No open-access location is known for this record yet.
No open-access location is known for this record yet.
Partition réduite was a layout used in the France of Louis XIV to present large-scale works in a minimalist form that specified only those features that a composer or musician of the day would have considered essential to establishing the work’s musical identity. Interior voices in plein-chœur passages were omitted, and various conventions were employed to represent changes in texture, to manage parts sharing the same staff, and to indicate successive entries in imitative passages. ‘Partition réduite’ is a modern term, and assumes the prior existence of a partition générale, from which it has been reduced. In fact, however, partition réduite represents a stage in the compositional process precedent to the partition générale; it represents that moment at which the composer considered his composition defined in all essential features. Partition réduite offers a musical abstraction that may be realized in various ways, whereas partition générale records in detail a particular production. Partition réduite is also a musically practical form of presentation for large-scale works, and royal music printer Ballard’s first use of it in his edition of Didon (1693) was intended to exploit a market consisting of users who would perform the work, or selections from it, in unstaged private settings.
Loading…
Imported from OpenAlex (CC0) — nothing here is generated.