Sonate by Corelli: First Edition (6 results)

Broschiert. Condition: Gut. 1. Auflage. 7 Seiten. Buch gut erhalten, Einband leicht berieben. Kafferandfleck auf Buchdeckel. Altersfreigabe FSK ab 0 Jahre Der Versand ins Ausland ist gegen Zahlung der Portokosten möglich. Bitte nehmen Sie Kontakt mit uns auf. Sprache: Deutsch Gewicht in Gramm: 110.

Oblong folio. Modern dark tan half calf with marbled boards, raised bands on spine in decorative blindstamped compartments, dark red leather title label gilt. 1f. (recto full-page engraving by P.P. Bouche after Meloni, verso blank), 1f. (recto title, verso blank), 1f. (recto printed dedication, verso blank), 3-39 pp., 1f. (recto secondary title, verso blank), 41-70 pp. Engraved throughout. The attractive frontispiece incorporates musical instruments, a musical score of Corelli's first Op. 5 sonata, and a classical scene depicting the goddesses of war and music. With early signature to upper outer corner of p. 3, "Will. Boulting." Slightly worn, browned, and soiled, with occasional stains; light dampstain to upper margin of final leaves; frontispiece somewhat browned and soiled, reinforced at inner margin, edges frayed, not affecting image; title slightly soiled with paper repair to blank lower outer margin. Contemporary overpaste to p. 26 correcting a printer's error. First English edition, second issue, containing the Bouche frontispiece. Marx p. 174. Smith 31. Smith & Humphries 428. BUC p. 220. Sartori II, p. 198. RISM C3804. The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is actually the Follia, one of the most renowned compositions of Baroque string literature. The first edition of Corelli's Opus 5 was printed by Gasparo in Rome, followed shortly thereafter by Estienne Roger in Amsterdam and John Walsh in London. In an advertisement, Walsh described his edition as "Engraven in a curious Character, being much fairer, and more correct in the Musick, than that of Amsterdam" (London Gazette, 26 August 1700). Walsh's second impression was issued shortly after, now including the engraved frontispiece by Bouche after Meloni, similar to that in the Gasparo edition but with "XII Sonatas by Arcangelo Corelli His V Opera" placed in the shield. "Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online. …

Oblong folio. Full dark brown speckled calf. 1f. (recto frontispiece, verso blank), 1f. (recto title, verso blank), 1f. (recto dedication to "Serenma. Altezza Elettorale," verso blank), 3-39 pp. music; [i] (secondary title), 41-68 pp. Engraved throughout. With a fine full-page frontispiece engraving by Girolama Frezza after a drawing by Antonio Meloni incorporating musical instruments within a classical scene depicting the goddesses of war and music. Occasional lines, dashes, and the letter "B" in contemporary manuscript to openings and conclusions of systems. Figured bass added in pencil to p. 49, mainly resolving the figure 7 down to 6. Manicule to blank lower margin of p. 55 in contemporary manuscript pointing to thematic entrance and clef change in the continuo part. Provenance Noted American harpsichordist Louis Bagger (1926-2024) Binding worn, rubbed, and bumped; spine lacking. Slightly worn; minor to moderate soiling and staining, primarily affecting blank margins. A nice, wide-margined copy overall. First Edition, first issue. Marx p. 172. Hoboken Vol. 16, 54. Rinaldi p. 447. Pincherle p. 209. BUC p. 220. RISM C3801 (two copies only in the U.S.). The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is the Follia, one of the most renowned compositions of Baroque string literature. "Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online An excellent example of the art and craft of Italian music engraving and printing of the period, continuing a tradition dating from the time of Frescobaldi.…

Quarto. Sewn. [i] (title), 2-37, [i] (contents] pp. With woodcut vignette to title incorporating a violin, grapes, and the Latin motto "utre levet miserum fatum solitosque labores." Title slightly worn and stained, with minor loss to blank lower outer corner; remnant of paper tape to lower inner margin of outer bifolium; minor tears; staining to pp. 2 and 6 and inner margin of final 3 leaves; late 19th-early 20th century German library stamp to outer margin of title. Marx p. 150, no. 2. Sartori p. 581. RISM C3763 (no copies in the U.S.). Published in the same year as the first edition issued by Giacomo Komarek in Rome. "Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online.…

Oblong folio. Full contemporary ivory vellum with titling in manuscript to upper "Opera Quinta di Arcangelo Corelli." 1f. (recto fine full-page frontispiece, verso blank), 1f. (recto title, verso blank), 1f. (recto dedication, verso blank), lf., 3-39 music; 40 (secondary title "P. Cerrini f."), 41-68 pp. Engraved throughout. The fine frontispiece engraving by Girolamo Frezza after a drawing by Antonio Meloni incorporates musical instruments, a musical score of Corelli's first Op. 5 sonata, and a classical scene depicting the goddesses of war and music. Binding somewhat worn and soiled; free endpapers slightly worn and foxed; pastedowns lacking. Very slightly worn and browned internally; occasional light foxing, soiling, and staining; minor loss to edges; inner margin of first five leaves slightly dampstained. In very good condition overall, with strong, clear impression and relatively wide margins. First Edition, second issue. Marx p. 173. Hoboken Vol. 16, 55. Pincherle p. 209. BUC p. 220. RISM C3801 (two copies only in the U.S.). The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is actually the Follia, one of the most renowned compositions of Baroque string literature. "Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online An excellent example of the art and craft of Italian music engraving and printing of the period, continuing a tradition dating from the time of Frescobaldi. …

2 volumes. Quarto. Full contemporary ivory vellum. Typeset music in diamond-head notation. Violino Secondo: [i] (title), 2-37, [i] (contents), pp. Organo: [i] (title), 2-33 pp., with contents to lower portion of final page Bindings slightly worn, soiled, and stained. Minor internal wear; some dampstaining and small tears. First Edition, second issue, first published in 1681. Rare. Marx pp. 84-85, 7. BUC p. 217. RISM C3660 (no copies in the U.S.). No complete copies recorded in Marx or RISM. "Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce 'classic' instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online.…