After all, in partimenti lay the secrets of the most glorious school of composition of the eighteenth century: that of Naples. Perhaps he did not want to share this material with newcomers. It was probably not mere negligence Pagliara was a dedicated librarian.
Obviously under pressure from Paris, Caplet kept writing letters to Pagliara for two years, but he did not get any answer nor was he able to bring the new partimenti back to Paris (the partimenti collection of the Paris library corresponds to the thematic catalogue, and the manuscripts are currently housed in the Bibliothèque Nationale, site Richelieu-Louvois).1 The reason for this silence is difficult to ascertain. The librarian politely welcomed Caplet, showed him the library and the manuscripts, and promised him that he would entrust his scribes with preparation of the copies. Equipped with the catalogue, Caplet went to Naples for a meeting with the director of the library, who in 1903 was Rocco Pagliara. To make sure he did not ask for copies of partimenti already in possession of the Conservatoire, Dubois ordered a handwritten thematic catalogue of the Paris collection of partimenti. The library of the Paris Conservatoire already owned some manuscripts of partimenti, apparently copies made in Naples at the end of the eighteenth century Caplet’s assignment was to find other materials of the same kind, hand-copy them, and bring the copies back to Paris. The director of the Conservatoire of Paris, Théodore Dubois, together with the composition professor Paul Vidal (the teacher of Nadia Boulanger) and the musicologist Charles Théodore Malherbe, had entrusted him with the task of finding some long-forgotten musical manuscripts in the library of the conservatory of Naples, called partimenti. Caplet had already begun a successful career as a conductor and would later become a close friend and collaborator of Debussy and an original and interesting composer (one perhaps not fully recognized today). Also in 1903, the young French composer André Caplet was in Rome as a pensionnaire of the Académie de France, after having won in 1901 the Prix de Rome (the third prize was assigned to Maurice Ravel).
Claude Debussy had begun the composition of La Mer and, the year before, had staged his new, revolutionary opera Pélleas et Mélisande. Hundreds of theaters, cafès, music halls, cabarets, and circuses saturated the city with every possible kind of music, from opera to ragtime to popular song to exotic Javanese gamelan.
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Prologue In 1903 musical life in Paris was in full bloom. To the memory of my father Rodolfo Sanguinetti who encouraged me in the study of music Includes bibliographical references and index. The art of partimento : history, theory, and practice / by Giorgio Sanguinetti. _ Library of Congress Cataloging-in-Publication Data Sanguinetti, Giorgio. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press.
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