Critical edition by Michael Talbot. The vast majority of violin sonatas from Vivaldi's time, including those of Vivaldi himself, have come down to us in the form of a score employing two staves: one for violin, and one for bass. This guarantees that, although portions of the work may be missing, what survives is textually complete. Exceptionally, five of Vivaldi's violin sonatas are preserved solely in a partbook for violin held by the Diözesanarchiv, Graz, the complementary part for cello having disappeared. The sonatas appear to date from the period between the Dresden group (1716-1717) and the Manchester set (c. 1726). Three of the sonatas, which all have four movements, possess partial concordances in other sources, with which they share two or three movements, but two of them - RV 11 and RV 37 - have so far been found only in Graz (with the exception of an incipit for RV 11 found in a contemporary thematic catalogue). This critical edition makes these two works available for study and performance. The bass part is an editorial reconstruction, and there is in addition a realization of the continuo by the editor. / 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

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

e-Moll. 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 und 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. For the source of the first edition of the E minor Sonatathe second version of the work was used. Pisendel composed this version in around 1716, when he accompanied the Crown Prince of Saxony on a trip to Italy./ Répertoire / Violon et Basse Continue