Complete Sonatas for Cello and Basso Continuo Edited from the sources and realization of the figured bass by Bernhard Moosbauer. Provided with Notes on Interpretation by Gerhardt Darmstadt. 韋瓦第 奏鳴曲大提琴 音型 音符詮釋 大提琴加鋼琴 維也納原典版
安東尼奧-維瓦爾第的九首大提琴與低音提琴奏鳴曲是巴羅克時代最著名的大提琴作品之一。由於技術要求不高，這些作品成為音樂課和私人音樂創作不可或缺的一部分。但即使在專業的早期音樂領域，它們也是大提琴曲目的重點。Wiener Urtext Edition 的新版本同樣滿足了這三個目標群體的需要和要求，提供了可靠的音樂文本，不再以 Le Clerc & Boivin 未經授權的巴黎初版為基礎，而是以維瓦爾第本人修訂的那不勒斯版本以及巴黎國家圖書館和維森特海德舍恩伯恩伯爵音樂圖書館中與作曲家有關的其他兩份手稿為基礎。除獨奏部分外，該版本還包括鋼琴（大鍵琴）樂譜和實現的低音連奏部分，學生和業餘愛好者應該會非常喜歡。此外，該版本還為專業連奏樂器演奏者添加了未實現的低音連奏部分，其中包含巴黎第一版的數字。儘管這些數字並不能追溯到維瓦爾第本人，但它們見證了當代低音連奏的實踐，可作為演奏維瓦爾第未譜低音部分的 "指南"。格哈特-達姆施塔特（Gerhart Darmstadt）根據當代資料編寫的詮釋說明中提供了有關演奏實踐的更多詳細資訊"
作曲家: Vivaldi, Antonio
編者: Moosbauer, Bernhard
樂器: cello solo, harpsichord (piano); cello continuo ad libitum
出版社: Wiener Urtext Edition
曲目:
Preface - Notes on interpretation - Examples for Vivaldi's Ornamentation - Facsimilia - Sonata I (RV 47) - Sonata II (RV 41 - Sonata III (RV 43) - Sonata IV (RV 45) - Sonata V (RV 40) - Sonata VI (RV 46) - Sonata VII (RV 44 - Sonata VIII (RV 39) - Sonata IX (RV 42) - Critical Notes
The nine sonatas for cello and basso continuo by Antonio Vivaldi are among the most famous cello works of the Baroque era. Thanks to their moderate technical demands, the pieces are an integral part of music lessons as well as of private music-making. But even for the professional early music scene, they form a focus of the cello repertoire. The new edition of the Wiener Urtext Edition serves the needs and demands of all three target groups alike, providing a reliable musical text which is no longer based on the unauthorized first Paris edition by Le Clerc & Boivin but on a copy from Naples revised by Vivaldi himself as well as on two other manuscripts associated with the composer from the Bibliothèque Nationale in Paris and the music library of the Counts of Schönborn at Wiesentheid. Apart from the solo part, the edition comprises a piano (harpsichord) score with realized basso continuo which should be very welcome to pupils and amateurs. An unrealized basso continuo part has been added for the professional continuo player in which the figures of the first Paris edition has been included. Even if they do not trace back to Vivaldi himself, they bear witness to the contemporary basso continuo practice and can serve as a ‘guide’ for the execution of Vivaldi’s unfigured bass part. More detailed information on the performance practice is provided in the notes on interpretation by Gerhart Darmstadt which are based on contemporary sources.