Sonata In Re, Per Violino E Basso Continuo F XIII, 62 - Rv 798

Sonate a violino, e basso per il cembalo - Edition : Bortoli, Venise, 1709.Sonate a violino, e basso per il cembalo - Edition : E. Roger, Amsterdam, s.d. (= c. 1710).Présentation par Nicolas Fromageot : bibliographie de l'oeuvre - quelques points de comparaison entre les deux éditions - annexe : titre et première page de l'édition Walsh (c.1721).Sonate a violino, e basso per il cembalo. Bortoli, Venise, 1709 : Fac-simile en taille réduite de l'édition originale italienne, à titre de documentation - (4 images par page). Nous avons choisi de reproduire en grand l'édition d'Amsterdam, qui est beaucoup plus lisible. / Violon Et Basse Continue / 88 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

XII sonate à violino solo è basso da camera. Opera sestaEdition : Amsterdam, l'Auteur, s.d. (=1737).Présentation de Nicolas Fromageot : bibliographie - l'école romaine de violonLa partition qui a servi à réaliser ce fac-similé a été approuvée par le compositeur. Edition de 1737, conservée à la bibliothèque de l'Université de Leiden. / Violon Et Basse Continue / 78 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

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

Partition pour Violon et basse continue XII sonate à violino solo è basso da camera. Opera sesta Edition : Amsterdam, l’Auteur, s.d. (=1737). Présentation de Nicolas Fromageot : bibliographie – l’école romaine de violon La partition qui a servi à réaliser ce fac-similé a été approuvée par le compositeur. Edition de 1737, conservée à la bibliothèque de l'Université de Leiden. Compositeur : LOCATELLI Pietro Antonio Auteur : FROMAGEOT Nicolas Collection : Dominantes Contenu : Sonata prima (en Si b Majeur) : andante – allegro – cantabile (avec 5 variations) - Sonata II (en Fa Majeur) : andante – allegro – vivace, sempre piano – allegro – aria Ia, vivace (avec 3 variations) - Sonata III (en si mineur) : andante – allegro – minuetto (avec 4 variations) - Sonata IV (en Mi Majeur) : andante – allegro, [3/4], [C] – aandante (avec une variation) - Sonata V (en ut mineur) : andante - allegro – aria (avec 4 variations) - Sonata VI (en Ré Majeur) : largo – andante – allegro – Minuetto (avec 8 variations) - Sonata VII (en fa mineur) : largo – grave – vivace – cantabile (avec 6 variations) - Sonata VIII (en Ut Majeur) : adagio, andante – allegro – andante, aria (avec 4 variations) - Sonata IX (en si mineur) : largo – vivace – aria, vivace (avec 4 variations) - Sonata X (en Sol Majeur) : andante – allegro – aria (avec 3 variations) - Sonata XI (en Mi b Majeur) : adagio – allegro – cantabile (avec 3 variations) - Sonata XII (en ré mineur) : adagio – allegro – andante – allegro – capriccio Format : 24 x 33 Nombre de pages : 78 Date de parution : 01/1995

Partition pour Viole - Violon Edition : Opera secunda, Lubeca, 1696. Présentation de Marie-Françoise Bloch : Corrections et suggestions. Fac-similé de l’édition originale en parties séparées : violino – viola da gamba – cembalo. C'est une musique de grande qualité, qui s'inscrit dans la tradition des sonates en trio allemandes, dans lesquelles les deux parties de dessus sont jouées par un violon et une viole de gambe ; il faut un clavecin et une seconde viole pour exécuter la basse continue. Fac-similé de l'exemplaire de la Bibliothèque de l'Université d'Uppsala. Second volume des trios de Buxtehude. Compositeur : BUXTEHUDE Dietrich Auteur : BLOCH Marie FranCoise Collection : Dominantes Contenu : Sonata I, en Si b Majeur : allegro – adagio – allegro – grave – vivace – lento – presto - Sonata II, en Ré Majeur : adagio – allegro - largo – arietta (part.I A X) – largo – vivace - Sonata III, en sol mineur : vivace – lento – allegro – largo – andante – grave – gique - Sonata IV, en ut mineur : poco adagio – allegro – lento – vivace - Sonata V, en La Majeur : allegro – adagio pour viole et b.c. – concitato – allegro - Sonata VI, en Mi Majeur : grave – vivace - adagio – poco presto – lento – allegro - Sonata VII, en Fa Majeur : adagio – forte [allegro] – lento – vivace - largo – allegro Format : 24 x 33 Nombre de pages : 124 Date de parution : 02/2003

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 à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have 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

Händel, Georg Friedrich
Concerto for Flute (Oboe) and Orchestra in G minor HWV 287
Urtext based on newly found source
Edition no.
BA08533-90
ISMN
9790006521142
The Concerto for Flute and Orchestra in G minor, HWV 287 is a first edition.
Although published in the Handel Complete Edition, IV/12 for oboe in 1971, the work has for many years been considered spurious because no contemporary source existed. This concerto was thought to have been written by an amateur musician who borrowed material from Handel's works written or published after 1733. The situation changed drastically when a contemporary set of parts for the concerto, originally copied in Stuttgart for the Erbprinz Friedrich Ludwig von Württemberg, were found in 1993. These parts, copied about 1720, show that the composer borrowed from this concerto for compositions such as the organ concerto HWV 296a, the concerto grosso op. 6 No.11, HWV 329 as well as the trio sonata in G minor, HWV 390. The parts are titled Concerto à 5 for 1 Flut Travers e Hautb , 2 Violino , 1 Alto Viola Col Basso continuo. This new critical edition by Terence Best is the first to make use of this new source. The score contains a lengthy preface and critical commentary.
- First ever publication making use of the new source material
- Informative preface describing the origin and genesis of the work
- A major new work for flute players / Partitions classique / Bois / Hautbois / BARENREITER