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. 韦瓦第 奏鸣曲大提琴 音型 音符诠释 大提琴加钢琴 维也纳原典版
安东尼奥-维瓦尔第的九首大提琴与低音提琴奏鸣曲是巴洛克时代最著名的大提琴作品之一。由于技术要求不高，这些作品成为音乐课和私人音乐创作不可或缺的一部分。但即使在专业的早期音乐领域，它们也是大提琴曲目的重点。Wiener Urtext Edition 的新版本同样满足了这三个目标群体的需要和要求，提供了可靠的音乐文本，不再以 Le Clerc & Boivin 未经授权的巴黎初版为基础，而是以维瓦尔第本人修订的那不勒斯版本以及巴黎国家图书馆和维森特海德舍恩伯尔尼伯爵音乐图书馆中与作曲家有关的其他两份手稿为基础。除独奏部分外，该版本还包括钢琴（大键琴）乐谱和实现的低音连奏部分，学生和业余爱好者应该会非常喜欢。此外，该版本还为专业连奏乐器演奏者添加了未实现的低音连奏部分，其中包含巴黎第一版的数字。尽管这些数字并不能追溯到维瓦尔第本人，但它们见证了当代低音连奏的实践，可作为演奏维瓦尔第未谱低音部分的 "指南"。格哈特-达姆施塔特（Gerhart Darmstadt）根据当代资料编写的诠释说明中提供了有关演奏实践的更多详细信息"
作曲家: Vivaldi, Antonio
编者: Moosbauer, Bernhard
乐器: 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.