Concerto In D (PISENDEL JOHANN GEORG)

D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel?s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel?s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

Par PISENDEL JOHANN GEORG. based on a violin concerto by Johann Friedrich Fasch/ Répertoire / 2 Cors, 2 Flûtes Traversières, 2 Hautbois, Basson,

Par PISENDEL JOHANN GEORG. based on a violin concerto by Johann Friedrich Fasch/ Répertoire / 2 Cors, 2 Flûtes Traversières, 2 Hautbois, Basson,

Par PISENDEL JOHANN GEORG. based on a violin concerto by Johann Friedrich Fasch/ Répertoire / 2 Cors, 2 Flûtes Traversières, 2 Hautbois, Basson,

12 Concertos For Violin, Strings And Basso Continuo. Par VIVALDI ANTONIO. Antonio Vivaldi's twelve concertos op. 4 known by the name of 'La Stravaganza” were first mentioned as a collection of 'Concerti a 4” in the 1711 Foreword of 'L'Estro Armonico” op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, 'La Stravaganza” is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7). The many reprints of 'La Stravaganza” bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel. This edition of 'La Stravaganza” is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2)./ Répertoire / Violon, Cordes et Basse Continue

The sonata RV 820 represents two 'firsts': it is the latest work to be added to the Vivaldian canon, and it is also one of the oldest works by Vivaldi - perhaps the very oldest among those known. Having come to light among the numerous anonymous manuscripts preserved in the Sächsische Landesbibliothek - Staats- und Universitätsbibliothek in Dresden, it was attributed to him by Federico Maria Sardelli on the basis of several musical concordances with early works of known authenticity- in addition, a complex network of biographical and paleographical relationships has revealed how this sonata, copied in the hand of the very young Johann Georg Pisendel, belonged to an initial stock of compositions that Giuseppe Torelli brought with him from Italy after he was appointed Kapellmeister at Ansbach in 1698. In this context, Vivaldi's sonata finds itself in the company of two manuscripts that evidence early versions of two concertos that were later included in L'estro armonico ,, plus works by Torelli and his pupil Pietro Bettinozzi. From these facts we obtain a new picture that sheds light on on Vivaldi's period of apprenticeship and his debt to Torelli: from a stylistic viewpoint, RV 820 is an unusual type of trio sonata for violin and cello that remains structured in a late-seventeenth-century way, a work into which Vivaldi injects inventions that are completely new and individual. This is a rare jewel that reveals the work produced by its composer before he became himself. / Violon, Violoncelle Et Basse Continue