Concerto for Violin, Strings and Basso Continuo - RV239, Op. 6 No. 6 Critical Edition Score 協奏曲 弦樂器

米蘭 Casa Ricordi 與威尼斯 Fondazione Giorgio Cini（安東尼奧-維瓦爾第學院）合作。亞曆山德羅-博林（Alessandro Borin）評論版。六首音樂會作品 安東尼奧-維瓦爾第為小提琴、弦樂和連續樂而作的六首音樂會作品 VI 於 1719 年由 Roger 在阿姆斯特丹出版。儘管維瓦爾第的貢獻可能微乎其微--甚至可以假定該作品集的出版沒有得到作曲家的協助，甚至可能沒有征得他的同意--但這六部作品標誌著維瓦爾第向經典協奏曲的定義邁出了決定性的一步，這一變化體現在系統地採用了三樂章的計畫，以及在主小提琴之外沒有任何補充獨奏部分。本評論版以《作品 VI》第一版及其再版為基礎，同時也考慮到了印成選集或以手稿形式（維森特海德和德累斯頓）流傳的單首協奏曲的所有資料來源。通過對維瓦爾第第六號作品的手稿和印刷傳統進行比較分析所收集到的資訊，使我們得以重建各來源之間的聯繫，澄清一些有問題的編輯決定，並就整個作品集的起源和內在性質提出新的假設"

校訂者: Alessandro Borin
樂器: String Ensemble
出版社: Ricordi
原文簡介:
Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.