Sonate a violino e violone o cimbalo dedicate all Altezza serenissima Elettorale di Sofia Carlotta Elettrice di Brandenburgo ... Parte Prima [Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia]. Opera Quinta
- [Roma]: Gasparo Pietra Santa [(si vendono a Pasquino all' Insegna della Stella da Filippo Farinelli)], 1700
[Roma]: Gasparo Pietra Santa [(si vendono a Pasquino all' Insegna della Stella da Filippo Farinelli)], 1700. Oblong folio. Full dark brown speckled calf. 1f. (recto frontispiece, verso blank), 1f. (recto title, verso blank), 1f. (recto dedication to "Serenma. Altezza Elettorale," verso blank), 3-39 pp. music; [i] (secondary title), 41-68 pp. Engraved throughout.
With a fine full-page frontispiece engraving by Girolama Frezza after a drawing by Antonio Meloni incorporating musical instruments within a classical scene depicting the goddesses of war and music.
Occasional lines, dashes, and the letter "B" in contemporary manuscript to openings and conclusions of systems. Figured bass added in pencil to p. 49, mainly resolving the figure 7 down to 6. Manicule to blank lower margin of p. 55 in contemporary manuscript pointing to thematic entrance and clef change in the continuo part.
Provenance
Noted American harpsichordist Louis Bagger (1926-2024)
Binding worn, rubbed, and bumped; spine lacking. Slightly worn; minor to moderate soiling and staining, primarily affecting blank margins.
A nice, wide-margined copy overall. First Edition, first issue. Marx p. 172. Hoboken Vol. 16, 54. Rinaldi p. 447. Pincherle p. 209. BUC p. 220. RISM C3801 (two copies only in the U.S.).
The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is the Follia, one of the most renowned compositions of Baroque string literature.
"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online
An excellent example of the art and craft of Italian music engraving and printing of the period, continuing a tradition dating from the time of Frescobaldi.
With a fine full-page frontispiece engraving by Girolama Frezza after a drawing by Antonio Meloni incorporating musical instruments within a classical scene depicting the goddesses of war and music.
Occasional lines, dashes, and the letter "B" in contemporary manuscript to openings and conclusions of systems. Figured bass added in pencil to p. 49, mainly resolving the figure 7 down to 6. Manicule to blank lower margin of p. 55 in contemporary manuscript pointing to thematic entrance and clef change in the continuo part.
Provenance
Noted American harpsichordist Louis Bagger (1926-2024)
Binding worn, rubbed, and bumped; spine lacking. Slightly worn; minor to moderate soiling and staining, primarily affecting blank margins.
A nice, wide-margined copy overall. First Edition, first issue. Marx p. 172. Hoboken Vol. 16, 54. Rinaldi p. 447. Pincherle p. 209. BUC p. 220. RISM C3801 (two copies only in the U.S.).
The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is the Follia, one of the most renowned compositions of Baroque string literature.
"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online
An excellent example of the art and craft of Italian music engraving and printing of the period, continuing a tradition dating from the time of Frescobaldi.
Details
Title
Sonate a violino e violone o cimbalo dedicate all Altezza serenissima Elettorale di Sofia Carlotta Elettrice di Brandenburgo ... Parte Prima [Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia]. Opera Quinta
Author
CORELLI, Arcangelo 1653-1713
Condition
Unknown
Publisher
Gasparo Pietra Santa [(si vendono a Pasquino all' Insegna della Stella da Filippo Farinelli)]: [Roma]
Date
1700