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OOOO OOOO OO OMS VIVALDI OOOO OO 6 SONATAS poms FOR CELLO AND PIANO Revision and realization of the Figured Bass by LUIGI DALLAPICCOLA oe No, 1852 F po eGCOOOCOOO CEC CCO DCU SOOOCCO CROC COREE CUI EE EO CSE COE CHOROID OHO I OO EO OOOOH OHO OOOOH INTERNATIONAL MUSIC COMPANY 545 FIFTH AVENUE NEW YORK CITY OE SOC i Preface Of the Six Sonatas for Cello Solo by Antonio Vivaldi, I know of only one complete edition, revised by Marguerite CChaignesu with realization of the figured bass by Walter Morse Rummel, published by Senart in 1916. However, of the Fifth Sonata in E minor, to my knowledge, chere are at least 3 other editions; this is a proof that it enjoys parvcular success. Without ‘wishing in che leas co discuss the reasons for the success of one composition as compared with another, I will not hesitate 10 say that I accepted with pleasure the invitation of the International Music Company co prepare a new by Vivaldi, and did so with che intention of interesting cellists in all of the Sonatas in cis collection. In preparing this new edition, I used che manuscript of the Bibloshigue Nationale de Paris. Thus it was possible for sme to cottect certain inexacticudes, which in the case of the Sonata in E minor, had been transmitted fram one edition 10 another. there do not exist manuscripts absolutely free of errors, J corrected without hesitation the more , for instance, measure 18 of the Largo (tempo ¥4) of the first Sonata, which had appeared written in % and measure 19 in which the eriplec of the cello partis writen in semi-quavers instead of quavers. Thus, I undertook to correct the following, taken from the finale of che same Sonaea: 47 8 20 9 In a similar case, (measures 46 0 49) a natural is missing in front of E, The omission is evident. Yet in other cases, though the errors in the MS were evident, I have retained them with the remark sic because such errors resulted in a more pleasing harmony ff in # mote varied shythmic pastern. As an example of the fist case, I will cite measure 14-17 of the fintle of the 3rd Sonata: we a (Ge) and as example of the second case (it is simost certain that measure 24 should be rhythmically identical with measure 20), a passage of the finale of che 4th Sonata: 9 20 a na 8 ra ee ‘To conserve as much as possible the aspect of the Vivaldian text 1 did not change the musical notation in which the Allegri, instead of being writen in 4/4, would have warranted being notated in 2/4. Insofar as the question of the realization of the figured bass rather chen harmonizing i¢ in chords of 4 notes, I often had recourse o the principle of imitation, with the intention of rendering the texture lighter and mote airy and atthe sime time, allowing greater liberty co the expressiveness of the cello. Also, where the device of imitation appeared to me out of place or aot applicable, I wrote the piano pare with the idea in mind of fot overburdening it with ornamental figures or making it to9 vol- ‘uminous. In chis connection, I permit myself co suggest to pianists not to add octaves to the bass when they are not specifically indicated. Luter Datsariccona SONATA No. 1 Revision and realization of the Figured Bass by LUIGI DALLAPICCOLA rgor ANTONIO VIVALDI eid (80-145) (Largamente, ma Andante) SNA re Cello, = Sor. mare PIANO} f sot 7 more] [ESE & Pe Perey compre sonaro e saat. > Original indication 4882 Copyright 1955 by Ioteational Music Company, New York Ciy Intemational Copyright Secured