Sonata Op 5 No 9 A Major For Violin And Basso Continuo

The Schott Violin Library contains eleven varied Baroque sonatas for violin and basso continuo. Including both popular sonatas by Corelli, Vivaldi, Handel and Telemann and lesser known, charming compositions by Dall? Abaco, Pepusch and Finger. Suitable for violinists of intermediate standard. Some of these works can be played entirely in first position, others require only a few position changes and the sonatas by Dall?Abaco, Kirchhoff, Vivaldi and Handel require more fluent shifts between the first three positions. / Violon Et Basse Continue

About Sonatas in G major E-minor Fugue in G minor(BWV 1021 BWV 1023 BWV 1026) By Johann Sebastian Bach (1685-1750) arranged by Meniker Zvi edited by Andrew Manze Peter Wollny. Score; Set of Parts; Urtext Edition for violin and basso continuo. Published by Baerenreiter-Ausgaben (German import). (BA.BA5167) ISBN M006466214. Baroque. 9x12 inches. First critical edition of a work firmly attributed to Bach: the G minor Fugue BWV 1026 Figured bass realization by Zvi Meniker Two violin parts: an Urtext part and a part marked with fingering and bowing suggestions by Andrew Manze Continuo part with bass figures This new edition supersedes the earlier performance edition ofsonatas BWV 1021 and 1023 published in the New Bach Edition. Like other volumes recently issued in revised editions - Sonatas and Partitas for Violin (BA 5116) Partita for Flute (BA 5187) and Six Sonatas for Violin and Obbligato Harpsichord in one volume (BA 5240) and in two volumes (BA 5118-19) - these two sonatas have been re-evaluated on the basis of newly unearthed sources. The Fugue BWV 1026 long considered spurious appears here for the first time in a scholarly-critical edition that places Bach's authorship above reproach

Sonata in F major TWV 41:F4 - Sonata in A major TWV 41:A6-These three editions (BA 5880 BA 5889 BA 5890) each comprising two solo sonatas with basso continuo are all taken from Telemann’s famous Essercizii musici; a collection of 24 sonatas including 12 solo sonatas and 12 trio sonatas. These were moulded after Corelli’s Sonata da Chiesa and have four movements: slow-fast-slow-fast. The sonatas long thought to stem from the late 1730s are now believed to have first been published by the composer in approx. 1729. The main sources are the three part-books from the original edition of 1729.This first ever Urtext edition edited by the Bach and Telemann scholar Klaus Hofmann is taken from the Telemann Musical Works. Thecontinuo realizations are by the editor. First ever Urtext editions of these sonatasCharming works of easy to moderate technical difficultyStraight forward clear continuo realizations

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

Sonata G MinorSonata D MajorSonata B MinorSonata G MajorSonata A MinorSonata A Major

for Violin and Basso continuo-Handel returned repeatedly throughout his life to the composition of works for violin and basso continuo. The earliest autograph HWV 358 was composed around 1707 his last work for this combination of instruments the Sonata in D major HWV 371 stems from circa 1750. In addition to the 5 sonatas which have survived as autographs there are 4 other sonatas of a spurious nature which have found a place in the violin repertoire under Handel’s name although they are certainly not from his pen. These sonatas are attempts by other unknown composers to make a name by using the style of the great master. To round off thisfirst ever publication of Handel's Complete Works for Violin and Basso continuo there are two movements currently not available in any other performing edition: the Allegro HWV 408 and an Andante HWV 412. The Authoritative Performing Edition Edition with the recently-revised Urtext of the Halle Handel Edition First ever performing edition of the complete works for violin and basso continuo in one volume With separate violin and continuo bass parts the latter with figures Basso continuo part with figures including 2 movements not available in any other performing edition Includes valuable comments on performance practice An Associated Board recommended title “All violinists should buy this volume not only for its completeness and clarity but because it is exceptionally good value for score and parts.”(ESTA News Views Spring 2003)

For Violin and Basso Continuo; Cello ad lib.Sonata VII c minor (RV 8)Sonata VIII G major (RV 23)Sonata IX e minor (RV 16)Sonata X f minor (RV 21)Sonata XI D major (RV 9)Sonata XII a minor (RV 32)

Editor: Polnauer, Frederick F. Preface: Polnauer, Frederick F Jean Marie Leclair l'aîné (1697-1764) wurde in Lyon geboren. Er studierte u.a. in Turin bei J.B. Somis, einem Schüler Corellis, lebte ab 1728 dauernd in Paris und war bis 1736 als Geiger der kgl. Kapelle tätig. Leclair gehört zu den großen klassischen Meistern der Violine; unter den französischen Komponisten für dieses Instrument steht er an erster Stelle. Diese Ausgabe bietet zwei Sonaten aus dem 4. Buch, op. 9, No. 3, D-Dur und No. 5, a-moll. Als Quelle diente ein in der New York Public Library befindliches Exemplar der 1738 in Paris erschienenen Erstausgabe. Die Klavierpartitur unserer Ausgabe gibt die Violinstimme und den bezifferten Bass genau nach dem Original wieder.

Compositeur de l'époque baroque, Johann Sebastian Bach a été un acteur majeur et influent dans le développement de la musique occidentale. Il a inspiré les plus grands. C'est ainsi que vous retrouverez tout son génie à travers cette partition Two Sonatas G Major/E Minor BWV 1021, 1023 qui a été écrite pourViolon Et Basse Continue. Les éditions Wiener Urtext qui ont éditées cette oeuvre l'ont répertoriée sour la référence UT_50002. / Violon Et Basse Continue / Partition

Score with lightly realised (and figured) Basso Continuo and 3 parts (Treble Recorder I II Basso Continuo)Giuseppe Sammartini (1695-1750) was already famous as an oboist in Italy before distinguishing himself in England as a composer and virtuoso.In this edition we have transposed his Trio Sonatas for two Flutes or Violins to a range ideally suited to the Treble Recorder.The work was popular during Sammartini's lifetime and stands out because of its melodic richness and imaginative treatment of counterpoint and harmony.

For Violone-Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Violino e Violoncino … di Giovannino del Violone. Giovannino (=Little or Young John) musthave been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that are known today (see Dart

aus 'Der getreue Musikmeister' für Altblockflöte und Basso continuo-Score lightly realised with figured Bass: 2 playing scores (Recorder and Basso Continuo).'Der getreue Musikmeister' (The faithful Music Master) occupies a special place in the history of musical publications since as far as we know it was the first regularly appearing musical periodical. A 'Lection' or lesson was published every two weeks in the form of a four-page leaflet presenting Vocal and Instrumental music in various scorings. Twenty-five of these leaflets are still extant today bound as a volume with a preface and index.The Recorder part of the Sonata in F major is notated throughout in the French Violin clef (g' on the first line). Thismethod of notation had become customary towards the end of the 17th century. It reduced the number of ledger lines necessary for the upper octave of the recorder which was frequently used at that time. The present edition omits arbitrary alterations of the musical text; the notation of this edition has only been altered to conform to modern conventions.

Instrumentation : violin and basso continuo Date of Publications : 08/08/1986 Number of Pages : 24 Arranger : Kolneder, Walter Series : Violin Library