Instrumental virtuosity and the new impulses of baroque thought are to be found in the solo sonatas that came into being in Italy from the early decades of the 17th century. Both aspects have been taken into account when selecting pieces for this interesting collected edition of Italian violin music of the baroque era. The first volume concentrates on two groups: on the one hand on Corelli in Rome, Torelli in Bologna and Veracini in Florence; and on the other, on the three famous representatives of the last generation of Italian baroque composers – Geminiani, Tartini and Locatelli – whose sphere of influence extended from Padua via Amsterdam to England. All the works have been edited on the basis of the original sources, and therefore provide, in the tried and tested Urtext manner, a clear view of these baroque treasures. The preface gives explanatory notes on performance practice and basso continuo realization, and a list of variant readings rounds off this well-researched Urtext edition.
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From its beginnings in Italy in the early decades of the 17th century, the solo sonata, far more than the concerto, was the medium “par excellence” of virtuosic instrumental display; no less importantly, it also became the repository of some of the Baroque era’s finest and most original musical thinking. The works in the present collection have been chosen to exemplify … 続き
The entire collection has been edited directly from original sources thus reflecting their true content and meaning. In the tradition of Henle Urtext, editorial additions are enclosed in brackets while variant readings are discussed in the individual commentaries are remarks that form the preface. … These fastidious, unadulterated Henle Urtext editions are a far cry from the still commonly used over laden 19th century 'versions' of these glorious works.