The recording of the two-harpsichord sonatas by Bernardo Pasquini, master of the Italian style of the organ and harpsichord in the period between the end of the seventeenth and beginning of the eighteenth century, is a particularly interesting cameo in the panorama of the music dedicated to the genre of the partimento, advanced practice of the basso continuo that in Italy formed the basis of compositional and keyboard teaching in the 18th-century Neapolitan school. In fact the sonatas consist of only the bass lines on which the two performers must create the entire composition thanks to the technical and expressive expertise obtained from a consummate knowledge and experience of the performance practice of the time. Marina Scaioli and Francesco Tasini face this instrumental 'challenge’ on two Italian historical harpsichord copies: a 1725 Giovanni Ferrini and a 1778 Roberto and Federigo Cresci.