Une édition spéciale de Vivaldi célébré ensemble de quatre Concertos pour violon, ensemble en un seul volume somptueux. Tout d'abord composée en 1725 les thèmes picturales et les textures des quatre saisons de Vivaldi sont devenus parmi les plus largement exécutées et familiers de moments musicaux jamais composés. Les délices de swift et florissant du printemps aux tensions clairsemées de l'hiver, les concertos sont sont répertoire requis pour tout violoniste, de concert avec des spectacles populaires dans le monde de Nigel Kennedy, Yehudi Menuhin et bien davantage. Cette nouvelle édition de bibliothèque Of Classics du Schirmer musicale réunit tous les quatre concertos en un seul volume à un excellent prix, complet avec une réduction de Piano - l'occasion idéale pour ajouter que ces merveilleux et historiquement importants travaille à votre propre répertoire. / Violon Et Piano

This music lends itself so well to the string quartet - classic Vivaldi at his best! / Quatuor A Cordes

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 B.C.

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 B.C.

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

a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue

Edizione Critica A Cura Di P. Everett E M. Talbot. Par VIVALDI ANTONIO. Ediz. Critica Delle Opere Di Vivaldi, Softcover/ Répertoire / Edition Critique des oeuvres de Vivaldi (Fac-simil

The Schott Violin Library contains eleven varied Baroque sonatas for violin and basso continuo. Including both popular sonatas by Corelli, Vivaldi, Handel and Telemann and lesser known, charming compositions by Dall? Abaco, Pepusch and Finger. Suitable for violinists of intermediate standard. Some of these works can be played entirely in first position, others require only a few position changes and the sonatas by Dall?Abaco, Kirchhoff, Vivaldi and Handel require more fluent shifts between the first three positions. / Violon Et Basse Continue

Par VIVALDI ANTONIO. Antonio Vivaldi 's Concerto In D Major RV 95 for Treble Recorder, Oboe, Violin, Bassoon and Continuo. Edited by Gottfried Bach and Nikolaus Delius. Score and parts./ Répertoire / Flûte Traversière, Hautbois, Violon, Basson et Bas

Arrgt: Sarah Labrousse-Baert. Par VIVALDI ANTONIO. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 3/6 - Intermédiaire - Durée : 3 mn 05 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Antonio VIVALDI - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire / Classique / Répertoire / 2 Violons, Alto et Violoncelle

Par VIVALDI ANTONIO. „Bärenreiter’s Easy Concertos“ – a new series of most-played concerts for violinists that want to perform for an audience for their first time. The collection opens with pieces by Rieding, Seitz and Vivaldi, odds-on favourites/ Répertoire / Violon et Piano

F Xii, 15 - Tomo 62. Par VIVALDI ANTONIO. This is the full score edition of Antonio Vivaldi's Concerto In Re Maggiore for 2 Violins, Lute, Harpsichord and Bass Continuo. With revisions and a realization of the figured bass, by Gian Francesco Malipiero. / Niveau : Intermédiaire / Date parution : 1905-05-23/ Répertoire / 2 ou 3 ou 4 Violons

Arrgt: Sarah Labrousse-Baert. Par VIVALDI ANTONIO. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor à Cordes : 2 Violons 1 Alto 1 Violoncelle - Niveau de Difficulté : 4/6 - Intermédiaire/Avancé - Durée : 4 mn 50 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Antonio VIVALDI - Arrangeur : Sarah LABROUSSE-BAERT / Niveau : Intermédiaire à Avancé / Classique / Répertoire / 2 Violons, Alto et Violoncelle

Vingt-deux pièces de compositeurs baroques édité par Richard Jones, pour l'ABRSM. Comprend des oeuvres de Vivaldi, Corelli et Telemann. / Violon / niveau : Intermédiaire / Partition

Transcription For Violin And Piano, Based On The Critical. Par VIVALDI ANTONIO. Antonio Vivaldi's The Four Seasons has become one of the most celebrated orchestral works of all time, evocative, reflective and symbolic. The second stage, L'Estate (or Summer ) is a glorious depiction of summer months, the burning sun and colourful animals. This edition has been arranged for Violin and Piano by Maurizio Carnelli./ Répertoire / Violon et Piano