Sep 15, 2019
I’m so pleased today to talk to my guest today, Music theorist, historian, pianist and singer, Dr. Marco Pollaci!
Following his studies as a pianist and singer, he graduated in a "Liberal arts - Music and Performing Arts degree - " from the University of Tor Vergata in Rome with Dr. Giorgio Sanguinetti and went on to receive his PhD in Music from the University of Nottingham in 2018.
Dr. Pollaci's research focuses on eighteenth and nineteenth-century opera and music history. He is interested in sketch studies, music theory and music analysis. Further research interests include Partimento Studies and Italian compositional practice in eighteenth and nineteenth century music.
He is currently working as an assistant researcher for a Partimento project for the Department of Musicology of Pavia. He runs the popular Facebook Group, "The Art of Partimento".
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1:52 What’s your musical background?
4:16 Are these articles and books you mentioned new?
5:13 What were the gaps that people had in understanding
before?
6:25 Talking about the German and French influence in the
Neapolitan Partimento tradition?
7:57 On the secretiveness of the Neapolitans
9:20 Did Fugal writing lessen as 19th century Romantic harmony took
over?
11:46 Was writing Opera the main goal for young Italian
composers?
14:15 Who were the “Giovane Scuola” (Young School)?
15:59 Weren’t the Young School more associated with the Milan
tradition rather than the Neapolitan tradition?
20:41 The Romantic view of composers and Bellini
22:06 What kind of training did Bellini undergo?
22:45 The famous teachers of Naples
24:58 Can you see traces of Partimento Exercises in Bellini
operas?
26:28 On Bellini being greatly admired by his contemporaries
27:28 Talking about the Bellini revival with Maria Callas
29:33 Can Bellini’s famous long melodies be connected with the
Partimento tradition
32:53 Does the Paris Conservatory have a similarities to the
Partimento tradition?
35:07 How did Germany harmony affect Partimento?
35:58 Talking about the separation of Counterpoint and Harmony
37:46 How did the Partimento tradition change with 19th century
Harmony
40:19 Can you analyze 19th century romantic music with a Partimento
lens
42:17 Using the Prelude to Wagner’s Tristan und Isolde as an
example
43:24 Talking about Giuseppe Verdi
46:15 Was Italian music as or more influential than German music
during the 18th and 19th century
47:32 What has surprised you about your research?
48:44 Did non-Italian composers absorb these musical patterns
without the Neapolitan training?
50:41 Was it difficult to access the Neapolitan archives because of
their secretive reputation?
53:15 How much material is in these archives and is there a lot
more left to study?
54:42 Do you have favorite Partimenti exercises?
55:19 What’s appealing about Durante?
56:43 How widespread were Fenaroli’s exercises in Europe?
58:09 On the progressive difficulty of the Fenaroli partimenti
59:28 How can partimento assist in understanding music of the 19th
century?
1:01:17 Should we still keep Roman Numerals and traditional tonal
analysis
1:02:29 Wrapping up and Upcoming projects/events