Minor key series, part 13 (partimento)

This post is the second about partimenti by Francesco Durante. Here was the first one: link.

The progressions I used in the earlier post were short formulas; this is an entire binary-form composition of more than 50 bars. There are four elements: A1, bars 1-15, PAC in E minor; A2, bars 16-28, PAC in E minor; B1, bars 29-42, PAC in A minor; B2, bars 43-54, PAC in A minor.  Here it is on the Monuments of Partimenti website, among a rather large number of examples with first inversion seventh chords (6/5s): link.

In the first section, it is easy to hear a middleground upper voice descending from ^5, interrupted in the cadence:

For my detailed example, I will use the final section (B2, bars 43-54). An almost entirely stepwise melodic line comfortably fits Durante's bass, although I took one liberty in assuming iv6 rather than VI in bar 50:

And that same line can as easily be "re-routed" at the end to achieve a rising line. The only additional digression from Durante's figures is critical, however: F5 becomes F# at the end of bar 51. I don't regard this as an obstacle, as (assuming the transcription is correct) the figures in the partimento are obviously incomplete: the student experienced enough to realize this piece effectively would surely also have the ability to make (presumably small) adjustments in improvisation/performance.

Here are the final five measures realized in three voices.

At first glance, an incomplete line (or what I have elsewhere called a "primitive line") fits with the bass of figure g (that is, i-i6-iiø6/5-V-i), but neither i6 nor iiø6/5 support a tone at the same level as the others.

A better, musically more satisfying solution gives due prominence to the subdominant in both its minor and major forms. Underlying this is a simpler variant of figure b (with IV, not IV followed by ii).