Format : Score and Parts
Ten baroque classics beautifully presented in this album: the cream of the era in one book.Grade: 3 - 5
SKU: UT.NAP-4
ISBN 9790215318373. 9 x 12 inches.
Concerto in Mi bem. magg. per Violino principale, 2 Violini, Viola e Basso; Concerto in Re min. per 2 Violini e Basso (1728); Concerto in La magg. per 3 Violini e Basso (1728)_x0008_; Concerto in La min. per 3 Violini e Basso (1727)_x0008_; Concerto in La min. per 3 Violini e Basso; Sinfonia in Fa min. a 2 Violini e Basso; Sinfonia in Sol magg. a 3 Violini e Basso; Sinfonia fugata in Fa min. a 3 Violini e Basso; Sinfonia in Do min. a 4 Violini e Basso; Trio in Si min. per 2 Violini e CembaloNicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas. Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the a terrazze style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the schools of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.
SKU: HH.HH369-FSP
ISBN 9790708041887.
This previously-unpublished Concerto a Quadro presumably started life as a concerto for the standard Baroque forces of flute, strings and continuo, now otherwise unknown; it is preserved in its surviving form for flute, violin, viola and cello in a set of manuscript parts apparently copied by an amateur musician in Sweden. Although unlikely to be the work of Handel, as a rare early example of music for flute quartet it is an attractive extension to a repertoire otherwise dominated by the works of Mozart and his contemporaries. In the present publication, editorial figuring in the cello part allows for the possibility of expanding the texture with additional continuo instruments.
SKU: HL.50601158
UPC: 888680739423. 7.75x10.5 inches. Critical Edition and Reconstruction by Federico Maria Sardelli.
The critical edition of Vivaldi's instrumental works is now enriched with a new title, substantial and interesting: this is the concerto for two violins and two cellos, RV 575, a work previously published in the Ricordi-Malipiero edition and performed and recorded numerous times without its incompleteness ever being noticed: this is a most unusual instance where the loss of a single folio of the manuscript, containing around 14 bars of music, produced no obvious harmonic or melodic hiatus between the surrounding material, thereby giving the impression of a work preserved in its entirety.However, a careful study of the work shows that, on the contrary, there is a significant gap, for the filling of which the editor offers a plausible reconstruction. In addition to this large section of music, the manuscript is seen to lack a few short 'echo' responses between the soloists: one more reason for republishing the work in a critical edition with commentary that is designed to stimulate better-informed performances in the future.
