Performing Corelli's violin sonatas, op.5

Early Music

Volumn 24, Issue 1, 1996, Pages 133-142

  Walls, Peter ^a  

^a VICTORIA UNIVERSITY OF WELLINGTON   (New Zealand)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63249104583     PISSN: 03061078     EISSN: None     Source Type: Journal    
DOI: 10.1093/earlyj/xxiv.1.133     Document Type: Article

References (24)

1. Roger North on music, ed. J. Wilson (London, 1959), p.180
2. Sir John Hawkins, A General History of the Science and Practice of Music (London, 1776; R/New York, 1963), i, p.677
3. quoted by O. Edwards, 'The response to Corelli's music in eighteenth-century England', Studia musicologica norvegica, ii (1976), p.54
4. Phrases used by Angelo Beradi (1689) and Crescimbeni (1702) respectively; see 'Corelli, Arcangelo', New Grove
5. Roger North on music, p.310n
6. This wording was included in an advertisement in The Nottingham Weekly Courant, 22 December 1714; quoted by Edwards, 'The response to Corelli's music', p.77
7. A Letter from the Late Signor Tartini to Signora Maddalena Lombardini (London, 1771), ed. E. R. Jacobi (Celle & New York, 1971), p.135
8. Both titles given to movements from op.2 (Sonata no.5, Sarabanda, and Sonata no.1, Gavotta); see RISM CC 3894c and 3894d
9. Trio Sonnerie (Monica Huggett, Sarah Cunningham and Mitzi Meyerson, joined here by Nigel North), Virgin Classics CD (2) VCD7 90840-2
10. Locatelli Trio (Elizabeth Wallfisch, Richard Tunnicliffe and Paul Nicholson), Hyperion CD (2) CDA 66381/2
11. Accademia Bizantina (C. Chiarappa et al), Europa Musica CD (9) 350202
12. Eduard Melkus Instrumental Ensemble (Melkus, Dreyfus, Altmacayan and Scheldt), Archiv CD (2) 427 161-SAGA
13. Purcell Quartet, 'La Folia' and other sonatas (Catherine Macintosh, Elizabeth Wallfisch, Richard Boothby and Robert Woolley), Hyperion CDA 66226
14. An instance of this not happening can be seen in the Locatelli Trio's decision to record their set a tone below modern pitch (presumably in deference to the lower pitch prevailing in Rome in the early 18th century; see 'Pitch', New Grove dictionary of musical instruments, iv, p.126)
15. See S. Bonta, 'From violone to violoncello: a question of strings?', Journal of the American Musical Instrument Society, iii (1977), pp.64-99
16. and 'Terminology for the bass violin in seventeenth-century Italy', Journal of the American Musical Instrument Society, iv (1978), pp-5-43
17. Peter Allsop points out that the term was used with sufficient latitude to encompass the smaller 'violoncello'; see P. Allsop, The Italian 'trio' sonata from its origins until Corelli (Oxford, 1992), p.36
18. See G. S. Brunoro, The life and works of Giovanni Lorenzo Lulier (PhD diss., Victoria U. of Wellington, 1994), pp.14, 137, 354
19. See T. Borgir, The performance of the basso continuo in Italian Baroque music (Ann Arbor, MI, 1987), pp.5-9
20. S. Mangsen, 'The trio sonata in pre-Corellian prints: when does 3 = 4?', Performance practice review, iii (1990), pp.138-64
21. and Allsop, The Italian 'trio' sonata, pp.39ff
22. See P. Williams, Figured bass accompaniment, 2 vols. (Edinburgh, 1970), i, p.77
23. See Mangsen, 'The trio sonata in pre-Corellian prints', pp.157f
24. H. J. Marx, 'Some unknown embellishments of Corelli's violin sonatas', Musical quarterly, lxi (1975), p.74