1800 · Hambourg
Numbers "35," "36," and "37" in ink to upper left corner of first page of each quartet.
Some soiling; edges browned and frayed, occasionally creased, with slight loss, not affecting music; most leaves detached; Violoncello part dampstained and rippled at outer edge. First Edition, later issue. RISM G2410 (2 copies only in the U.S., at the New York Public Library and the Eastman School of Music.).
"Giornovichi's most important compositions are his violin concertos, which evidently reflect his performing style... He did much to stabilize certain typical aspects of the French violin concerto in the 1770s: he was a pioneer in the use of the romance, which quickly became the most characteristic type of slow movement, and he was influential in establishing the rondo as a finale. His first movements reflect the conventions of Classical sonata form more firmly and consistently than those of his contemporaries in the 1770s, excepting only Mozart." Chappell White in Grove Music Online.
"His three extant string quartets (possibly, he composed another six) display the same soloistic treatment of the first violin and a formal and harmonic disposition similar to that of his concertos." Vjera Katalinić in MGG 2.
"He draws a beautiful tone from his instrument, and he has pure intonation. He plays an allegro with precision and sings excellently in an adagio. Most beautiful of all, he plays easily, without affectation. In a word, he plays for art, and for the heart." Carl Ditters von Dittersdorf, autobiography. (Inventory #: 25699)