Twelve Sonatas

SKU: ST.C508

ISBN 9790570815081.

The Twelve Sonatas Opus 6 for Violin and Continuo known as Trattenimenti Armonici per Camera (An Entertainment of Harmony) was first published in 1712. This spacious new series is based faithfully on Michael Talbot’s scholarly 1979 European Archive edition and includes an illuminating Preface and Critical Commentary.

Volume 2: Op. 6 nos. 5-8. Four Sonatas: F, A minor, D and E minor.

The Optional Basso Continuo part is available to download free of charge, from: www.CliftonEdition.com/C508

Edited by Michael Talbot
Grades 5–6
Former Spartan Press Cat. No.: EMA107.

SKU: BR.EB-8390

ISBN 9790004176962. 9 x 12 inches.

Francesco Mancinis four sonatas were first published in a collection of twelve sonatas in 1724.The present edition is based on a reprint of the first edition published in 1730 (copy housed at Kings College, Cambridge), in which the sonatas are explicitly assigned to the recorder.

The present edition is based on a reprint of the first edition published in 1730 (copy housed at King's College, Cambridge), in which the sonatas are explicitly assigned to the recorder.

SKU: HL.50510528

ISBN 9790080128190. UPC: 073999548686. 0.115 inches. Cadet) (le Jean-Marie Leclair; Oliver Nagy.

The present edition is based on the Second Livre de Sonates pour le Violon et pour la Flute traversiere printed in Paris around 1728. Of the twelve sonatas of that volume the third, fifth and eleventh sonatas are being published here since they bear the remark Cette Sonate peut ce jouer sur la Flute Allemande.

SKU: HH.HH293-FSP

ISBN 9790708092407.

Giovanni Vitali's set of twelve sonatas Op. 5 for various combinations of strings and continuo, published in 1669, was the Bolognese composer's most ambitious collection of chamber music to date. He most likely wrote it as an application piece for membership of the prestigious Accademia Filarmonica, for each sonata has a dedicatory subtitle bearing the name of one of the city's noblemen. This first volume of Martin Perkins's scholarly performing edition contains five works – the sonatas for two violins and organ continuo.

SKU: M7.BP-1678

ISBN 9790015167805.

SKU: M7.BP-1804

ISBN 9790015180408.

SKU: M7.BP-1801

ISBN 9790015180101.

SKU: M7.BP-1803

ISBN 9790015180309.

SKU: M7.BP-1802

ISBN 9790015180200.

SKU: UT.GCE-20

ISBN 9790215328259. 9 x 12 inches.

Given that appendices have since been included in other volumes, it now seems appropriate to compile an appendix for Volume 1A in the form of a separate publication, Volume 1C of the series. Even with a whole volume available, however, it is impossible to include all known arrangements. Such a publication would be of disproportionate size: it would require about 600 pages, due largely to the two complete or near-complete sets of concerto arrangements. The present volume thus includes only selections from these sets of concerto arrangements and also only a selection from Edward Finch’s complete set of arrangements in the form of transverse-flute sonatas. The smaller sets of arrangements—either as solo sonatas or as trio sonatas—are included in their entirety.
The available arrangements fall into three distinct categories: solo sonatas, trio sonatas, and concertos. There are fourteen arrangements by Edward Finch for transverse flute with figured bass; they are found in the so-called Armstrong-Finch manuscript and comprise a full set of twelve plus two duplicate versions. Four of these arrangements are included in the present volume. Three more arrangements for transverse flute or recorder with figured bass are found in anthologies of sonatas for these instruments published in the 1720s; they are all of them edited here. Geminiani’s Sonatas VII-XII were transformed into trio sonatas by Francesco Barsanti and published in this format in 1727. These arrangements are included here in complete form as well. A near-complete set of concerto arrangements—Sonata XI is missing—was composed by Charles Avison and a complete set by Gerhard Christoph Raupach, both sets composed probably in the 1730s. From each of these two sets, two examples were selected for inclusion in the present volume. They are supplemented by single concerto arrangements by William Hayes (after Sonata IV) and Johan Helmich Roman (after Sonata VI), composed at all probability in the 1730s as well. None of these concerto arrangements was published in the eighteenth century.

SKU: HL.48188385

UPC: 196288026600. 9.0x12.0x0.575 inches.

“The seventh volume of the series of twelve, Sonatas - Volume VII, LP. 37 features the Sonatas K.306 to K.357. Composed by Domenico Scarlatti, this edition by the Harpsichordist Kenneth Gilbert regroups the 555 sonatas arranged for Piano. Based on the two sets of books discovered in Venice and in Parma, this edition still contains some of the annotations initially suggested by Kirkpatrick, whose book can be considered as an essential guide for this series.”.

SKU: HH.HH584-FSP

ISBN 9790708185994.

Stanley Sadie’s opinion, expressed in 1963, that the two of the twelve trio sonatas by Frederick Ernest Fisher(1711/12–1760), divided equally between Op. 1 (c.1751) and Op. 2 (c.1761), were ‘among the finest of their time’ while some of the others were ‘remarkably inventive and original’ almost sells this composer short. Every single one of these works, scored for two violins, cello and harpsichord, is masterly and deserves a permanent place in the repertoire. Born in or near Kassel, Fisher spent several years in Holland, teaching music from 1741 to 1745 at the university of Leiden, before emigrating to England. After spending about two years in London he settled permanently in Cambridge, where he taught music to members of the local music society. His Op. 1 set, dedicated to the same society, epitomizes the ‘social’ character of the trio sonata genre, where individual virtuosity yields its place to amicable interaction between the players. Fisher was a cellist as well as a violinist, and this background is brought out by the rare eloquence of his bass lines. The diversity of movement types in these ordinarily three-movement sonatas is very attractive. They include powerful fugues, expansive movements in sonata form, languorous middle movements reminiscent of those in operatic overtures and a selection of dance movements, all of which mix baroque, galant and classical elements in a convincing synthesis.