Arcangelo Corelli : Sonatas For Violin And Basso Continuo, Op. 5, Vii-Xii

Arcangelo Corelli (1653 - 1713) was an Italian violinist and composer. He was one of the earliest pioneers of the modern Violin and helped define its capabilities for generations after. He only published 6 opuses in his lifetime but they are arguably the most influential collection of baroque music that survives today. His Opus 5 was a collection of 12 Violin Sonatas the only Sonatas he published. They were written for the composer’s own use and performed by him many times showcasing the Violin technique he had developed over his career. Adagio and Allegro are the last two movements in Corelli’s Sonata No.1 in DMajor. Originally written for Violin and Harpsichord they are published here for Violin and Piano.

Arcangelo Corelli, le virtuose du violon de son temps, a publié son 'Sonates pour violon et basse continue opus V' à Rome en 1700. Ces sonates sont un recueil de violon de son temps et jeté les bases de compositions pour violon futures.Au fil des années, les sonates ont été publiés dans près de 100 éditions, tous basés sur la première édition de Corelli qui ne contient que la ligne de violon solo au-dessus d'une ligne de basse latente. Aujourd'hui, les sonates sont bien connus dans de nombreuses réalisations continuo modernes. Cependant, une réalisation de l'époque de Corelli par Antonio Tonelli existe également et est présenté ici pour la première fois dans une édition moderne performant. Ce constat est surprenant en ce qu'il contient des accords complets, parfois joués par les deux mains.En outre, la nouvelle édition savante critique de Bärenreiter comprend de nombreux embellissements. Pour la plupart, ils ont été trouvés dans des documents manuscrits par Tartini, Geminiani, McGibbon, Dubourg et Roger (à partir d'une réimpression de la sonates de c. 1710). Ces embellissements sont présentés dans un livret distinct lequel les joueurs peuvent placer à côté original de Corelli sur le stand de la musique.En complément de cette édition Urtext sont une introduction historique, un commentaire critique et une annexe contenant des préludes aux sonates pour clavier par Tonelli, ainsi qu'une sélection de mouvements de clavier embellies par les contemporains de Corelli.- Score à la réalisation de la basse continue par Tonelli ainsi que la ligne de basse chiffrée latente de Corelli- Avec une partie de violon de Urtext séparé- Avec un latente partie de continuo figuré distinct- Comprend un livret séparé avec des embellissements- Annexe aux descriptions des sources, des commentaires critiques (Eng) et préludes pour instrument à clavier par Tonelli / Violon Et Basse Continue

a cura di Cesare Fertonani-The series Eighteenth Century Italian Music includes compositions of special historical and musical significance. Each edition is based on the original sources to offer performers works that satisfy clear critical and musicological criteria. This anthology includes ten sonatas carefully selected from among those written by ten of the most important eighteenthcentury Italian composers of violin music. Tomaso Albinoni: Sonata op. VI n. 7 - Arcangelo Corelli: Follia op. V [n. 12] - Francesco Geminiani Sonata op. IV n. 11 H. 95 -Pietro Antonio Locatelli: Sonata op. VI n. 5 - Pietro Nardini: Sonata op. V n. 3 - Gaetano Pugnani: Sonata op. VII n. 1 - Giuseppe Tartini:Sonata op. I n. 10 B. g 10 [?Didone abbandonata?] - Francesco Maria Veracini: Sonata op. II n. 8 - Giovanni Battista Viotti: Sonata op. IV n. 4 W. V/4 - Antonio Vivaldi: Sonata RV 10

Wiener Urtext-These sonatas are among the epoch-making works of the Violin repertoire and nowadays figure in the standard repertoire of every violinist. It is all the more surprising therefore that until now there has been no Urtext edition of such significant works. The score is based on a first edition supervised by Corelli himself. From what we know of performance practice in Corelli's time however more was expected of the violinist than just a musical reading of the printed score: it was customary to add ornamentation verging on improvisation with embellishment and 'variations as desired'. The original score is therefore presented here withthe earliest documented ornamentation from a reprint published by Roger in Amsterdam in 1708. This ornamentation is not meant to be slavishly imitated but to stimulate the player to find their own creative and stylistically confident interpretation of the score. As Roger did not specify any ornaments for the sonatas in the second volume the 'variations as desired' used by Corelli’s pupil Geminiani have been reproduced with the ninth Sonata as an example. Advice on performance is given by the Cologne baroque specialist Reinhard Goebel. This advice does not only apply to ornamentation but also to articulation bowings and more besides calling for specific markings in the separate Violin part. The realisation of the Continuo part echoes the fashions of that time. Here too advice on performance is meant to stimulate free interpretation by the Continuo player. A figured Bass part is included for the player who prefers to read the accompaniment from figures.

Antonio Vivaldi's sonatas for Violin and Basso Continuo are among the most valuable works written between the Violin sonatas by Arcangelo Corelli and those by Johann Sebastian Bach. With his 12 Sonatas Op. 2 Vivaldi presents a multi-faceted spectrum of forms and possibilities of performance and expression. The new edition of the Wiener Urtext Edition is based on both the first Venetian edition and the edition of the publisher Roger from Amsterdam which was published only a little later. On this basis we have got a much more logical musical text in the new edition. This edition not only contains the solo Violin part and acontinuo score with realized Basso Continuo but also a figured Bass part which gives experienced continuo players the opportunity to improvise on the Basso Continuo part and can also be used by a Continuo cellist.

Book 1 containing Sonatas 1-6 of this 12-piece collection arranged for Violin and Piano/Harpsicord by Gunter Kehr. Cello ad lib part also included.

Par CORELLI ARCANGELO. A- Flûte à Bec - Piano( Clavecin)( Violoncelle / Viole de Gambe ad lib) -/ Répertoire / Flûte à Bec ou Alto et Clavier

Par CORELLI ARCANGELO. / Répertoire / 2 Violons et Piano ou Violoncelle Ad Libitum

Par CORELLI ARCANGELO. / Répertoire / 2 Violons et Piano ou Violoncelle Ad Libitum