Jean baptiste quentin (9 Ergebnisse)

Zustand: New. 16 pp., Paperback, BRAND NEW!!! - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

Antiqua: eine Sammlung alter Musik. Edition Schott 5371. Size: Folio. 15, 3, 3, 3, 3pp. Stapled as issued in publisher's printed wrappers.

Zustand: New. In English.

Zustand: New. In English.

Zustand: New.

Zustand: New.

Octavo (185 x 250 mm). Full dark tan mottled calf with dark red leather title label gilt to upper: "Triot de Quentin 2. Desus," marbled endpapers. 75, [v] blank ruled pages. Notated in black ink on 10-stave rastrum-ruled paper, the second treble part and basso continuo (unfigured) parts notated in grand staff. Contains 10 sonatas in total, the first, second, and third Op. 4 nos. 2, 3, and 5; the fourth Op. 5 no. 2; and the fifth and sixth Op. 6, nos. 1 and 5; the remainder from other published works. In order of appearance: 1. Sonata Prima [Largo, Aria, 2.e Aria, Sarabanda. Fuga], pp. 1-7 2. Sonata Seconda [Largo, Fuga, Largo, Aria 2.e Aria], pp. 9-14 3. Sonata Tertia [Largo, Corrente, Aria, 2.e Aria, Fuga]. pp. 15-21 4. Sonata Quarta [Largo, Allegro, Aria, Adagio, Allegro], pp. 22-28 5. Sonata Quinta [Largo, Aria, 2.e Aria, Adagio, Allegro], pp. 29-35 6. Sonata Sesta [Largo, Aria, 2. Aria, Adagio, Allegro], pp. 36-41 7. Sonata Septima [Allegro, Cantabile, Allegro], pp. 42-49 8. Sonata Octava [Largo, Allegro, Largo, Alllegro], pp. 50-58 9. Sonata Nona [Adagio, Aria, 2.e Aria, Adagio, Gavotta, Allegro], pp. 59-68 10. Sonata Decima [Allegro, Adagio, Tendrement, Allegro], pp. 69-75 Binding somewhat worn, rubbed, and bumped, spine mostly lacking. In very good condition internally. The inclusion of the continuo line for music usually notated as a single part is uncommon. It may have aided the player in performance, or allowed a switch to keyboard or bowed bass in a chamber ensemble should the situation so dictate. Quentin was a noted violinist at the Paris Opéra in 1718 and also played the viola in the 'grand choeur' in 1738. His music is Italianate in style, and reflects the influence of Arcangelo Corelli (1653-1713) and other Italian musicians on French composers of his generation. "As a composer he was prolific. His solo violin sonatas generally consist of four or five alternating slow and fast movements. The trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled 'Allemande' or 'Contredanse', which appear to be the ancestors of the modern waltz." Laurel Fay in Grove Music Online An attractively copied compilation of the second violin and continuo parts of Quentin's trios. Presented in grand staff, the somewhat atypical presence of a continuo line raises interesting questions about the present volume's usage.…

Folio. Disbound. Violino primo: 1f. (recto title, verso blank), 12 pp. Violino secundo: 1f. (recto title, verso blank), 11 pp. Basso: 1f. (recto title, verso blank), 11, [i] (privilege) pp. Violino primo title detached; signatures separated; moderately browned, with soiling and occasional small stains, mainly to blank margins; several small tears repaired. Violino secundo moderately browned, with occasional foxing and small stains; stain to p. 9 extending into music; darker stains to pp. 10 and 11, affecting clef and notehead; final signature detached. Basso moderately browned, soiled; several small stains, with stain to blank outer margin affecting final five leaves. First Edition. Rare. Lesure p. 521. RISM Q47 (one copy only in North America). Quentin, a French violinist and composer, played the violin at the Paris Opera in 1718, and the viola in the 'grand choeur' in 1738. "References to him indicate that he was a violinist of high reputation. As a composer he was prolific. . His trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled 'Allemande' or 'Contredanse', which appear to be the ancestors of the modern waltz. In fast movements Quentin showed a penchant for da capo markings, which produce ternary structures. Technically, his sonatas are moderately difficult, with varied and precisely indicated bowing, and triple and quadruple stops as well as fluid passages in double stops. His use of dynamic markings is careful, and the term 'tendrement' is often appended to arias and gavottes. Despite a certain rhythmic monotony, Quentin's music shows melodic inventiveness and unusually rich harmonies." Laurel Fay in Grove Music Online.…

2 volumes. Folio. Modern marbled boards, printed paper label gilt to spines. Engraved throughout. Very occasionlal small stains and minor soiling to blank margins. Vol. I Chez L'Auteur, rue St. Martin proche St. Julien, des Menetriers, au vert galand, Le Sr. Boivin md. rue St. Honore a la regle d'or. Avec Privilege du Roy, 1724. 1f. (recto title, verso blank), 1f. (recto privilege, verso blank), 55 pp., with pp. 13, 23, 35, and 47 blank, as issued. Vol. II Chez L'Auteur, ruë St. Martin vis à vis la ruë Aubery le Boucher, Chez la Veuve de la Hode Limonadiere, Le. Sr. Boivin ruë St. Honoré a Regle d'Or. Avec Privilége du Roy, 1726. 1f. (recto title, verso blank), 53, [i] (blank), [i] (privilege) pp., with pp. 13, 20 and 30 blank, as issued. First Editions. Lesure p. 521. BUC p. 868. RISM Q42 and QQ42 (one copy only in the U.S.) and Q43 and !!43 (no copies in the U.S.). "[Quentin] was a violinist at the Paris Opéra in 1718, and in 1738 he played the viola in the 'grand choeur.'. His solo violin sonatas generally consist of four or five alternating slow and fast movements. The trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled 'Allemande' or 'Contredanse', which appear to be the ancestors of the modern waltz. In fast movements Quentin showed a penchant for da capo markings, which produce ternary structures. Technically, his sonatas are moderately difficult, with varied and precisely indicated bowing, and triple and quadruple stops as well as fluid passages in double stops. His use of dynamic markings is careful, and the term 'tendrement' is often appended to arias and gavottes." Laurel Fay in Grove Music Online Crisp, wide-margined copies of an elegantly printed collection of violin sonatas.…