Brescianello Giuseppe Antonio
Partitas I-VI for classic guitar (from XVIII partitas for colascione)
Long ignored by musicians and historians alike, Giuseppe Antonio Brescianello (1698-1758) in actuality was a significant figure in music history. His activities as a composer may be placed in the transitional period between the baroque era and classicism. His works bear the sign of this ongoing transformation and contributed to defining the new style. This work, though directly derived from the style of the baroque lute, is permeated by that same spirit of discovery found in the afore-mentioned Concerti. Here too, the formal construction is typically Vivaldian and is generally obtained by means of joining, repeating and freely varying phrases and motifs. The formal cohesion is thus guaranteed by this strict juxtaposition, while the frequent use of harmonic progressions allows the musical discourse to develop. In the fast movements, the rhythmic element predominates, while in some slow movements one still finds echoes of the style brisé (broken style) of the French school, rich in arpeggios, embellishments and groups of notes in rapid succession (Preludio, Partita I; Aria, Partita V). The cantabile melodic lines, which allow one to identify precisely the various voices of the instrument in a dialogue involving both themes and timbres, is reminiscent of the concerto grosso.