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.Thesonatas 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, beassumed 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 abass 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 intendedharmony. (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 isopen 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 seventeenthcentury traditions that
SKU: BT.YE0009
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 sonatasare 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 â?¦ 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 theirauthor.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, orVioloncello) 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 notnecessarily 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 ofa 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 aViolone 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 thatare known today (see Dart.
SKU: BR.EB-8609
Vivaldi's only oboe sonata requires an interpretation, since the thoroughbass part is not figured. Thanks to Martin Nitz's stylistically authentic realization and careful editorial work, this rather neglected piece is sure to find many new friends.
ISBN 9790004179956. 9 x 12 inches.
It is generally quite easy to adapt sonatas for Baroque oboe (and continuo) to the soprano recorder since both instruments have an identical range. Yet considering the great popularity of the previously published works, it is strange that Antonio Vivaldi's only sonata for this instrument has received little attention to date. This edition is based on a manuscript preserved in the Sachsische Landesbibliothek Dresden under the class. no. Mus. 2389-S-1. The preparation of the edition entailed the adjustment of the accidentals to present-day practice, and the realization of the (unfigured) thoroughbass part. No slurs were added to those already contained in the manuscript so as to allow the performer to find his own solutions. Otherwise the virtually error-free manuscript was reproduced without change. We wish to thank the directors of the Sachsische Landesbibliothek Dresden for their authorization to publish the work. (Hamburg, Fall 1995 - Martin Nitz)Vivaldi's only oboe sonata requires an interpretation, since the thoroughbass part is not figured. Thanks to Martin Nitz's stylistically authentic realization and careful editorial work, this rather neglected piece is sure to find many new friends.
