Concerto No. 2 in G
minor. Composed by
Antonio Vivaldi. Edited
by Christopher Hogwood.
Folded. Eulenburg
Orchestral Series. Solo
concerto; Baroque. Part.
4 pages. Duration 8'.
Breitkopf and Haertel
#EOS 1872-27. Published
by Breitkopf and Haertel
(BR.EOS-1872-27).
Concerto No. 11 in D
minor. Composed by
Antonio Vivaldi. Edited
by Christopher Hogwood.
Orchestra; folded.
Eulenburg Orchestral
Series. Solo concerto;
Baroque. Part. 4 pages.
Duration 11'. Breitkopf
and Haertel #EOS 1881-27.
Published by Breitkopf
and Haertel
(BR.EOS-1881-27).
Concerto No. 8 in A
minor. Composed by
Antonio Vivaldi. Edited
by Chrstopher Hogwood.
Orchestra; folded.
Eulenburg Orchestral
Series. Solo concerto;
Baroque. Part. 4 pages.
Duration 12'. Breitkopf
and Haertel #EOS 1878-27.
Published by Breitkopf
and Haertel
(BR.EOS-1878-27).
By Antonio Vivaldi. Edited by Walter Upmeyer. For Violoncello/Contrabass. Single...(+)
By Antonio Vivaldi.
Edited by Walter Upmeyer.
For
Violoncello/Contrabass.
Single Part. Op. 3/3.
Published by
Baerenreiter-Ausgaben
(German import). (BA3808
82)
Twelve Concertos for
Violin, Strings and Basso
continuo. Composed by
Antonio Vivaldi. Edited
by Bettina Schwemer. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume II:
Concertos VII-XII. Score,
anthology. Opus 4.
Baerenreiter Verlag
#BA07567_00. Published by
Baerenreiter Verlag
(BA.BA07567).
ISBN
9790006544097. 31 x 24.3
cm inches. Preface:
Schwemer,
Bettina.
Antonio
Vivaldi’s twelve
concertos op. 4 known by
the name of “La
Stravaganza†were
first mentioned as a
collection of
“Concerti a
4†in the 1711
Foreword of
“L’Estro
Armonico†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,
“La
Stravaganza†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 “La
Stravaganza†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 “La
Stravaganza†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
& Hare, as well as
alternative versions
(without viola) found in
handwritten sources for
Concertos No. 6 (Volume
1) and No. 11 (Volume
2).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
Twelve Concertos for
Violin, Strings and Basso
continuo. Composed by
Antonio Vivaldi. Edited
by Bettina Schwemer. This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I:
Concertos I-VI. Score,
anthology. Opus 4.
Baerenreiter Verlag
#BA07566_00. Published by
Baerenreiter Verlag
(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).
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY 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
