SKU: BA.BA07566
ISBN 9790006544066. 31 x 24.3 cm inches. Preface: Schwemer, Bettina.
Antonio Vivaldiâ??s twelve concertos op. 4 known by the name of â??La Stravaganzaâ? were first mentioned as a collection of â??Concerti a 4â? in the 1711 Foreword of â??Lâ??Estro Armonicoâ? op. 3. Their publication had to wait until 1716, when Estienne Roger issued them in two volumes of six concertos each. However, unlike the original announcement, â??La Stravaganzaâ? is more than a collection of concertos for solo violin with string accompaniment: in five of the concertos the soloist is joined by a second solo violin or even by a solo violoncello (Concerto No. 7).The many reprints of â??La Stravaganzaâ? bear witness to its popularity and widespread dissemination well into the 1730s. Besides the surviving prints, there is a significant body of handwritten sources containing alternative versions for seven of the concertos. Some of these manuscripts stem from the music library of Johann Georg Pisendel.This edition of â??La Stravaganzaâ? is not only the first scholarly-critical edition, it is also the only complete edition available. In addition to the twelve concertos handed down in the Roger edition, Bärenreiter offers an additional concerto in full score, piano reduction and parts contained in the 1728 print issued by the English publishers Walsh and Hare, as well as alternative versions (without viola) found in handwritten sources for Concertos No. 6 (Volume 1) and No. 11 (Volume 2).
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MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.49031790
ISBN 9790001132381. 9.0x12.0x0.24 inches.
Kirchhoff was born in Muhlbeck (near Bitterfeld) in 1685 and died in Halle in 1746. He was (like Handel) a pupil of Zachov and in 1714 became Zachov's successor as organist and Director Musices at the Marienkirche in Halle. His violin sonatas, which were praised by Leopold Mozart, are very well suited for use in teaching the violin, as they are skilfully structured around the capabilities of the instrument. Especially recommended for friends of baroque violin music.
SKU: HL.49031789
ISBN 9790001132374. 9.0x12.0x0.253 inches.
SKU: HL.49044547
ISBN 9783795749422. UPC: 841886023338. 9.0x12.0x0.106 inches.
Separate bass part for performance e.g. with cello accompaniment.Schott Violin Library includes eleven contrasting Baroque sonatas for violin and continuo bass. Besides popular and well-known sonatas by Corelli, Vivaldi, Handel and Telemann there are also delightful less familiar compositions by Dall'Abaco, Pepusch and Finger, among others. All these pieces are at lower to intermediate level. Some of them can be played in first position throughout, while others require just a few position changes, but the sonatas by Dall'Abaco, Kirchhoff, Vivaldi and Handel require fluent use of the first three positions. The pieces brought together in this book are the best-loved works from the popular series Schott Violin Library (VLB) and other violin repertoire published by Schott.
SKU: HL.50606939
ISBN 9788881921225. UPC: 196288207344. 8.0x10.75x0.159 inches.
In a miscellaneous manuscript in the Este Music Collection belonging to the Österreichische Nationalbibliothek in Vienna, a new sonata for violin and basso continuo by Antonio Vivaldi has recently been identified. Although it has until now been attributed by default to the Bolognese Giuseppe Aldrovandini, by virtue of a heading written (but subsequently rubbed out) by the copyist of the manuscript on one of the pages of the violin part, this sonata has been recognized as an authentic composition by the Red Priest. This work - which can be placed chronologically no later than the middle of the 1710s - represents the most clear-cut example in Vivaldi's music of a “Sonate auf Concertenart”: more specifically, a kind of solo sonata for violin that the Red Priest could perform in order to show off his prowess on that instrument, as signalled by the presence of many passages featuring double stoppingor the use of the ultra-high register.
SKU: HL.49016283
ISBN 9790001102582.
Louis-Gabriel Guillemain (1705-1770) was born in Paris and entered the court orchestra of Versailles as a violinist in 1737. As a composer he was influenced by Corelli and apparently self-taught.This Chasse comes from Jean-Baptiste Cartier's compendium L'Art du violin (1798). Hunt pieces of this type were very common in eighteenth-century French violin music.
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