Performance Score and Parts-This scholarly-critical edition is based on all the known sources whether printed or handwritten that have come down to us for these frequently played pieces. By closely scrutinizing the source material the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc’s 1740 print of Sonatas I to VI – an edition probably made without the composer’s consent – the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi’s direct supervision. The editor has also managed to identify a previously unknown source forSonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment with a section on performance practice offering valuable suggestions on interpretation. All of Antonio Vivaldi's works for violoncello and continuo in a single edition Scholarly-critical edition for performance purposes Detailed preface on sources and performance practice (German/English) With new findings that considerably differ from earlier editions 'This edition is invaluable for all performers of the Sonatas .' (Ensemble January 2004) 'This is certainly the definitive edition of these works.'(Strings August/September 2003)

It was a chance visit to a second hand bookshop in Nottingham that set me on the trail of Rossini's now well-known Duetto for cello and double bass. But the story begins earlier than that. In the 1960s I was studying the double bass at the Royal College of Music with Adrian Beers who was at that time principal of the English Chamber Orchestra on the front desk of the Philharmonia Orchestra and a member of the Melos Ensemble of London (then one of the leading ensembles of the world). I was working on the 'Dragonetti Concerto' as most young players do and I wanted to find out a bit about it. My teacher said he thought the autograph manuscript might be in the British Library which was all the encouragement I needed to secure a pass to the Reading Room so I could go and see for myself. There sure enough I found a large collection of Dragonetti's autograph manuscripts together with other bound volumes relating to his life. The papers had been lovingly collated and annotated by Vincent Novello one of Dragonetti's closest friends then deposited in the library before his departure to Italy in 1848 two years after Dragonetti's death. One of the volumes included a lot of letters about various engagements and music festivals copies of orders for strings Dragonetti wanted from Italy details about paintings he wanted to buy and numerous invitations to private functions. The manuscript of the 'Dragonetti Concerto' of course wasn't among the papers we now know it to have been written by Edouard Nanny a century or so later. One name that came up regularly in the documents was that of Sir George Smart. Smart had been a violinist in Salomon's orchestra and had played for Haydn at his London concerts in the 1790s. As a child he had learnt much about music from his father who had in turn been present at many of Handel's rehearsals when he was preparing some of his major works for the first time. Smart was also a fine keyboard player becoming organist of the Chapel Royal in 1822. As a conductor

Edition specially prepared for the ABRSM & TRINITY GUILDHALL exam syllabuses-Vivaldi was familiar with the technique and idiomatic qualities of the cello and writing for the cello seems to have drawn from Vivaldi a special empathy: there is a degree of seriousness and expressive depth which is encountered much less consistently in his violin music. Perhaps it has something to do with the cello's low register since similar qualities inform his writing for bassoon.This Urtext edition edited by Bettina Hoffmann provides you with a clear and accurate realisation of the composer’s original intentions with thoroughly detailed editorial markings and suggestions. The solo cello part is also included on a separate insert.

Domenico Della Bella was active as a chorus master and most likely as a cellist as well in Treviso toward 1700. Besides music for church use his compositions also include some instrumental pieces. This sonata is an example of early authentic Cello literature. With its charming melodies this concise work is guaranteed to delight cellists and their audiences today as much as in the composer's own time.

Le violoncelliste et maestro di capella Jaccini, élève du joueur violoncelle Domenico Gabrielli, vit et travaille à Bologne. Son 1 opus se compose de deux sonates pour violoncelles - ce sont les premières compositions originales pour violoncelle avec accompagnement de Basso continuo. / Violoncelle Et Basse Continue

La référence HM13 de l'éditeur Leduc dont l'auteur célèbre est Taffanel, qui a pour titre Allegretto Et Allegro, a été écrite et composée pour Diverses Formations. Cette partition musicale appartient à la catégorie Classique. / Divers / Partition

Les six sonates par Benedetto Marcello (1686-1739) sont parmi les plus célèbres compositions baroques pour violoncelle et basse continue, deuxièmement, qu'à ceux de Antonio Vivaldi. Marcello est un compositeur célèbre de son vivant, et par conséquent sa collection pourrait se trouver dans les éditions imprimées dans les grandes métropoles de la musique européenne de Londres, Paris et Amsterdam. Même s'il y a certains doigtés mal à l'aise dans ces sonates - qui pourrait être due à Marcello de travail avec un violoncelle de cinq cordes avec un ajout E' chaîne - ils sont de difficulté modérée seulement et appartiennent aux oeuvres standards du violoncelle, enseignement de la littérature. / Violoncelle Et Basse Continue

Edition : Paris, l'Auteur, Boivin, Leclerc, 1736.Présentation de Maëlle Trouvé : Biographie de Jean-Baptiste-Joseph Masse - Lecture de la partition (notation, ornementation, phrasé, terminologie, basse-continue, forme)Ces sonates, dites 'à deux violoncelles', sont en fait écrites pour violoncelle et basse-continue.Ce recueil de très jolies sonates a l'avantage d'être techniquement très abordable. Il sera donc un élément intéressant d'initiation au style de cette époque. - / Violoncelle Et Basse Continue / 36 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

L'édition fait partie du syllabus Trinity 2007 (5e) / Violoncelle Et Basse Continue

Includes: Sonata I (RV 47) Sonata II (RV 41) Sonata III (RV 43) Sonata IV (RV 45) Sonata V (RV 40) Sonata VI (RV 46).   Please note this comes with a separate Cello part.

L'édition fait partie du plan de cours teh ABRSM (8e année) / Violoncelle Et Basse Continue

Sonates pour le violoncelle avec la basse continüe. Livre III. Edition : Paris, l'Auteur, Boivin, Leclerc, (s.d. = 1739).Présentation : Terminologie - Agrémentation - Chiffrages - Reprises - Points d'orgue.Ce remarquable livre de sonates pour violoncelle et basse continue comprend une sonate en trio qui suppose 2 violoncelles solistes et un violoncelle pour jouer la partie de basse réalisée par le clavecin. / Violoncelle Et Basse Continue / 36 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Violoncello and Keyboard (2nd violoncello ad libitum) (Sheet Music/MusicPartner play-along CD Pack is also available; see Q4938) Contents: RV 47(Bb); 41(F); 43(a); 45(Bb); 40€; 46(Bb)