Volume 2-Score with realisation of the basso continuo by Tonelli as well as Corelli’s unrealized figured bass line With a separate Urtext violin partWith a separate unrealized figured continuo partIncludes a supplement with violin embellishmentsAppendices in both volumes with source descriptions and critical commentariesPreludes for keyboard instrument by Tonelli in the appendix of volume 2Arcangelo Corelli the violin virtuoso of his time published his Sonatas for Violin and Basso continuo opus V in Rome in 1700. These sonatas are a compendium of violin playing of his time and laid the groundwork for future violin compositions. Over the years the sonatas have been published innearly 100 editions all based on Corelli’s first edition which contains only the solo violin line above an unrealized bass line. Today the sonatas are well known in numerous modern continuo realizations. However a realization from Corelli’s time by Antonio Tonelli also exists and is presented here for the first time in a modern performing edition. This realization is surprising in that it contains full chords sometimes played by both hands. In addition Bärenreiter’s new scholarly-critical edition includes for the first time many violin embellishments. For the most part they have been found in handwritten documents by Tartini Geminiani McGibbon Dubourg and Roger (from a re-print of the sonatas from c. 1710). These embellishments are presented in a separate booklet which players can place alongside Corelli’s original on the music stand. Complementing this Urtext edition are a historical introduction a critical commentary and an appendix containing preludes to the sonatas for keyboard by Tonelli.

The Sonatas for Violin and Basso Continuo are among some of Handel's most beautiful writings for the Violin and are a beautiful addition to the repertoire of any advancing violinist. These sonatas are clearly presented with detailed editorial markings and suggestions along with a commentary on each work. This edition has been edited by Terence Best and the Basso Continuo has been realized by Peter Holman.The solo violin and basso continuo parts are also included on separate inserts.

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

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

e-Moll. 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 und 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. For the source of the first edition of the E minor Sonatathe second version of the work was used. Pisendel composed this version in around 1716, when he accompanied the Crown Prince of Saxony on a trip to Italy./ Répertoire / Violon et Basse Continue

Opere incomplete Ed. critica e ricostruzione di M. Talbot-Critical edition by Michael Talbot. The vast majority of violin sonatas from Vivaldi?s time including those of Vivaldi himself have come down to us in the form of a score employing two staves: one for violin and one for bass. This guarantees that although portions of the work may be missing what survives is textually complete. Exceptionally five of Vivaldi?s violin sonatas are preserved solely in a partbook for violin held by the Diözesanarchiv Graz the complementary part for cello having disappeared. The sonatas appear to date from the period between the Dresden group (1716-1717) and the Manchester set (c. 1726). Three of the sonatas which all have four movements possess partial concordances in other sources with which they share two or three movements but two of them ? RV 11 and RV 37 ? have so far been found only in Graz (with the exception of an incipit for RV 11 found in a contemporary thematic catalogue). This critical edition makes these two works available for study and performance. The bass part is an editorial reconstruction and there is in addition a realization of the continuo by the editor.

Tonalité : Es-Dur - Horn, Paul (Arr.) -. Par BIBER HEINRICH IGNAZ FRANZ. Stylistically, this anonymous sonata for scordatura violin, which has been preserved in the holdings of the Dresden Court Orchestra, points to the southern German-Austrian school of violin, and it shows the high level of the art of violin playing in Germany in the late 17th and early 18th centuries. A contemporary, handwritten note on the cover of the music refers to Heinrich Ignaz Franz Biber and there are actually amazing similarities to works by this composer which would suggest that he indeed composed the work. However, a definitive clarification of this question must remain open./ Répertoire / Violon et Basse Continue