ABSTRACT
The notary who drew up Marco Uccellini's will expressly states that he 'perfected the most pleasing ability in playing and singing in Assisi'. One unexpected legacy is the presence of two toccatas a 6 in Uccellini's Ozio regio described by Pajerski as 'fanfares or large-scale incidental music', and written in a 'full, homophonic texture'. Since Uccellini must already have been acquainted with the work there is every likelihood that it was Cavalier Giovanni Battista Buonamente who passed on his own fascination with the music of Salamone Rossi to his pupil. The patent generic similarities confirm beyond any doubt the close connection between Buonamente and Uccellini, but perhaps of even greater significance is their fundamentally similar conception of the nature of the free sonata. The affinity between master and pupil is most telling in their fundamental conception of the sonata as an amalgam of contrasting sub-sections rather than a succession of complementary units.
