Sonate da Chiesa a violino solo e violoncello o basso continuo. Opera quarta. Edition : Amsterdam, Etienne Roger, s.d. (=c. 1704)Présentation de Nicolas Fromageot : Notice biographique - Terminologie. / Violon Et Basse Continue / 48 pages / niveau : 1 / Fac-Similés - Format: 24 X 32

Sonata in F major TWV 41:F4 - Sonata in A major TWV 41:A6-These three editions (BA 5880 BA 5889 BA 5890) each comprising two solo sonatas with basso continuo are all taken from Telemann’s famous Essercizii musici; a collection of 24 sonatas including 12 solo sonatas and 12 trio sonatas. These were moulded after Corelli’s Sonata da Chiesa and have four movements: slow-fast-slow-fast. The sonatas long thought to stem from the late 1730s are now believed to have first been published by the composer in approx. 1729. The main sources are the three part-books from the original edition of 1729.This first ever Urtext edition edited by the Bach and Telemann scholar Klaus Hofmann is taken from the Telemann Musical Works. Thecontinuo realizations are by the editor. First ever Urtext editions of these sonatasCharming works of easy to moderate technical difficultyStraight forward clear continuo realizations

Premier livre de sonates à violon seul avec la basse continue. Edition : Paris, l'Auteur, Boivin, Monnet, 1739.Présentation - : Biographie sommaire - Lecture de la partition (la basse continue, la terminologie, le phrasé, l'agrémentation, détail de notation).Ce livre de sonates retiendra l'attention des musiciens : des pièces dont la difficulté est limitée et qui intéressent donc les professeurs de violon - des premiers mouvements dont l'ornementation est écrite - un style généralement proche de l'Italie - un phrasé noté entièrement avec précision. Le chiffrage de la basse continue est aussi très précis. / Violon Et Basse Continue / 64 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Sonata in a minor for Violin and Basso continuo-There has been increased general interest in the Bohemian composer Johann Baptist Georg Neruda (c. 1711 1776) over the past few years especially due to his frequently played trumpet concerto. A respectedviolinist and longstanding member of the Dresden Court Orchestra he did however mainly compose for the Violin. The substantial and technically quite demanding Violin Sonata in a minor was published for the first timeever in 1982 as part of Henle's edition ?Bohemian Violin Sonatas? (HN 334). Henle are now proud to present it in a practical single edition with a new preface as well as an additional unmarked part.

Kirchhoff est né à Mühlbeck (près de Bitterfeld) en 1685 et mort à Halle en 1746. Il était (comme Haendel), l'élève de Zachov et devient, en 1714, successeur de Zachov comme organiste et ' Directeur Musices ' à la Marienkirche à Halle. Ses sonates pour violon, qui ont salué par Leopold Mozart, sont très bien adaptés pour utilisation dans l'enseignement du violon, car ils sont habilement structurés autour des capacités de l'instrument. Particulièrement recommandé pour les amis de la musique de violon baroque. / Violon Et Basse Continue

D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel‘s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

Volume 2-Score with realisation of the basso continuo by Tonelli as well as Corelli’s unrealized figured bass line With a separate Urtext violin partWith a separate unrealized figured continuo partIncludes a supplement with violin embellishmentsAppendices in both volumes with source descriptions and critical commentariesPreludes for keyboard instrument by Tonelli in the appendix of volume 2Arcangelo Corelli the violin virtuoso of his time published his Sonatas for Violin and Basso continuo opus V in Rome in 1700. These sonatas are a compendium of violin playing of his time and laid the groundwork for future violin compositions. Over the years the sonatas have been published innearly 100 editions all based on Corelli’s first edition which contains only the solo violin line above an unrealized bass line. Today the sonatas are well known in numerous modern continuo realizations. However a realization from Corelli’s time by Antonio Tonelli also exists and is presented here for the first time in a modern performing edition. This realization is surprising in that it contains full chords sometimes played by both hands. In addition Bärenreiter’s new scholarly-critical edition includes for the first time many violin embellishments. For the most part they have been found in handwritten documents by Tartini Geminiani McGibbon Dubourg and Roger (from a re-print of the sonatas from c. 1710). These embellishments are presented in a separate booklet which players can place alongside Corelli’s original on the music stand. Complementing this Urtext edition are a historical introduction a critical commentary and an appendix containing preludes to the sonatas for keyboard by Tonelli.

e-Moll. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni und Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel?s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. For the source of the first edition of the E minor Sonatathe second version of the work was used. Pisendel composed this version in around 1716, when he accompanied the Crown Prince of Saxony on a trip to Italy./ Répertoire / Violon et Basse Continue

The Schott Violin Library contains eleven varied Baroque sonatas for violin and basso continuo. Including both popular sonatas by Corelli, Vivaldi, Handel and Telemann and lesser known, charming compositions by Dall? Abaco, Pepusch and Finger. Suitable for violinists of intermediate standard. Some of these works can be played entirely in first position, others require only a few position changes and the sonatas by Dall?Abaco, Kirchhoff, Vivaldi and Handel require more fluent shifts between the first three positions. / Violon Et Basse Continue

Opere incomplete Ed. critica e ricostruzione di M. Talbot-Critical edition by Michael Talbot. The vast majority of violin sonatas from Vivaldi?s time including those of Vivaldi himself have come down to us in the form of a score employing two staves: one for violin and one for bass. This guarantees that although portions of the work may be missing what survives is textually complete. Exceptionally five of Vivaldi?s violin sonatas are preserved solely in a partbook for violin held by the Diözesanarchiv Graz the complementary part for cello having disappeared. The sonatas appear to date from the period between the Dresden group (1716-1717) and the Manchester set (c. 1726). Three of the sonatas which all have four movements possess partial concordances in other sources with which they share two or three movements but two of them ? RV 11 and RV 37 ? have so far been found only in Graz (with the exception of an incipit for RV 11 found in a contemporary thematic catalogue). This critical edition makes these two works available for study and performance. The bass part is an editorial reconstruction and there is in addition a realization of the continuo by the editor.

For Violin and Basso Continuo; Cello ad lib.Sonata VII c minor (RV 8)Sonata VIII G major (RV 23)Sonata IX e minor (RV 16)Sonata X f minor (RV 21)Sonata XI D major (RV 9)Sonata XII a minor (RV 32)

The “Devil’s Trill” Sonata is the most famous of the Violin sonatas of Giuseppe Tartini (1692–1770). In the new scholarly-critical edition it holds many a surprise in store. For the first time all available contemporary sources have been consulted to produce an edition closely approximating Tartini’s lost autograph. The solo part offers several ossia passages and alternative articulation marks and the score have been given an eminently playable realization of the continuo part offering ample scope for improvisation. Also for the first time this edition includes a separate part for violoncello or violone.Adetailed preface sheds light on the genesis and subsequent reception of this sonata. There is also a critical report discussing and evaluating all sources used and providing explanations of a number of important passages including the famous trill itself.

Partition pour Violon et basse continue XII sonate à violino solo è basso da camera. Opera sesta Edition : Amsterdam, l’Auteur, s.d. (=1737). Présentation de Nicolas Fromageot : bibliographie – l’école romaine de violon La partition qui a servi à réaliser ce fac-similé a été approuvée par le compositeur. Edition de 1737, conservée à la bibliothèque de l'Université de Leiden. Compositeur : LOCATELLI Pietro Antonio Auteur : FROMAGEOT Nicolas Collection : Dominantes Contenu : Sonata prima (en Si b Majeur) : andante – allegro – cantabile (avec 5 variations) - Sonata II (en Fa Majeur) : andante – allegro – vivace, sempre piano – allegro – aria Ia, vivace (avec 3 variations) - Sonata III (en si mineur) : andante – allegro – minuetto (avec 4 variations) - Sonata IV (en Mi Majeur) : andante – allegro, [3/4], [C] – aandante (avec une variation) - Sonata V (en ut mineur) : andante - allegro – aria (avec 4 variations) - Sonata VI (en Ré Majeur) : largo – andante – allegro – Minuetto (avec 8 variations) - Sonata VII (en fa mineur) : largo – grave – vivace – cantabile (avec 6 variations) - Sonata VIII (en Ut Majeur) : adagio, andante – allegro – andante, aria (avec 4 variations) - Sonata IX (en si mineur) : largo – vivace – aria, vivace (avec 4 variations) - Sonata X (en Sol Majeur) : andante – allegro – aria (avec 3 variations) - Sonata XI (en Mi b Majeur) : adagio – allegro – cantabile (avec 3 variations) - Sonata XII (en ré mineur) : adagio – allegro – andante – allegro – capriccio Format : 24 x 33 Nombre de pages : 78 Date de parution : 01/1995

Sonata G MinorSonata D MajorSonata B MinorSonata G MajorSonata A MinorSonata A Major

Nach dem Erstdruck 'Sei Suonatine per Violino e Cambalo' von 1718-The edition is part of the Trinity syllabus 2007 (grade 4 & 6)