The performance of Italian basso continuo; style in keyboard accompaniment in the seventeenth and eighteenth centuries

Ashgate Publishing (2007)


“The greatest merit of this timely book is to bring together between two covers, and provide illuminating commentary on, the most important writings on the performance of the basso continuo as practised in Italian music of the seventeenth and eighteenth centuries. No continuo player, no student of Italian baroque music, will want to be without this compact, authoritative and well-balanced guide.”

Review, Michael Talbot, Emeritus Professor of Music, University of Liverpool.


“The abundance of lesser-known or even previously unknown sources analysed in this book is truly astonishing. That is why the author, both in her arguments and conclusions, treads unknown territory and offers unexpected answers. Giulia Nuti’s short work is a true refreshment in the recent professional literature dealing with the performance practices of Baroque and early Classical music. This is a book that cannot leave an interested reader indifferent; it is provocative and intriguing.”

Ennio Stipcevic, International review of the aesthetics and sociology of music, 40, December 2009, pp. 360-361.


“If mastering basso continuo performance was difficult for musicians in the 17th and 18th centuries, it is doubly so today since the oral tradition passed from teacher to student has long since been broken. Giulia Nuti’s careful and thorough explication

of period sources will thus aid both performers and scholars as they attempt to recover this subtle art. ... Nuti’s meticulous scholarly approach and sensitive ear are evident throughout her book, which makes a tangible contribution to this complex field.”

Rebecca Cypess, Early Music America, Spring 2008, pp. 61-62.


“This extremely valuable addition to the literature on continuo playing is much to be welcomed, particularly by performers. ... Nuti provides a great service to musicians in collecting together the source material and in giving clear examples and transparent translations, and the volume deserves careful and sustained study.”

Thomas Cooper, The Consort, Vol. 64, Summer 2008, p. 107.


“This is useful and attractive guidebook for harpsichordists who are either approaching the accompaniment of Italian vocal and instrumental music for the first time, or for the seasoned continuo player who might enjoy a refershing tutorial after so many years of working in a personal and reliable style. ... This book offers an overview of materials that help to inform accompanying and differentiate national styles in performance. ... The performance of Italian Basso Continuo presents its information in a clear and challenging way, answering some questions and posing many more.”

Andrew Appel, Notes, June 2008, pp. 765-766.


Book Contributions



... imitando l’arietta ò altro allegro cantato di fresco...’ Contribution to

Aspects of the Secular Cantata in Late Baroque Italy, ed. Michael Talbot

Ashgate Publishing (2009)


“G. Nuti ajoute des considérations intéressantes sur la question de la notation de l’accompagnement concernant partculièrement la musique italienne.”

Alessio Ruffatti, Revue de Musicologie, T. 96, No. 2 (2010), pp. 488-490.




Peer-Reviewed Articles



Frost, S., Nuti, G. (2012). Another Dimension: Integrating Music with the Medieval & Renaissance Galleries. V&A online journal, 4  (

MacRitchie, J., Nuti, G. (2015). Historical accounts of harpsichord touch with empirical measurements of the production and perception of dynamics on the 1788 Taskin. Frontiers in Cognitive Science 6:183 (


Nuti, G., Solomon, A., Williamon, A. (2009). The Listening Gallery: Integrating music with exhibitions and gallery displays. In A. Williamon, S. Pretty, & R. Buck (Eds.), Proceedings of the International Symposium on Performance Science 2009 (pp. 341-346). European Association of Conservatoires AEC.

Nuti, G. (2013) Giorgio Sanguinetti, The art of partimento: history, theory and practice [review article]. Il saggiatore musicale, Anno XXII, 2015, n. 1.