The year is coming to an end, and it was about time to update the catalogue. To finish the year on a high note, no fewer than 74 new primary sources (2028 primary sources so far!) have been added. I have also updated 11 existing entries and added 4 new secondary sources.
Attention organists and lovers of chorales: keep reading, because I think there are some particularly interesting updates here for you!
I would especially like to thank those who have contributed to the catalog with new information: Inés Salinas, Thomas Pauschert, Luca Moretti and Gied van Oorschot
Many thanks to those who, through their donations, help keep this site running and growing: Giampaolo Orrigo, Robert Mealy, Kate Bennett Wadsworth, Anaïs Chen, Blanca Prieto Acera, Tomoe Badiarova, Oliver Webber and Agostino Cirillo. Thank you!!!!
NEWS
I recently made my latest trip to Venice to continue exploring the archive of La Pietà. Little by little, the study of this material will begin to yield results, but there is so much to examine and organise that it will take some time—though I can assure you it is incredibly exciting. You can read more about this project and contribute to help develop it as fully as possible.
NEW UPDATES
Since the last update, 74 new primary sources have been added. I have updated 11 entries and added 4 new secondary sources.
I have gathered all these new sources on this page.
Chorals and organs!
Ah! Chorales. Perhaps not a place that normally lends itself to ornamentation and improvisation—or so we tend to think. I believe we need to take another look, thanks to the work of organist and researcher Thomas Pauschert. Thomas drew my attention to sources dealing with ornamentation in chorales and with improvisation in their accompaniments. I find this so fascinating that I have added a brand-new category to the catalogue: Chorals.
Just to give one example: how about this book, which contains improvisations for accompanying a chorale, including preludes and links between verses. You’ll find it in entry PS-1969
Tartini remains a special guest, and I continue to include sources of Tartini’s concertos. At the beginning of this capriccio Pisendel writes “solissimo”, but the best part is that in the tutti he writes “tuttissimo.” I can’t help thinking that, deep down, Pisendel had quite a sense of humour.
I am grateful to Luca Moretti for drawing my attention to Charles Burney’s famous work, A General History of Music, and to Farinelli’s divisions. There are already several sources with Farinelli’s divisions—go and find them in the catalogue.
Remember that this project currently has no funding, and if you’d like to help it continue and thrive, you can always make a donation. Your support will go towards covering server costs, the domain, data management tools, and many other essential expenses. No matter how big or small, every contribution is greatly appreciated!
Happy ornamenting!
Javier
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