The Figured Bass Accompaniment in Europe Lucca, 9–12 September 2021

This conference, presented online by the Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Palma Choralis Research Group & Early Music Ensemble and the Dipartimento di Musica Antica ‘ Città di Brescia ’ came as manna from heaven for scholars of music theory. Organized during our Covid-scarred times, it allowed numerous academics and musicians from around the world to con-vene and shed new light on a variety of topics related to basso continuo. How might we achieve a historically informed basso-continuo practice? To what extent does basso-continuo practice manifest geographical and regional differences? What was the role of basso continuo in the reworking of pre-existing music? What is the relationship between basso continuo, partimenti and music education? And between basso continuo and other instruments? Answers to these questions were offered by the large gathering of scholars and musicians, both emerging and experienced, who took part in the four-day event. In this report I will emphasize only the main issues that emerged. I apologize, both to the readers of this report and to the conference ’ s speakers, for not including all forty papers: the high quality and quantity of the presentations forced me to select only those that expanded on the conference ’ s main themes as listed above. these issues: we basso-continuo :