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Sonatas for Violin and Basso Continuo
Product Details
Description
Antonio Vivaldi's sonatas for violin and basso continuo are among the most valuable works written between the violin sonatas by Arcangelo Corelli and those by Johann Sebastian Bach. With his 12 Sonatas Op. 2, Vivaldi presents a multi-faceted spectrum of forms and possibilities of performance and expression. The new edition of the Wiener Urtext Edition is based on both the first Venetian edition and the edition of the publisher Roger from Amsterdam which was published only a little later. On this basis we have got a much more logical musical text in the new edition. This edition not only contains the solo violin part and a continuo score with realized basso continuo, but also a figured bass part which gives experienced continuo players the opportunity to improvise on the basso continuo part and can also be used by a continuo cellist.
Content
Sonata VII c-Moll op. 2/7
Sonata XI D-Dur op. 2/11 RV 9
Sonata III d-Moll op. 2/3 RV 14
Sonata IX e-Moll op. 2/9 RV 16
Sonata IV F-Dur op. 2/4 RV 20
Sonata X f-Moll op. 2/10 RV 21
Sonata VIII G-Dur op. 2/8 RV 23
Sonata I g-Moll op. 2/1 RV 27
Sonata II A-Dur op. 2/2 RV 31
Sonata XII a-Moll op. 2/12 RV 32
Sonata V h-Moll op. 2/5 RV 36
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Technical Details
More from this series
Standard works of music literature in the original text
The Wiener Urtext Edition is a scientific critical edition for prac-tice and differs from other editions declared as "original text" in that it contains extensive textual informa-tion in German and English (partly French):
Its preface informs about the work, its genesis and significance for the history of music, about written records and problems of the wording of the text as well as about the respective method applied for editing. Despite their necessary briefness, the critical annotations clearly account for editorial decisions and mention textual divergence going back to the author himself. The music text itself was produced on the basis of an exact checking of all sources by experienced musico-logists. Autographs, first editions, copies and patterns for engravings were used.
In some cases, these materials were analysed completely for the first time. Editions for teaching, studies, concert practice, including comprehensive information about the works by detailed introductions and editorial notes and notes on interpretation. Prepared for practice by interpreters resp. educationalists of international repute.
