6 Concerti op. 4/7-12 Vol. 2 洛卡泰利 音樂會 總譜 歐伊倫堡版
對於構成作品 4 第二部分的六首協奏曲，洛卡特利規定了八個部分： 小提琴、第二小提琴、中提琴、大提琴、獨奏。 Violino Primo, Secondo, Alto, è Basso, Ripieni. 這些樂器的使用讓人立刻聯想到寇里利亞大協奏曲，而洛卡特利在其作品 1、7 和 9 中也為該協奏曲做出了貢獻。 儘管這套協奏曲所使用的樂器似乎明顯區分了協奏曲（獨奏部分）和裡皮埃尼奧協奏曲（雙人部分），但我們在這裡看到的是一組在形式、樂器和結構上都非常多樣化的作品。 從整體上看，作品 4 中的協奏曲是義大利巴羅克器樂發展的理想典範：它們揭示了大協奏曲和奏鳴曲（如協奏曲 X）之間的密切聯繫；它們還顯示了獨奏協奏曲從大協奏曲中衍生出來；甚至還有主題發展和三部曲結構的蛛絲馬跡。 此外，還有當時罕見的動態標記和其他演奏指示，顯示出對音色精確定義的日益重視"
作曲家: Locatelli, Pietro Antonio
編者: Pancino, Livia
樂器: strings and basso continuo
出版社: Ernst Eulenburg & Co. GmbH
曲目:
Preface - Concerto No. 7, D major- I. Allegro - II. Largo - III. Andante - IV. Allegro - Concerto No. 8 F major- I. Grave. Allegro - II. Largo - III. Vivace - IV. Allegro - Concerto No. 9 G major- I. Allegro - II. Largo - III. Vivace - Concerto No. 10 Eb major- I. Adagio - II. Allegro - III. Minuetto - Concerto No. 11 C minor - I. Grave - II. Andante - III. Largo - IV. Largo. Andante - IV. Vivace - Concerto No. 12 F major- I. Allegro - II. Largo - III. Allegro
For the six concertos that make up the second part of the Op. 4, Locatelli prescribed eight parts: Violino Primo, Secondo, Alto, è Violoncello, Soli. Violino Primo, Secondo, Alto, è Basso, Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso, to which Locatelli contributed also in his Op. 1, 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled), we here encounter a group of works that are very varied in form, instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify the developments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.