D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel?s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel?s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

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