The Score of the Four Operas, Containing 48 Sonatas [Opera I-IV] . For two Violins and a Bass. N.B. The First and Third Opera being Compos'd for a Violoncello and Thorough Bass, of which the Variation being but little, they are put on the same Stave for the greater Facility in reading. These Compositions as they are now Printed in Score, are of great advantage to all Students, and Practitioners in Musick, they also make compleat Lessons for the Harpsicord. The whole Revis'd and Carefully Corrected by Dr. Pepusch. Vol. I . No. 550. [Full score]

Folio. Newly bound in half mid-tan calf with marbled boards, raised bands on spine in gilt-ruled compartments with titling gilt. 1f. (recto title, verso blank), 44, 34, 54, 43 pp. Engraved throughout. Occasional minor soiling and staining including gradually fading stain to inner margin of Op. 1 extending into music for approximately 30 pages; several drops of wax staining music on p. 27, Op. 2, with music remaining mostly legible excepting figured bass in one beat; small stain to blank inner margin of final eight pages of Op. 4. Lacking frontispiece portrait engraving of Corelli by Van de Gucht after the Howard painting. Second edition of the full score, Vol. II of which contained the score of the Concerti Grossi, Op. 6. Marx p. 92, no. 7; 116, no. 30; 137, no. 26; and 158, no. 26. Smith & Humphries 402. BUC p. 216. RISM C3798. "Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. . 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." Grove Music Online Johann Christoph Pepusch (1667-1752), the editor, was a German composer, theorist, and antiquarian who pursued his career in London; he, like many other German, French, and English composers of his time ,drew heavily on the Italian style and music theory in his approach to composition. The title page asserts that these sonatas "also make compleat Lessons for the Harpsicord," raising intriguing questions about 18th century performance practice and the adaptability of chamber compositions for solo instruments. An attractively printed edition.…