Concerti Grossi. Par VIVALDI ANTONIO. 12 Concertos de Vivaldi ont été d'abord publiés en 1711 par Roger à Amsterdam. Ces 8 livres de cadre élégant a aidé à établir la réputation de Vivaldi dans toute l'Europe et au cours duquel il a fourni les règles de laquelle des auteurs comme Quantz, Marcello et Mattheson jugés et informé les autres compositeurs. Très imité, les concertos continuent d'influencer les oeuvres de compositeurs plus tard et, en fait, j. s. Bach./ Répertoire / 4 Violons, 2 Altos, Violoncelle, Violon et Claveci

F I-170 - Tomo 377. Par VIVALDI ANTONIO. / Répertoire / Violon, Cordes et Clavecin

Ed. Critica Di Alessandro Borin - Ril. Brochure. Par VIVALDI ANTONIO. La Gloria e Imeneo, RV 687, belongs to a group of so-called ‘French serenatas’ by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of importantrecurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725. This critical edition is based on the autographscore held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes anapparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred – since no libretto has come down to us – by the words underlaid to the notesin the manuscript of the serenata. La Gloria E Imeneo, RV 687, belongs to a group of so-called ‘ French serenatas' by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid-1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place inthe ambassador's garden on the evening of 12 September 1725. This critical edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes an apparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred & since no libretto has come down to us & by the words underlaid to the notes in the manuscript of the serenata. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-08/ Répertoire / SATB, Violon, Alto et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue

Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue

The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Conducteur

Parti Orchestra. Par VIVALDI ANTONIO. The orchestral set contains: 3 copies of Vl I and 3 copies Vl II 2 copies of vla, 2 copies of cello 1 copy of organ, contrabass, trumpet and oboe. Today the Gloria RV 589 (BA 7674) is one of Vivaldi's best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period. Vivaldi wrote the ; Gloria as a self-contained work in the style of a concertante mass. However, it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period at the Ospedale della Pietà, around 1716. In the twelve movements of the ; Gloria, Vivaldi displays the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solo passages. Thesame mastery has also been applied to the ; Kyrie RV 587 (BA 8950), scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a choral work without solo passages. Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt, these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward, clearly presented and preserve the character of the works. - Attractive choral pieces which can be combined to form a short mass./ Répertoire / Matériel D'Orchestre

Par VIVALDI ANTONIO. One of the best-loved and most endearing works of the late Baroque, Vivaldi's set of Violin Concertos The Four Seasons Op. 8 are presented here in an authoritative Barenreiter Urtext edition. This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source, which originates from Vivaldi’s circle and represents an alternative (in many cases, more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725. The Manchester source has until now not been used as the primary basis for a modern performing edition, andoffers new readings and evidence for players and listeners alike. With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons./ Répertoire / Violon, Instruments à Cordes et Basse Continue

Par VIVALDI ANTONIO. One of the best-loved and most endearing works of the late Baroque, Vivaldi's set of Violin Concertos The Four Seasons Op. 8 are presented here in an authoritative Barenreiter Urtext edition. This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source, which originates from Vivaldi’s circle and represents an alternative (in many cases, more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725. The Manchester source has until now not been used as the primary basis for a modern performing edition, andoffers new readings and evidence for players and listeners alike. With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons./ Répertoire / Violon, Instruments à Cordes et Basse Continue

Par VIVALDI ANTONIO. One of the best-loved and most endearing works of the late Baroque, Vivaldi's set of Violin Concertos The Four Seasons Op. 8 are presented here in an authoritative Barenreiter Urtext edition. This publication of Vivaldi’s masterpiece is a critical performing edition of the Manchester manuscript source, which originates from Vivaldi’s circle and represents an alternative (in many cases, more explicit) version of these famous concertos than the first printed edition published by Le Cene in Amsterdam in 1725. The Manchester source has until now not been used as the primary basis for a modern performing edition, andoffers new readings and evidence for players and listeners alike. With Christopher Hogwood’s new edition a fresh gust of wind has taken hold of The Four Seasons./ Répertoire / Violon, Instruments à Cordes et Basse Continue