6 Concerti op. 4/7-12 Vol. 2 洛卡泰利 音乐会 总谱 欧伊伦堡版
对于构成作品 4 第二部分的六首协奏曲，洛卡特利规定了八个部分： 小提琴、第二小提琴、中提琴、大提琴、独奏。 Violino Primo, Secondo, Alto, è Basso, Ripieni. 这些乐器的使用让人立刻联想到科里利亚大协奏曲，而洛卡特利在其作品 1、7 和 9 中也为该协奏曲做出了贡献。 尽管这套协奏曲所使用的乐器似乎明显区分了协奏曲（独奏部分）和里皮埃尼奥协奏曲（双人部分），但我们在这里看到的是一组在形式、乐器和结构上都非常多样化的作品。 从整体上看，作品 4 中的协奏曲是意大利巴洛克器乐发展的理想典范：它们揭示了大协奏曲和奏鸣曲（如协奏曲 X）之间的密切联系；它们还显示了独奏协奏曲从大协奏曲中衍生出来；甚至还有主题发展和三部曲结构的蛛丝马迹。 此外，还有当时罕见的动态标记和其他演奏指示，显示出对音色精确定义的日益重视"
作曲家: Locatelli, Pietro Antonio
编者: Pancino, Livia
乐器: 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.