Edizione Critica A Cura Di Federico Maria Sardelli - Ril. Brochure. Par VIVALDI ANTONIO. Antonio Vivaldi’s second published collection is fundamental to an understanding of the leap he took, at the end of the first decade of the eighteenth century, from provincial obscurity to Europe-wide fame. This edition asks and answers the hardquestions surrounding its exact date, its choice of dedicatee and its Venetian context. Through analysis of the two different printing techniques employed - movable type and engraving - and through comparison of the sources, it has proved possible toreconstruct the context in which the opus achieved publication and establish what its truly innovative aspects were; the edition sheds light on the reception of the work, listing the huge number of composers who derived or appropriated musical ideasand solutions from it. This second published collection by Vivaldi, for too long unjustly neglected by critics and performers, may be considered a manifesto for the new musical language invented by Vivaldi for chamber music, which took shape atalmost the same time as his other great manifesto, that for the new-style solo concerto, shortly afterwards to emerge as the collection entitled L’estro armonico. RV 27, 31, 14, 20, 36, 1, 8, 23, 16, 21, 9, 32 / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-07/ Répertoire / Violon et Basse Continue

Performance Score and Parts. Par VIVALDI ANTONIO. 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 for Sonata 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. 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) / Répertoire d'Examen / Répertoire / Violoncelle et Basse Continue

F.Xiii-12 - Tomo 370. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

Op. 2 N. 1 - F.XII-29 - Tomo 394. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

Par VIVALDI ANTONIO. Format: New Edition portrait/ Répertoire / Violon et Basse Continue et Violoncelle Ad Libitum

F.Xiii-6 - Tomo 364. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

Op. 2 N. 7 - F.XIII-35 - Tomo 400. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

Par VIVALDI ANTONIO. Editeur(s) d'origine: Hillemann, Willi/ Répertoire / Violon et Basse Continue

Op. 2 N. 8 - F.XIII-36 - Tomo 401. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

F.XIII-8 - Tomo 366. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

Par VIVALDI ANTONIO. Editeur(s) d'origine: Bernstein, H. W. / Grüss, H./ Répertoire / Violon et Basse Continue

Op. 2 N. 12 - F.XIII-40 - Tomo 405. Par VIVALDI ANTONIO. / Répertoire / Violon et Basse Continue

Emb Urtext. Par VIVALDI ANTONIO. Similar to Vivaldi's concertos and compositions for violin, his 9 cello sonatas also bear the mark of a genius of exuberant temperament. Since they belong to the basic repertory of the cello it increases the importance of the edition that the music includes the partly deviating performing marks of the surviving authentic sources of the pieces for the first time./ Répertoire / Violoncelle et Basse Continue

Par VIVALDI ANTONIO. L'édition fait partie du syllabus Trinity 2007 (6e)/ Répertoire / Violoncelle et Basse Continue

Par VIVALDI ANTONIO. / Date parution : 2022-03-16/ Recueil / Violoncelle et Basse Continue