Today I speak to cellist and viola da gamba player Giovanna Barbati, whose repertoire extends from early to contemporary music and who has a special interest in improvisation. She appears frequently as a soloist, she plays her own music and has given the first performance of a number of works for solo cello. She has recently recorded the complete works for cello by Francesco Supriani (Da Vinci CD) with the ensemble Les amies Partimentistes. We discuss improvisation upon a ground, Francesco Supriani's diminution technique works, partimento and the cello, music theory/composition, and more!

Professor Sietze de Vries, famed for his mastery in classical improvisation, joins the show to talk about his education, training, approach to music, music education, and demonstrates classical improvisation in multiple styles, and time periods.

Professor Nicholas Baragwanath, author of the groundbreaking "Solfeggio Tradition" (published by Oxford University Press), returns to the show to talk about Hexachordal Italian Solfeggio. This was the method of solfege instruction that was employed at the famed 18th-century Neapolitan Conservatories, using 6-note overlapping hexachords, instead of the usual 7-note systems we use today. Professor Baragwanath answers popular questions and demonstrates solfeggio in numerous settings, from beginner lessons to more advanced examples.

Professor Ewald Demeyere returns on the show to discuss his critical edition of Fenaroli's partimenti collection and discusses Fenaroli's approach to pedagogy and partimento realization.

In this episode, I am joined by eminent professors Robert O. Gjerdingen, Giorgio Sanguinetti, Peter van Tour, and Rosa Cafiero, in a special panel session about the subject of partimento. We discuss the history of its modern research, the definition of partimento, why partimento died out, the problem with modern harmony instruction in conservatories today, the practical applicability of partimento in modern times, the future of partimento, and more.

Today we have a special episode dedicated to Solfeggio, featuring Professors Nicholas Baragwanath, Job IJzerman, Robert O. Gjerdingen, and Peter van Tour. The famed students of the 18th-century Neapolitan conservatories undertook an extensive 3-year course of hexachordal solmisation using guidonian syllables before they were allowed to touch an instrument. This excellent training preceded partimento and written counterpoint studies. We discuss all aspects of this pedagogy, whether it is worth learning today, its benefits, and answer numerous audience questions.

I'm delighted to share this interview recorded yesterday with the great Professor Robert O. Gjerdingen, focusing greatly on Music Schema Theory as revealed in his groundbreaking 2007 monograph "Music in the Galant Style". In addition, we discuss Roman Numeral Analysis, Harmonic Function Theory, Hugo Riemann, Tonality, Dahlhaus, and Schenker, and he answers numerous audience questions, enjoy!

0:00 Intro

0:36 Start

1:59 St. Pius X's Motu Proprio "Tra Le Sollecitudini"

5:16 How did the Council of Trent affect Gregorian chant?

5:54 What do you think of Organum and composers like Léonin and Pérotin?

6:45 Johann Joseph Fux

14:53 Knud Jeppesen

26:54 Did Palestrina improvise or play the organ?

28:39 Bach played on the accordion

30:36 The Lute

31:44 Exultate iusti by Viadana, sung by the Sistine Chapel in 1925

36:34 Historically Informed Performance Practice

39:33 Has improvised counterpoint pedagogy become more prevalent in today's university music curriculums?

41:29 Professor Schubert's YouTube Channel/s

43:07 19th century counterpoint

47:03 Nadia Boulanger

50:07 Counterpoint for modern composition

52:59 Wrapping Up

53:20 Outro

0:00 Intro

0:36 Start

1:29 Refinements in approach to teaching with "Harmony, Counterpoint, Partimento" since last interview

6:21 Understanding the patterns in the book as "pure sounds"

9:59 Domenico Scarlatti: Sonata K. 82

10:25 Thinking of cadences as schema and things that are polyphonic rather than modern terminology like PAC or IAC

16:58 Joseph Haydn: "Surprise" Symphony No. 94

18:41 Thinking of 3-part harmony as complete instead of 4-part harmony missing a voice?

26:52 Antonio Vivaldi: La Primavera

39:32 Where do you typically take your musical examples from in the book?

41:08 Joseph Haydn: Symphony No. 43 ("Mercury"), 4th mvt

47:09 How does someone learn the different ways to accompany a melody line?

50:16 Francesco Durante partimento

52:28 Francesco Durante partimento realized as a duo live example

55:35 Arcangelo Corelli: tempo di gavotta

56:41 Arcangelo Corelli: tempo di gavotta, live example

1:01:16 In the early 18th-century, nobody spoke of "half cadences", which was a term that didn't exist

1:03:39 Did they think in terms of modes in the early 18th-century for composition?

1:04:43 The Discant Cadence

1:06:43 Job plays Bach BWV928 excerpt live

1:10:47 On the fluidity of voices dropping in and out versus strictly having 4-voices SATB "chorale-style"

1:13:13 Richard Wagner: Tristan Vorspiel

1:18:58 Richard Wagner was a musical great-grandchild of Padre Martini

1:24:13 Robert Schumann

1:25:29 Johannes Brahms

1:26:47 Tchaikovsky

1:29:52 How do new conservatory students react to your method?

1:32:29 How have other colleagues and professors reacted to your method?

1:34:20 Some conservatories have taken HCP as a compulsory book for 1st and 2nd year students

1:36:55 EXCLUSIVE: New Renaissance Counterpoint Book announced!

1:39:07 Wrapping Up

1:39:35 Outro