A detailed preface provides essential information on sources and their assessment, with a section on performance practice offering valuable suggestions on interpretation. Cellists are thus given ready access to every alternative reading, including deleted bars and the many inevitable variants in articulation. All departures from the sources in the printed text and all editorial additions are listed in the critical report. The editor has also managed to identify a previously unknown source for Sonata RV 44.
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. By closely scrutinizing the source material, the editor has arrived at interesting findings that considerably differ from earlier editions of these works. He proficiently leaps around the instrument when necessary, but in the slower. 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. Vivaldi: 9 Sonatas for Cello and Continuo Claude Starck (cello), Isolde Ahlgrimm (harpsichord), Mischa Frey (cello) Cellist Claude Starck’s tone is deep and resonant, with each note carefully performed to bring out Vivaldi’s style. With new findings that considerably differ from earlier editions Scholarly-critical edition for performance purposesĭetailed preface on sources and performance practice (German/English) Offprint from Complete Sonatas for Violoncello & Basso continuo BA6995Ĭomplete Sonatas for Violoncello & Basso continuo BA6995:Īll of Antonio Vivaldi's works for violoncello and continuo in a single edition Vivaldi Two Sonatas for Violoncello & Basso continuo (RV 40 E minor RV 46 B-flat major)
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