Concerto for Violin, Strings and Basso Continuo - RV216, Op. 6 No. 4 Critical Edition Score 协奏曲 弦乐器

米兰 Casa Ricordi 与威尼斯 Fondazione Giorgio Cini（安东尼奥-维瓦尔第学院）合作。亚历山德罗-博林（Alessandro Borin）评论版。六首音乐会作品 安东尼奥-维瓦尔第为小提琴、弦乐和连续乐而作的六首音乐会作品 VI 于 1719 年由 Roger 在阿姆斯特丹出版。尽管维瓦尔第的贡献可能微乎其微--甚至可以假定该作品集的出版没有得到作曲家的协助，甚至可能没有征得他的同意--但这六部作品标志着维瓦尔第向经典协奏曲的定义迈出了决定性的一步，这一变化体现在系统地采用了三乐章的计划，以及在主小提琴之外没有任何补充独奏部分。本评论版以《作品 VI》第一版及其再版为基础，同时也考虑到了印成选集或以手稿形式（维森特海德和德累斯顿）流传的单首协奏曲的所有数据源。通过对维瓦尔第第六号作品的手稿和印刷传统进行比较分析所收集到的信息，使我们得以重建各来源之间的联系，澄清一些有问题的编辑决定，并就整个作品集的起源和内在性质提出新的假设"

校订者: Alessandro Borin
乐器: String Ensemble
出版社: Ricordi
原文简介:
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.