sonates violon basse continue (9 Ergebnisse)

La Musique Française Classique de 1650 à 1800. Size: Folio. xiv, [i (title)], 85pp. Publisher's printed wrappers. Facsimile.

Overall condition: Good / Zustand: Gut. Sheetmusic / Noten.

Partitur. 32 S. + Stimmen. Enthält: Sonata A Dur par Jacques Aubert, Sonata A Dur par Jean François Dandrieu, Sonata g Moll par Jean Baptiste Senaillé Sprache: Deutsch Gewicht in Gramm: 300 4°. Kl. Einige Bleistift-Anstreichungen.

Two volumes bound in one. Oblong folio. Modern half dark tan calf with marbled boards, titling gilt to spine. 16 sonatas in total. Livre Premier: 1f. (recto title, verso blank), 1f. (recto publisher's dedication, verso blank), 3-23, [i] (blank) pp. Livre Second: 1f. (recto title, verso blank), [i] (blank), 27-46 pp. Engraved. Slightly worn; light uniform browning, slightly heavier to title of Livre Premier; minor soiling, stains, and foxing; small wormhole to title of Livre Premier; short tear to blank lower margin of p. 28 of Livre Second repaired with archival tape. First Edition. Very rare. BUC p. 769. RISM P1262 and PP1262 (1 complete copy only, at the British Library; Livre Premier only at the Bayreuth Stadtarchiv). Pepusch was a noted German composer and theorist. " After travelling through Holland, some time after September 1697 he settled in London, where he remained for the rest of his life. . The unprecedented popularity of The Beggar's Opera, for which Pepusch may have supplied only the basses and an overture that uses one of the opera's popular tunes, has tended to overshadow his own music. His earliest surviving works are mostly instrumental and include well over 100 violin sonatas and several recorder and flute sonatas. These are mostly modelled on the four-movement plan of Corelli, whose sonatas and concertos Pepusch later edited for publication in London. Particularly interesting are the manuscript sets of sonatas composed for various English violinists, each containing 16 works in as many different keys, thus anticipating (and going beyond) the similar arrangement of Bach's two- and three-part Inventions. (Pepusch included B major in addition to the keys that Bach used)." Malcolm Boyd, revised by Graydon Beeks and D.F. Cook in Grove Music Online.

Folio. Contemporary marbled boards with manuscript title label to upper, marbled endpapers. 1f. (recto title, verso "Avertissement"), 85 + [i] "Catalogue des Oeuvres de M. Leclair," including 11 blanks. Notated on two staves for violin or flute and basso continuo, with the exception of Sonata XIII, notated on three staves for violin or flute, viola da gamba, and basso continuo. Engraved throughout. Provenance Arnold Dolmetsch (1858-1940), musician and pioneer in the Early Music revival, with "Dolmetsch" handstamp to foot of "Avertissement" and notes in his hand in pencil relative to selected sonatas to recto of rear free endpaper. Binding worn, rubbed, and bumped; joints tender. Slightly foxed, soiled, and stained; several leaves slightly faded; occasional dampstaining; more extensive stains and abrasions to pp. 12-13 and final approximately ten leaves. Second edition. BUC p. 606. RISM L1310 (not distinguishing between editions). Leclair, a French composer, violinist, and dancer, "is considered the founder of the French violin school. . [His] achievement as a composer lay in his modification of the Corellian sonata style to accommodate French taste. The result was the goûts réunis prophesied by Couperin, the vermischter Geschmack later recommended by Quantz. He imbued the Italian sonata style with elements drawn from the Lullian dance and from the pièce of the French viol players and harpsichordists. Leclair was often able to combine the two styles and to arrive at a new synthesis. In this he was a child of his time, for comparable syntheses were attempted by many of his contemporaries. Leclair was one of the most successful. In his concertos he stayed close to Vivaldian models in the fast movements, more often introducing the French taste in the slow movements." Neal Zaslaw in Grove Music Online.

Folio. Full green vellum with dark red leather title label gilt to upper. 1f. (recto title, verso blank), 1f. (recto "Avertissement," verso "Catalogue des Oeuvres de M. Leclair"), 75, [i] (blank) pp. Final two pages unpaginated. Engraved throughout. Notated on two staves for violin or flute and basso continuo, with the exception of the "Tempo Gavotta" of Sonata III and the "Musette of Sonata VIII notated on three staves with an independent part for bowed bass. Provenance Arnold Dolmetsch (1858-1940), musician and pioneer in the Early Music revival, with "Dolmetsch Library" handstamp to verso of front free endpaper and notes in his hand in pencil on selected sonatas to recto. Binding somewhat worn, rubbed, and bumped, with minor loss to lower outer corner of upper; endpapers worn and soiled. Moderate browning; lightly soiled, mostly at margins; occasional foxing, showthrough, and small stains; lower blank right corners slightly creased, some with minor paper loss. Second edition. Lesure p. 378. RISM L1309. The publisher's catalogue lists Leclair's works to Op. 13, published in 1753. Leclair, a French composer, violinist, and dancer, "is considered the founder of the French violin school. . [His] achievement as a composer lay in his modification of the Corellian sonata style to accommodate French taste. The result was the goûts réunis prophesied by Couperin, the vermischter Geschmack later recommended by Quantz. He imbued the Italian sonata style with elements drawn from the Lullian dance and from the pièce of the French viol players and harpsichordists. Leclair was often able to combine the two styles and to arrive at a new synthesis. In this he was a child of his time, for comparable syntheses were attempted by many of his contemporaries. Leclair was one of the most successful. In his concertos he stayed close to Vivaldian models in the fast movements, more often introducing the French taste in the slow movements." Neal Zaslaw in Grove Music Online. Chez L'auteur . La Ve. Boivin . Le Sr. Leclerc . La Ve. Roussel . Avec Privilége du Roy.

Audio-CD. Zustand: Neu. Neuware.

8. Paris, (chez) L'Auteur, ruë St. Honoré ; Mme Boivin , Mr. Leclerc ; Mlle Castagnery, s.d. Claude Hérissant Libraire Imprimeur. (1769), in-folio, 31 x 25 cm, (4) nn pp (engraved title;blank;dedication;blank) +45 pages with engraved music (page 30 blank, as published) +(1)(privilege). Sewn, without a binding, kept in a modern cloth box. Last pages with some marginal clear old waterstains. Still a good copy. Printed on strong paper. Rare, Lesure pp. 18 . OCLC lists only two copies.

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.