Format : Study Score / Miniature
for Violin, Strings and Basso continuo Edition : study score Catalogue of works : RV 199 / P 419 Date of Publications : 26/07/1985 Number of Pages : 28 Arranger : Schroeder, Felix Series : Eulenburg Miniature Scores
SKU: HL.50038790
UPC: 073999341010. 6.75x10.5 inches.
SKU: HL.49001901
ISBN 9790001117562. UPC: 073999540345. 9.0x12.0x0.05 inches.
Vivaldi's concerto in D minor was originally scored for: Viola d'amore, lute, strings, harpsi-chord (continuo). In this edition, the viola d'amore was replaced with the viola and the -lute with the modern guitar.
SKU: HL.49012272
ISBN 9790001118859. 9.0x12.0x0.105 inches.
Vivaldi’s concerto in D minor was originally scored for: Viola d’amore, lute, strings, harpsi-chord (continuo). In this edition, the viola d’amore was replaced with the viola and the -lute with the modern guitar.
SKU: KN.10165S
UPC: 822795101652.
This arrangement of Vivaldi's Concerto In A Minor For Two Violins (Op. 3, No. 8, RV 522) features all major themes from this great Baroque standard and serves as a fantastic addition to the modern string orchestra repertoire. Solo parts are scored for violins with some third position work required. Duration 4:30. Available in SmartMusic.
SKU: HL.50601269
UPC: 888680745554. 8.0x10.5x0.435 inches.
Among Vivaldi's many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted in autograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction Grave sopra il libro replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled Il gran Mogol suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a Larghetto that is very possibly identical with the one missing in RV 431. This Gran Mogol, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as part of a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this setin detail. It is very likely that RV 431 and RV 432 belonged to this group of works, the last known collection of its kind in Vivaldis oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts.
SKU: BT.EMBZ3769
English-German-Hungarian.
The source of the present edition of the Oboe Concerto in A minor by Antonio Vivaldi is the Collected Works of Vivaldi, edited by Malipiero, published by Ricordi 1955. The title of the original score is Concerto in La minore per oboe, archi e cembalo the original setting: Oboe, Violini I-II, Viole, Violoncelli, Contrabassi and Cembalo. The arrangement for oboe and piano is kept in accurate conformity with the musical text of score, the continuo part - however - has been more freely adapted (of course within the possibilities of baroque style). The piano part contains the entire orchestral material in the Tutti-s, thus the soloist is not obliged to play all the Tutti parts.However, in Movement I and III the first and last Tutti may never be omitted by the performer. Die Grundlage dieser Ausgabe des Oboenkonzertes in A-Moll von Antonio Vivaldi ist die von Malipiero redigierte Gesamtausgabe (Ricordi, 1955). Der Titel der Originalpartitur lautet: Concerto in La minore per oboe, archi e cembalo: die Besetzung ist folgende: Oboe, Violini I-II, Viole, Violoncelli, Contrabassi, Cembalo. Die Ausgabe für Oboe und Klavier ist dem Urtext der Partitur getreu, doch ist die Ausarbeitung des Continuos etwas freier behandelt (natürlich nur im Rahmen der vom Stil der Barockmusik gebotenen Möglichkeit). Die Klavierstimme enthält an den Tuttistellen das Stimmaterial des ganzen Orchesters: der Solist ist daher nicht verpflichtet, sämtliche Tuttimitzuspielen. (Im I. und III. Satz dürfen jedoch die ersten und letzten Tutti vom Solisten nicht weggelassen werden.
