ˇ ˇ ˇtr ˇ ( >˘` ˇ` ˇ` 4ˇ` `ˇ ˇ` ˇ` ˇ` ˇ`
G ˇ ˇ ˇ` ˘` `˘ 4˘` `˘
ˇ` ˇ`
˘`
ˇ`
ğ ĽĽ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
I `ˇ
`˘ ˇ ˇ ˇ 4˘``˘ ˇ
ŢŢ 4ˇ ą
ą ĽĽ ĽĽ ą ˇ ą ĽĽ ĽĽ ĽĽ ˇąą ĽĽ


tr tr tr
G ˇ`` ˇ` ˇ` `ˇ S ˇ 4ˇ` Ã
ÃÁÁ ÃÃ
`ˇ 4ÁÁˇ ˘ ˇ
˘ ˘` ˘ ˇ 4˘ˇ ˇ` ˇ ˘
ˇ
ˇ `ˇ ˇ ˘˘˘ 4ˇˇ
ˇ ˇ ˇ 4ˇ˘`
ˇ Ŕ
4˘
ˇ ˇ ˘
ğ Ã
Ã
ÃÁÁ
à à ÃÁÁ @ Ŕ tr ĹĹ
ÃÃ tr
I ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ S >˘
ˇ ˇ
˘ ˇ` 4ÁÁˇ ˘ ˇ˘ 4ˇ` ÁÁˇ ˇ
ÃÃÁÁ >
`ˇ ˇ ˘ ˇ ˘˘ ˘ ˘
˘
Ł Ł
Ł Ł ˇIJ Ł
Ł tr
˘
IJ
 Spiritoso ÉÉ ÉÉ ÊÈÈ Ê Ê
ˇ ÈÈ ÈÈ ÉÉ ÈÈ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÈÈ ˇ Ê ÈÈ P
G ? æˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇˇ
æ 4ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ 4ˇˇˇ ˇ ˘ˇ ˇ
ææ ÉÉ ÉÈÈ ÉÉ
ˇ ˇ ˇ ˇ ÈÈ ˇ ˇ É
ğ ÈÈ ÈÈ trÉÉ ˇ` ˇ( P
I 4ˇ¯ ˇ ˇ ˇ ?¯ ˇ 4ˇ ˇ ˇ ˇ 4ˇ¯ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ÈÈ ˘
? ˇ ˇ ˇ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
12

Ricercare
p.o 2.o tuono

ˇ ˇ ˇ ˇ
G2S ˘ ˇ ˇ ˇ ˇ 2˘ ˇ` ˇ 6ˇ 2ˇ ˘
2ˇ ˇ ˇ
ˇ Ł ˇ ˇ ˇ ˇ ˇ ˇ É
ˇ ˇ 2ˇ
É
ˇ ˇ ˘ 4ˇ
- Ľ É
Ł
ě
tr
IS = = =
2 H < ˘ ˇ ˇ ˇ ˇ ˘ ˇ` ˇ ( 4ˇ 6ˇ ˘

ˇ Ľ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘` ˘
G2 ˇ ˇ ˇ ˘ ˘ ˇˇ ˇ ˘ 4˘ ˇ ˘ 4ˇ ˘˘ ˘ˇ ˇ 2˘¯ ˇ` ˇ
Ľ
ě 2˘ -
ˇ ˇ` ˇ 6ˇ 2ˇ tr ˇ ˇ ˇ ˇ˘ ˘ ˇ ˇˇ
Ľ Ľˇ ˇ Jˇ ˘ ˇ
G2 ˇ ˇ 4ˇ ˇ
ˇ ˇ ˇ
˘ ˇ ˇˇ 4ˇˇ -

˘ ÈÈ
G 2 ˇˇ ˘ ˘ ˇ ˘˘ ˘ ˇ
ˇ ˘ 4˘ˇ ˇ ˇˇ ˘
ˇ ˘ ˇ 2˘ˇ ˇ 4ˇ˘ ˇ ˇ˘ 4ˇ ˇ ˘˘ ˘ ˇ ˇ ˇ 2˘
ˇ ˇ ˇ
ě ˇ ˇ`ˇ 4ˇ ˘ ˇ 4ˇ ˘ tr >
˘ ˘ ˇ ˇ
I2 ˘ˇ ˇ ˘> ˇ 4ˇ 6ˇ ˘ ˘ ˇ 4ˇ ˘˘ ˘ ˘
ˇ
˘ ˇ ˇ˘ 4ˇ ˇ ˘ ˇ 2ˇ ˇ ˇ ˇ 2ˇ ˇ
- ˘ Ł
Ł

Ł Ĺš ˇ ææ ĽĽ
G2 ˇ` ˇ ( 6ˇ
Ď Ď
ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ
`
4ˇ ˇ ˇ ˇ 6ˇ 4ˇ ˘ ˇ ˘ `ˇ ˇ(
2ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ
ě
I2 ˇ ˇ ˇ` ˘ ˇ` tr Ê Ê ˇ ˇ ˇ
ˇ ˇ ˇ 4ˇ ˘ ˇ ˇ ˇ ˇ ˇ 4ˇ
-
6ˇ ˘ ˇ ˇ ˇ ˇ Ł
ÚÚ - ˇ Ł

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 13

 tr Ł ÏÏ
Ł ÎÎ ˇ ˇ ˇ ˇ ˇ ˇ
G2 2ˇ` ˘ ˇ ˇ ˇ ˇ 2˘ ˇ` ˇ 6ˇ 2ˇ ˘ ˇ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇŁ
ˇ ( ˇ` ˇ( - Ł Ľ
ğ ç
I ˇ ˇ ˇ` `ˇ ˇ ˇ ( ˘ 4ˇ ˇˇ
ˇ ˇ ˘ 2ˇˇ ˘ˇ
ˇ ˇ `ˇ ˇ ˇ˘ 4ˇ ˘
2 Ľ - çˇ ˇ` ˇ ˇ ˘ ˇ ( ˘ H ˇ ˇ ˇ ˇ
-

ˇ ˇ ˇ ˇ ˇ ˇ ÈÈ
ˇ ˇ ˘ 4ˇ ˇ ˇ `ˇ ˇ 2ˇ ˇ ˇˇ ˘ ˇ ˇ ˇ ˇ` 4ˇ` ˇ ( ˇ
G2 ˇ ˘ ˇ 4ˇ ˇˇ ˘ ˇ ˇ
˘ ˇ ˘ ˘ 4ˇ
ğ
ÚÚ ÚÚ - ? ˇ- -
G2 ˘ J˘ 2˘ `ˇ
ˇ` ˇ ( 4ˇ 6ˇ ˘ ˇ` ˇ(
`ˇ 2ˇ ( ˇ > ˇ ˇ ˇ ˇ ˇ ( 6ˇ 2ˇ ˘
 ˘ `ˇ
˘ ˇ ˇ ˇ ˇ ˇ 4ˇ 6ˇ
G2 ˘˘ < -
˘ ˇ ˇ ˇ ˇ 2˘ ˇ` ˇ ( 6ˇ 2ˇ ˘
ğ ÈÈ ÈÈ Ł Ł ˇ ˇ ˇ`ˇ
˘ ˘ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ`ˇ ˇ ˇˇ 2ˇˇ ˇˇ ˇˇ ˇˇ ˇˇ ˇˇ ˇ ˇ 4ˇ ( ˇˇ
I2 ˇ ˘ `ˇ ˇ ˘ ˇ( ˇ ˇ˘ 4ˇ 2ˇˇ` 6ˇ
Ł
˘ ˇ
ˇ - - Ł
-

2 ˘ ˇ ĹĹ ˘ ˇ ˇ ˘˘ `ˇ ˇ( ¯¯ P
G 4ˇ ˇ ˇ 4ˇ ˇ 6ˇ 2˘ ˇ` ˇ(
ˇ 4ˇˇ ˘ ˇ 4ˇ ˇ ˇ 6ˇ˘ 2ˇ ˘ ˇ 4ˇ
ğ ÔÔ ĹĹ
ˇ 4ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ 2ˇ ˇ ˘ ˇ 4ˇ ˇ ˇ ˇ` ˇ ( 6ˇ 2ˇ ˇ ˇ ˇ ˘
I ˇ ˇ `ˇ ˇ 4ˇ ˇ ˇˇ ˇ ˘
ˇ
ˇ ¯ ˇ˘ ˘ ˇ ˘ ˘ ˇ˘ ˘ ¯P
2 - ˇ ¯

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
14

Ricercare
2.o tuono

˘ ˇ ˇ ˇ 2˘ `˘ ˇ
ˇ
ˇ ˇ 6ˇ òò2ˇ ˇ ˘ ˇ ˇ 2˘ ˇ ˇ ˇ ˇ ˘ ˇ 4ˇ ˇ ˇ ˇ
ˇˇ ˘ ˇ ˇ ˘ `ˇ ˇ ˇ ˘ ˇ
G2S ˘ ÈÈ ÈÈ
ě ÈÈ
òò ˘` ˇ ˇ
I2S = = = = ÈÈ ˘ ˇ J˘ ÈÈ
H˘ ˘ ˇ ˇ 2ˇ ˘` ˇ ˇ ˇ 4ˇ 6ˇ ˇ >
 ÈÈ ÈÈ
ˇ ˘
G2 ˘ ˘ 4ˇ ˇˇ ˘ ˇ 4ˇ ˇ ˇˇ ˇˇ ˘ˇ ˘ ˘
4ˇ
ˇ
¯ ˇ ˇ ˇ
˘ 4ˇ˘ ˇ ˇˇ 4ˇ ˇ ˇ ˇ ˘˘
ˇ ˇ ˇ ˇ
˘ 4ˇˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ě 2˘ ˘ ÈÈ ˇ ÈÈ > ˇ
ˇ ˇ ˇ ˇ 6ˇ 2ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ
I ÔÔ ˘ ˇ`˘ ˇ ˇ 2ˇ ˘ ˘ ˇ ˇ ˇ ˇ 4ˇ˘` ˇ 6ˇ ˘
4ˇ ˘ `ˇ ˇ ( ˘
ˇ 4ˇ ˘
˘˘
2 ˘ òò ˘ ˘
ÈÈ

ÈÈ òò ÈÈ
G2 ˘ ˇ ˇ ˇ ˇ ˇ ˘ ˇ 4ˇ ˇ ˇ ˇ
˘ ˇ ˇ ˇ 2˘ `˘ ˇ ˇ ˇ 6ˇ 2ˇ ˇ ˘ ˇ ˇ 2˘ 4ˇ ˘
ě 6˘ ˇ ˇ
I ˇ ˇ ˘` ˇ 2ˇ ˇ ˇ 4˘ ˘ ˘ ˘ ˇ ˇ 2ˇ ˘ ˘` ˇ ˇ ˇ 4ˇ òò6ˇ ˘ ˇ òòˇ
2 >˘` ÈÈ ˘ ÈÈ

ˇ ˇ ˇ 2˘ ˘` ˇ ˇˇ 2˘ ˘ ˇ ˇ˘ ˘ > ˇ ˇ`
G2 < ˘ ˘ ˇ ˇ ˇ 6ˇ òò2ˇ ˘˘ ˇ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
2˘ ÈÈ > Ł
Ł -
ě ˘ ˇ ˘ ÈÈ ÈÈ òò
I ˇ ˇ ˇ ˇ ˇ 2˘ ˘ ˇ ˇˇ 2ˇ˘
˘
ˇ ˇ ˇ ˇ 4ˇ ˇ
ˇ ˇ ˘
ˇ ˇ 4ˇ ˘
˘ ˘ ˇ˘ 4ˇ ˘ ÈÈ
H > ˇ 2ˇ ˘ ˘` ˇ
2 ææ ˘ ˇ ˇ ˇ 4ˇ 6ˇ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 15

ˇ ˘ ˇ ˇ ˘ ˇ ˘ ˘ ˇ ˇ 2ˇ ˘
G2 4ˇ ˘ ˇ ˘ˇ ˇ ˘ `ˇ ˇ ˇ ˘ ˘ ˘ 2˘ˇ ˇ ˇˇ 4ˇ ˘`˘ ˘ ˇ ˇ 2ˇˇ ˘ ˇ ÈÈ
ą > ÈÈ ˇ 6ˇ ˇ ˇ
J ÈÈ ˇ ˘ ÈÈ ˇˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ
G2 ˘ ˇ ˇ > ˘ ` ˘ ˇ ˇ 2˘ ˘ ˇ ˇ ˇ ˇ 6ˇ 2ˇ ˘ 2˘ ˘ ˇ ˇ
ˇ òò ˘
 `˘ ÈÈ ææ
ˇ ˇ ˇ 4ˇ ˇ 6ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘ ˇ˘ ˇ 2ˇ ˘ˇ ˇ 2˘ˇ ˇ ˘ˇ ˇ ˇˇ `ˇˇ ˇ ( 4ˇˇ ˇ ˇ ˇ 4ˇ ˘
G2 ÔÔ ÈÈ ˘ ˇ ˇ 6ˇ ˇ 2ˇ ˘ ˇ ˇ ˘
ą ˇ ææ ÈÈ ÈÈ ĹĹ ? -
ˇ 6ˇ 4ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˘ ˘ ˘˘ ˘> ˇ
I `˘ ˇ ˇ ˘ ˇ ˇ ˘ 2˘ ¯ ˇ ˇ ˇ ˇ ˘˘
2 ˘ ˘ ˇ ˇ ˘ ˘ H
 ÈÈ
ˇ ˘ ˇ ˇ
2 ˇ ˇ ˇ 2˘ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ
4ˇ ˘ ˇ ˇ ˘
˘ ˇ ˇ ˘
˘ ˇ ˇ
˘
ˇ ˇ 4ˇˇ `ˇˇ ˇ ( ˇ
˘
ˇ 4ˇ ˘˘
ˇ ˇ
G ÈÈ ĹĹ
ą òò ˘ ˇ ˇ ˇ 2˘ ˘` ˇ
È È ˇ ˘ J ˘ ˇ ˇ ˇ 6ˇ 2ˇ
G2 `˘ ˇ 2ˇ ˘ ˘ ˇ ˇ ˇ ˇ 4ˇ 6ˇ ˘ ÈÈ ÂÂ
ˇ >
 ÈÈ
ˇ˘ ˘ 2ˇˇ ˘ ˇ ˘ ˘ ˘ 4ˇ ˇ ˘ 4ˇ ˘ `
G2 6ˇ ˘ ˇ ˘ ˇ ˘ ˘ ˇ 2ˇ`˘ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˘ ˇ 4ˇˇ ˇˇ ˇˇ ˇ ˇ˘ ˇ ˇ`ˇ ˇ ˘ ˇ ˘˘
ˇ ˇ ˇ˘ 4ˇ
ą ˇ ˇ 4ˇ ˇ ÈÈ 2˘ -
˘ ˘ ˇ ˘ ˘` ˇ ˇ ˇ ˇ ˘ˇ ˇ ˇ ˇ ˇˇ ˇ
I ˘ ˘ ˘ ` ˘ ˇ 2ˇ ˇ ˇ ˇ ˇ 4ˇ òò ˘ 6 ˇ ¯ 4˘ ˇ
2 > > ÈÈ

òò
2 ˘ ˘ ˘ ˘ ˇ
ÈÈ
˘ ` ˘ ˇ 6ˇ ˇ 2ˇ ˘ ˇ ˇ
tr
`ˇ P
G ˇ ˇ ˘ 4ˇ ¯ ˇ 4ˇ ˘ ˇ 4ˇˇ ˇ ˘ ˇ 4ˇ ˇ˘ ˇ ˇ`ˇ 4ˇ ˇ ˘ˇ ˇ `ˇ >ˇ ˇ ˇ ˇ ˇ
ÚÚ ˘ ¯ ˘ 6ˇ` ˇ ˇ ˇ ˇ 4ˇ 6
ą ÈÈ ˇ - ¯ ÍÍ
Î Î ÍÍÎÎ
I2 6ˇ˘ ? 2ˇ ( ˘˘ ˇ ˘ 4ˇ ˇ 4ˇ ˘
˘ ˘ ˘ ˇ ˇ˘ 4ˇ ˘˘ ˘
˘ ˘˘ >˘ 6ˇˇ 2ˇˇ 4ˇ¯ ˇ ˘ P
˘ ˇ ¯
ÔÔ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
16
a
Sonata 7
P.o tuono

ç
Ő ˇ ˇ ˇ ˇ
ˇ ˇ ˇ çæ ˇ ˇ ˇ ˇ òò ˇ ˇ ˇ ˘ ˘ ˘ ˇ` ˇ ˇ` ˇ ˇ ˇˇ ˘ ˇ ˇ
GS ? ˇ ˇ Ŕ Ŕ òòˇ ˇ
ˇ ˇ Ŕ Ŕ ˇ ììˇ - -
ď
= = Ő ŔŔ ˇ
òò
ˇ ççæ ŔŔ òò ìì ÔÔ ŔŔ
GS <
? ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Ő
> ? ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ

ˇ ˇˇ ˇ˘ ˇ ˇ ˇˇ `ˇˇ ˇ ˇ ( ˘˘˘ ˘ ˘ˇ ˇ ( ˇ` 4ˇ ( ˇˇ 6ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ˘ ˇ ˇ ˇ`ˇ
4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
? ŐŐ ŔŔ
ˇ
ď ˇ ˇ ˇ 4ˇ ˘˘
J ˇæ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ò
ò ŔŔ òòˇ ìì ˇ ˇ ˇ ˇŔ ˇ ˇ ˇŔ
ˇ ççæ ? ŐŐ Ŕ òòˇ ˇ
çç ææ Ŕ òòˇ ìì ÔÔ
ˇ

ˇ ˇ ˇ çç ææ ˇ ˇ
òò
ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ 4ˇ ˘˘
G òòˇ ˇ ˇ ˇ ˇ ˇ ˘
ˇ ˇ ŔŔ ˇ ììˇ ? ˘ ˘ ˘ ˘ ˘
- ˇ ÈÈ
ď ˘ˇ
ˇ ˘ˇ ˘ ˇ ˇ ˇ ˇ` ˇ 4ˇ ( ˇ` 2ˇ ( ˘ ˇ ˇ ˇ ˘˘˘ çææ ŔŔ
I ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇŔˇ ˇ ˇ ˇ ˇ ç ˇ
? ˇŐŐ ŔŔ òòˇ çç ˇ ææ Ŕ òòˇ ˇ ˇ ˇ ˇ ˇ

ŔŔ ò ÛÚÚ ŔŔ ÔÔ ŐŐ Ř òò çææ ŔŔ òò
2ˇ ç
G ? ŐŐ ˇ ˇ ˇ ˇ ò ˇ ˇ Û ˇ ˇ ˇ
ÔÔ
ˇ ˇ ˘ ˘
ÔÔ
? ˇ ˇ ˇ ˇ ˇ
2ˇ ˇ ˇ
ˇ ˇ ˇ ˇ
ď ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ
ˇ ˇ
ˇ ˇ 2ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ 2ˇ ˇ 2˘ ˇ ˇ ˘ˇ ˇ
I ˘ ˘ ˘ ˘ ˇ ˘ˇ ˇ ˘ˇ
˘ ììˇ ììˇ
ˇ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 17
í

òò ÔÔ ˇ ˇ ˇ ˇ Ĺš ˇ ˇ ˇ ˇ ŔŔŐ ˘ Ő ˇ ˇ ˇ ˇ ˇ íì ˇ ˇ ò
ˇ ò ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
? ˇ ŔŔ òòˇ ˇ ˇ ˇŔˇ Ŕ
ˇ ÏÎ
Ï ˇ
ę ˇ ˇ ˇ ˇ ˇ
ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˘
ˇˇ ˇ ˇ Ŕˇ ˇ ˇ
ˇ ˇ ˇ
I ˇ ` ˇ ˇ 4ˇ ( ˘ ˇ`˘ ĽĽ òò ˇ ˇ Ŕ
íì Ŕ òòˇ
í òòˇ ˇ ˇ ˇ ˇ ˇ ˇ
˘ ˇ şš
ş ? Ő Ŕ òò í íì ŔŔ
 ç Ŕ
ˇ çæ Ŕˇ ˇ ˇ òò ˇ ˇ
ÃÃÂ ˇ ˇ ˘
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘˘
G ˇ ˇ ˇ ˇ ˇ ˇ Ŕ Ŕ @ ČČ @ ČČ ŢŢ ĹĹ
ˇ
ę
ˇ
I ˇ ˇ ˇ
ççæ
4ˇ ˇ
òò
ˇ ŔŔ ó
ó ççæ ŔŔ ó ó á
á ÔÔ ˇ J ˇ ˇ ˇ ˇ ˇ ˇ
òò ˇ ˇ ˇ
ˇ ˇ Ŕ ˇ
ˇH ˇ ˇ ˇ ˇ
ˇ ˇ
ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
? Ő ĽĽ
Ŕ ˇ ˇ ˇ ˇ ˇ


G ˇ ȡ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ˘ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ ˇ 4˘˘
Č ˘ ˇ 4ˇ @ ŔŔ
@ @ ČČ
ę ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
I áá ˇ ˇ ˇ ˇ ˇ ˇ óó ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ
Ð
Ð
áá àà Ř Ð ˇ @
IJ

˘˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˘ ˘ 4˘˘ ˘ ˇ 4ˇ ˇ trˇ ¯ P
G @ ČČ ˇ
Ð
Ð ˘ ˘ ˘ ÈÈ 4¯
ÏÏ ÉÉ
ę
ˇ 4˘˘ ˘˘ @˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ČČ ˘˘ ¯P
I ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ¯
ÏÏ @ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ğ
ğ

c 2005 Luigi Cataldi (luicatal@interfree.it) http://icking-music-archive.org/ Non-commercial copying welcome
 18
nome dell’autore nel manoscritto: Toccata 5o tuono, Toccata 8o tuono, Ricercare
p.o 2.o tuono, Ricercare 2.o tuono. D’altra parte, dopo un’ampia discussione della
∗
Note questione, egli conclude che ci sono buone ragioni per ritenere autentiche queste
opere2 .
Criteri editoriali
o
• Viene impiegata la notazione moderna e vengono segnalate in nota le diver- Toccata 2 tuono
genze rispetto all’originale se problematiche. Titolo: Toccata 2o tuono / Bernardo Pasquini.
• Lo scioglimento delle abbreviazioni e la correzione di errori e omissioni sono Carte: 53v–54v.
segnalati in nota se non evidenti dalla stessa partitura. Chiavi del rigo superiore: violino per tutto il brano.
• Di regola non si segnala: il cambiamento della direzione delle gambe delle
2–3. Senza la linea divisoria di battuta.
note; la variazione del numero di note raggruppate sotto la stessa coda,
5, md. Manca il secondo sol minima della voce inferiore.
l’adeguamento alle consuetudini moderne nell’indicazione delle alterazioni.
5-6, md. Manca la legatura sul sol.
6, md. Manca il sol minima sul primo tempo della voce inferiore.
Fonte 13, ms. Senza il [ sul mi.
Bologna, Civico Museo Bibliografico Musicale, manoscritto MS DD 53. Volume com- 22, ms. Con il [ sul secondo e sul terzo mi.
posto da 103 carte di formato oblungo (21,7 X 29,5). Su ogni pagina sono incisi 6 23, md. Senza la legatura sul fa.
righi musicali: 3 pentagrammi predisposti per la mano destra e tre righi di otto linee 25–26, ms. Senza la legatura sul sol.
predisposti per la mano sinistra alternati. Il manoscritto è opera redatta alla fine 26–27, ms. Senza la legatura sul fa.
del ’600 da un copista anonimo. 32–33, ms. Vi è un arco di legatura malposto fra le due battute.
Edizione in facsimile: Varj Autori, Toccate e sonate, “Monumenta Musicae Revo- 33–34, ms. Senza la barra divisoria fra le due battute.
cata”, Firenze, S.P.E.S. 1987. 34, md. Con il ] sul si.
Sulla copertina: Sonate d’autori / diversi.
Sul dorso: Varij autori / Toccate / e Sonate / per / Cembalo.
o
Toccata 5 tuono
Notazione o
Titolo: Toccata 5 tuono.
Intavolatura per tastiera italiana su due pentagrammi. Mano destra: pentagramma Carte: 51v–53r.
con chiavi di violino, soprano e contralto alternate. Mano sinistra: rigo musicale di Chiavi del rigo superiore: violino per tutto il brano.
otto linee con chiave di fa sulla quarta linea e chiave di do sulla sesta sovrapposte.
Le alterazioni sono indicate in maniera relativa: il ] indica l’innalzamento e il [ 10, ms. Senza il \ sul fa.
l’abbassamento di un semitono rispetto al suono indicato in armatura. 18, md. Senza la legatura sul la.
18–19, md. Senza la legatura sul si.
20, md. Senza la legatura sul sol.
Autenticità
26, ms. Senza il ] sul primo do e senza \ sul secondo do.
Maurice Brooks Haynes1 considera dubbie le seguenti opere perché non recano il
∗
Il titolo del brano è seguito dall’indicazione del tempo, dall’armatura di chiave e dal numero totale di battute. Le note critiche sono precedute dal numero di battuta e da un simbolo
indicante il pentagramma a cui si riferiscono: md (mano destra) e ms (mano sinistra).
1
Maurice Brooks Haynes, The keyboard works of Bernardo Pasquini (1637–1710), Indiana University, Ph. D., 1960.
2
“Both the two ricercars and the two toccatas, then, show in their structural and thematics treatments, features which furnish strong evidence in favor of their being authentic Pasquini
composition. But until sources are uncovered which definitely identify their composer, they must remain under the shadow of doubt in this respect”, cit., p. 250–251. Per l’intera analisi
della questione si veda ivi pp. 28–30 e 244–251.

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 19
27, md. Senza la legatura sul mi. Carte: 56r–58r.
28, md. Senza la legatura sul sol. Chiavi del rigo superiore: Violino (batt. 1–19, 30–42t3); Contralto (batt. 20–29,
28, ms. Senza la legatura sul sol. 42t4–44).
45, ms. La semibreve puntata è mi anziché sol. Nelle seguenti coppie di battute manca la linea di battuta divisoria. Le misure hanno
74, ms. Manca il punto sul secondo do. dunque valore doppio: 1–2, 3–4, 7–8, 21–22, 35–36, 37–38, 39–40, 45–46, 47–48, 55–
74–75. Senza la linea divisoria di battuta. 56, 57–58, 59–60, 61–62, 63–64, 69–70, 82–83.

o
1–2, md. Il re è annotato mediante una semiminima col punto senza legatura.
Toccata 8 tuono 5, ms. Manca la legatura.
Titolo: Toccata 8o tuono. 6, ms. Manca il sol.
Carte: 49v–51v. 15–16, md. Il re a cavallo delle battute è annotato mediante una semiminima col
Chiavi del rigo superiore: Violino (1–3, 15–24t2, 26–37t2, 39t3–46t2, 51–55); Con- punto senza legatura.
tralto (batt. 4–14, 24t3–25, 37t3–39t2, 46t3–50). 18–19, md. Il la a cavallo delle battute è annotato mediante una semiminima col
punto senza legatura.
13–14. Senza la linea divisoria di battuta. 20, ms. Senza il punto sul primo sol.
5, md. Senza la legatura sul mi. 35–36, md. Il sol a cavallo delle due battute è notato come minima.
5–6, ms. Senza la legatura sul do. 37–38, md. Il re a cavallo delle due battute è notato come minima.
8, ms. Senza la legatura sul sol. 45–46, md. Il sol è annotato mediante una minima col punto senza legatura.
13, ms. Senza il re minima. 55-56, md. Il re a cavallo delle due battute è annotato mediante una semiminima
19, ms. Senza il ] sul fa; con il ] sul sol. col punto.
31, md. Senza la legatura sul do. 57-58, md. Il primo la a cavallo delle due battute è annotato mediante una semi-
34, ms. Senza la legatura sul fa]. minima col punto.
39–40, ms. Senza la legatura sul la. 61–62, md. Il re è annotato mediante una minima col punto senza legatura.
41, ms. Senza la legatura sul fa]. 69–70, md. Il la a cavallo delle battute è annotato mediante una minima col punto
45–46, md. Senza la legatura sul si. senza legatura.
82, md. Con il ] sul primo e sul terzo si. manca la pausa di semiminima.
o o
Ricercare p. 2. tuono
Titolo: Ricercare p.o 2.o tuono. a
Sonata 7 p. tuono
o
Carte: 54v–55v. Titolo: P.o tuono Sonata 7a Bern. Pasquini.
Chiavi del rigo superiore: Soprano (batt. 1–21, 30–33); Contralto (batt. 22–29, 42– Carte: 68v–69v.
45); Violino (34–41, 46–56). Chiavi del rigo superiore: Violino (batt. 1–16, 25t2–44); Contralto (batt. 17–25t1).
6, md. Senza il [ sul mi.
26, md. Manca il punto sul sol.
27, md. Manca il \ sul si.
35, ms. Manca il punto sul la.
43, ms. L’ultimo la è annotato mediante una semiminima col punto senza legatura.
55–56. Manca la barra divisoria fra le due battute.

o
Ricercare 2. tuono
Titolo: Ricercare 2.o tuono.

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 20
and thematics treatments, features which furnish strong evidence in favor of their
being authentic Pasquini composition. But until sources are uncovered which defi-
∗
Notes nitely identify their composer, they must remain under the shadow of doubt in this
respect”2 .
Editorial method employed in this edition
• Notational practice has been modernised and differences from the original
Toccata 2o tuono
o
Title: Toccata 2 tuono / Bernardo Pasquini.
source are indicated in the critical notes when doubtful.
Fols: 53v–54v.
• Declarations of the abbreviations and corrections of omissions and mistakes
Upper staff clefs: treble (whole piece).
are mentioned in the Critical Notes when not evident from the score itself.
• Normally have been silently modified the following cases: beamings and stem 2–3. Without barline division.
directions; modernization of the accidentals. 5, md. Without 2nd G (half note, lower voice).
5-6, md. Without tie on G.
The source 6, md. Without 1st G (half note, lower voice).
Bologna, Civico Museo Bibliografico Musicale, manuscript MS DD 53. Oblong vol- 13, ms. Without [ on E.
ume (21,7 X 29,5) of 103 fols. On each page there are 6 staves: 3 5-lines staves 23, md. Without tie on F.
prearrenged for the left hand and 3 8-lines staves prearranged for the right hand 25–26, ms. Without tie on G.
alternating. The manuscript is in the hand of an anonymous copyist towards the 26–27, ms. Without tie on F.
end of seventeenth century. 32–33, ms. There is a misplaced slur between those two bars.
Facsimile edition: Varj Autori, Toccate e sonate, “Monumenta Musicae Revocata”, 33–34. Without barline division.
Firenze, S.P.E.S. 1987. 34, md. ] on B.
Front cover: Sonate d’autori / diversi.
Back cover: Varij autori / Toccate / e Sonate / per / Cembalo. o
Toccata 5 tuono
Title: Toccata 5o tuono.
Notation Fols: 51v–53r.
Italian keyboard tabulation on two staves. Right hand: 5 lines staff with treble, Upper staff clefs: treble (whole piece).
soprano and alto clefs alternating. Left hand: 8 lines staff with F clef on 4th line
10, ms. Without \ on F.
and C clef on 6th line overlapped. Relative accidental notation: ] for half-tone up
18, md. Without tie on A.
and [ for half-tone down relative to the note which would otherwise be indicated
18–19, md. Without tie on B.
based on the signature of the piece.
20, md. Without tie on G.
26, ms. Without ] on first C; Without \ on second C.
Authenticity 27, md. Without tie on E.
Maurice Brooks Haynes1 lists Toccata 5o tuono, Toccata 8o tuono, Ricercare p.o 28, md. Without tie on G.
2.o tuono and Ricercare 2.o tuono as doubtful works, because all of these compo- 28, ms. Without tie on G.
sition appear without indication of their composer in the source. Nevertheless he 45, ms. E whole dotted note instead of G.
writes: “Both the two ricercars and the two toccatas, then, show in their structural 74, ms. Without dot on second C.
∗
Notes are preceded by the appropriate bar number and a symbol for the staff line: md (right hand), ms (left hand).
1
Maurice Brooks Haynes, The keyboard works of Bernardo Pasquini (1637–1710), Indiana University, Ph. D., 1960.
2
Cit., p. 250–251. For the whole discussione nn this matter see ibid. pp. 28–30 and 244–251.

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 21
74–75. Without barline division. 55–56. Without bar line division.

o o
Toccata 8 tuono Ricercare 2. tuono
Title: Toccata 8o tuono. Title: Ricercare 2.o tuono.
Fols: 49v–51v. Fols: 56r–58r.
Upper staff clefs: Treble (1–3, 15–24b2, 26–37b2, 39b3–46b2, 51–55); Alto (batt. Upper staff clefs: Treble (bars 1–19, 30–42b3); Alto (bars 20–29, 42b4–44).
4–14, 24b3–25, 37b3–39b2, 46b3–50). Following pair of bars are without bar line division in the source: 1–2, 3–4, 7–8, 21–
22, 35–36, 37–38, 39–40, 45–46, 47–48, 55–56, 57–58, 59–60, 61–62, 63–64, 69–70,
13–14. Without bar line division. 82–83.
5, md. Without tie on E.
5–6, ms. Without tie on C. 1–2, md. D is a dotted quarter note.
8, ms. Without tie on G. 5, ms. Without tie.
13, ms. Without D (half note). 6, ms. Without G.
19, ms. Without ] on F; with ] on G. 15–16, md. D between the bar lines is a dotted quarter note.
31, md. Without tie on C. 18–19, md. A between the bar lines is a dotted quarter note.
34, ms. Without tie on F]. 20, ms. Without dot on first G.
39–40, ms. Without tie on A. 35–36, md. G between the bar lines is an half note.
41, ms. Without tie on F]. 37–38, md. D between the bar lines is an half note.
45–46, md. Without tie on B. 45–46, md. G is dotted half note.
55–56, md. D between the barline is an half dotted note.
o o
57–58, ms. The first A between the barline is an half dotted note.
Ricercare p. 2. tuono 61–62, md. D is a dotted half note.
Title: Ricercare p.o 2.o tuono. 69–70, md. A between the bar lines is an half dotted note.
Fols: 54v–55v. 82, md. ] on first and third B. Without quarter rest.
Upper staff clefs: Soprano (bars 1–21, 30–33); Alto (bars 22–29, 42–45); Treble (bars
34–41, 46–56).
a o
Sonata 7 p. tuono
6, md. Without [ on E. Title: P.o tuono Sonata 7a Bern. Pasquini.
26, md. Without dot on G. Fols: 68v–69v.
27, md. Without \ on B. Upper staff clefs: Treble (bars 1–16, 25b2–44); Alto (bars 17–25b1).
35, ms. Without dot on A.
43, ms. Last A is a dotted eighth note.

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22

Revisioni — Revision history

Titolo I edizione Ultima rev. mus. Ultimo aggiorn.

Title I edition Last musical rev. Last update
Toccata 2o tuono 18/02/02 27/06/05 27/06/05
Toccata 5o tuono 27/06/05 27/06/05 27/06/05
Toccata 8o tuono 27/06/05 27/06/05 27/06/05
o o
Ricercare p 2 tuono 27/05/01 27/06/05 27/06/05
Ricercare 2o tuono 27/05/01 27/06/05 27/06/05
Sonata 7a 2o tuono 27/05/01 27/06/05 27/06/05

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 23

Indice – Table of contents

Toccata 2o tuono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Toccata 5o tuono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Toccata 8o tuono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Ricercare po 2o tuono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Ricercare 2o tuono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Sonata 7a 2o tuono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Note (italiano) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Critical Notes (english) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Revisioni — Revision history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Indice — Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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