Sonate Da Chiesa Op. 1 #10 - Op. 3 #5

SKU: BT.EMBZ12051

English-German-Hungarian.

The present edition contains Twelve Sonatas for Violin Solo and Basso Continuo, Op. 5 by Arcangelo Corelli. The first part of the series (Z. 12050: Sonatas No. 1-3, Z. 12051: Sonatas Nos. 4-6) comprises church sonatas (sonate da chiesa), while the second one (Z. 12265: Sonatas Nos. 7-12) chamber sonatas (sonate da camera). The present edition is based on the first edition of the work published in Rome in 1700.

Der vorliegende Band enthält die zwölf Sonaten für Solo-Violine mit Basso continuo, Op. 5 von Arcangelo Corelli. Die erste Teil (Z. 12050: Sonaten 1-3, Z. 12051: Sonaten 4-6) umfasst die Kirchensonaten (sonate da chiesa), der zweite Teil (Z. 12265: Sonaten 7-12) die Kammersonaten (sonata da camera). Die vorliegende Ausgabe stützt sich auf die 1700 in Rom erschienene Erstausgabe des Werkes.

SKU: BT.DHP-1033416-010

Sonata da Chiesa for organ and wind orchestra is a work in three movements. The first movement presents three melodic lines which are developed in turn. The second movement introduces a theme by Johann Pachelbel followed by several variations on the theme - a technique favoured by Kees Schoonenbeek. The third movement is a neo-Baroque rondo which introduces thematic elements from the first movement. This is a work rich in colour and sound.

Sonata da Chiesa ist eine vielseitige Komposition für Orgel und Blasorchester. Das in einer Art Neobarock geschriebene Werk beginnt mit einem kontrastreichen ersten Teil, gefolgt von einer Reihe Variationen über ein Thema von Pachelbel im zweiten Satz, und wird schließlich durch ein Rondo abgeschlossen. Mit Sonata da Chiesa schrieb Kees Schonenbeek ein eindrucksvolles, eigenständiges Werk, das mit seiner Namensgeberin, der ursprünglichen Kirchensonate wenig mehr als die Orgel als Soloinstrument gemeinsam hat.

SKU: BR.MR-2239B

ISBN 9790004488478. 9 x 12 inches.

There are two known manuscript sources for the present edition of this sinfonia avanti l'opera. In the Dean and Chapter Library of Durham Cathedral it appears as the twelfth, and last, piece in a collection of late seventeenth-century Italian instrumental music. No composer is given and identification was only possible following the discovery, in 1993, of a concordant source in the Biblioteca Estense, Modena, where the work appears as the sinfonia to Perti's opera L'Inganno scoperto per Vendetta, first performed in Venice as part of the 1690/1 season.It is sometimes hard to ascertain the original functional purpose behind many of the trumpet works written by composers of the Bolognese school as it would appear that some were used as sonate da chiesa, to celebrate mass in the basilica of San Petronio, Bologna, whilst also serving as operatic sinfonie. To confuse the issue further, there are several instances of composers 'borrowing' each other's works: for example, it has recently been discovered that the Torelli trumpet sinfonia a 4 catalogued as G4 in Giegling was used as the overture to Perti's opera Nerone fatto Cesare (1693). So far as the present edition is concerned, however, stylistic considerations would appear to confirm that the work is indeed by Perti and that it was originally conceived as the overture to L'Inganno scoperto per Vendetta. A couple of clues hint at a secular raison d'etre: the Durham source is marked Serenatto (presumably a corruption of serenata, a term often used in lieu of sinfonia) and the last movement of the Modena source is marked Menuet, a term more often associated with sonate da camera than with works of ecclesiastical provenance.Both the Modena and Durham sources for the present edition are virtually note-perfect and occasional inaccuracies were easily corrected by comparing the sources with each other and with the part-books in Durham. Whilst the Modena source lacks the second violin part in the outer movements it contains fuller dynamic markings and tempi indications than the Durham source and these have been followed in the present edition with no editorial additions. Notation has been modernised and, in the piano reduction edition, right-hand arpeggio-figurations rendered more pianistic. Parts are provided for trumpet in D and B flat. I am grateful to the Dean and Chapter of Durham and to the Biblioteca Estense, Modena, for providing microfilm of the manuscripts. I should also record my thanks to Keith Wright for realising the figured-bass which appears in the full-score edition.Mark Latham, Brancepeth Castle, June 1997.