Partimento realization using speech motives from comic dialogue

Opera composer = actor
I have never acted in public, but I did within my 4 walls, when composing my own operas! 😄
I find inspiration in the ideas of the people who "invented" opera - the Florentine "Camerata" - their idea was to reproduce a certain text as convincingly as possible with the help of music.

Vincenzo Galilei (father of the famous astronomer) advises young composers to listen to how people talk, to listen to their discussions and even how people of different classes talk - and try to write it down.
Jean Baptist Lully, for example, studied the melody and rhythm of speech by asking famous actors to recite for him, and thus their speech became a model for his recitative.

My process of composing recitatives usually goes like this:
first I read the whole passage, to figure out what it is all about
the pauses I make while reading tell me how many different parts the speech contains, which I will later "color" with musical changes (different harmony, tonality, rhythm...)
now follows the "real" theatrical reading of the text ("acting") in which I pay the most attention to intonation - when I lower and when I raise my voice
after that "primitive" finding of the intonation of speech, there follows a craft, musical part in which that intonation becomes a "melody", with the help of schemes of the old Italian solfeggio - various scale elements, solutions, decorations, jumps...
After this, the craft/music part isn't done yet! Only now comes the fun part, which I call "harmonious" text coloring. Although harmony is already implied in the bare melody itself, this is still a method that can greatly contribute to the expressiveness of the text itself.
In this phase, I again use conventional partimento schemes, the so-called "moti del basso", with of course various harmonic surprises, modulations and similar musical "magic" that help bring the text to life.
When I am satisfied with my compositional "performance" of the text, after I have found all the possible tones for a certain text and know how it should "sound", a problem follows.
How to notate that "sound speech", in such a way that in performance it really sounds like speech in melody?
The Italians did it in such a way that they notated the rhythm of the speech "roughly" and in any case, for simplicity of notation, in 4/4 measure.
Singers were expected to follow a spoken rhythm only, not a notated one.
Considering that in many aspects I follow the Italian tradition of composing, that is how my recitatives should be performed.

In this case I used one comic dialogue from TV series "Crazy, Confused, Normal" - I listened carefully intonation of these wonderful actors and then understood that so called "Monte" schema is perfect for this situation!

Since these actors/characters are different, their motives are also different - ones are longer, more polite, the other ones are very short and fast, impatient.

I used these motives in my realization of Easy Partimento no. 13 by Giacomo Insanguine (instrumentation: oboe & bassoon (doubled by violin & viola) and basso continuo (harpsichord & cello).

Enjoy!