Trio Sonata in D Major Op. 37 No. 3 (Viola da Gamba/Bassoon/Cello Part)

Joseph Bodin de Boismortier

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Hardbound, with marbled paper boards. Oblong, 28 x 20 cm, 4 partbooks, c. Line-cut of Ammon edition, Frankfurt, Hardbound, with slipcase in marbled paper. Line-cut of the Nuremburg, edition. Only the Violino I part survives. Oblong, 28 x 19 cm, 3 partbooks, 28 pp. Line-cut of the Frankfurt, edition.

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Oblong, 28 x 19 cm, 3 partbooks, 34 pp. Wrappers, in marbled portfolio. Oblong, 29 x 20 cm, 8 partbooks, pp. Oblong, 28 x 20 cm, 10 partbooks, c. Portfolio in marbled paper. Stimmen wie auch 4. Line-cut of the Nuremberg, [] edition. Faksimile-Edition Viola da Gambe, 1.

Wrappers with hardbound porfolio covered in marbled paper. Uppsala; Concerto a 5 stromenti, flauto traverso, violino primo, violino secondo, viola e basso, ms. Oblong, 32 x 22 cm, 5 partbooks, vii, 73 pp. Line-cut of two contemporary ms copies. Wrappers, in decorative paper with matching slipcase. Madrid, 23 x 32 cm, 2 vols: Huge synthesis of musical-theoretical topics divided into 22 books. The last book deals with musical enigmas and puzzle canons.

Line-cut of the Naples, edition. Preface in It by Giuseppe Vecchi. Halftone of the autograph score. Halftone of the autograph. Limited edition of numbered copies. Del metallo ricercari a due voci per sonare, e cantare. Oblong, 35,5 x Full-color reproduction of the fair copy autograph. The manuscript being published here comes from the early s and is an editorial autograph intended for the Paris publisher Maurice Schlesinger.

Bound in blue linen, with matching slipcase. Partbooks in handsome cloth portfolio. Line-cut of the London, 18th-c. Edited by David Greer. A Collection of Facsimile Reprints, 9. Line-cut of the London, edition, in table book format. For 2 voices, lute and bass viol. In French tablature with vocal part s and bass part in staff notation. Introduction by Peter Holman. Line-cut of the Estienne Roger edition, Amsterdam, [].

Line-cut of the Walsh edition London, Introduction in Ger by Winfried Michel. Oblong, 34 x 24 cm, v, 62 pp. Line-cut of the G. Santa edition, Rome , together with reprint of the Roger edition Amsterdam, with ornamented adagios. Oblong, 32 x 22 cm, iii, 69 pp. Introduction in Eng-Ger by Edgar Hunt. Corelli, comme il les joue. Line-cut of the Roger edition, Amsterdam, Edizione critica a cura di Enrico Gatti. Saggio introduttivo di Guido Olivieri. Oblong, 30 x 22 cm, 82 pp. With new critical performing edition edited by Enrico Gatti.

Xerographic reprint of the Walsh edition. Ayres to Sing and Play to the Lute. A Collection of Facsimile Reprints, Line-cut of the London, edition, in regular and table book format. Songs staff notation with lute accompaniment in French tablature. Prototipes contains lessons in questions and answer form, and illustrative sonatas for the vln, fl, and descant viol. Method for the high treble viol with 5 strings or quinton.

Discusses tuning, bowing, cadences, arpeggios, with preludes, sonatas and rondeaux.

Xerographic reprint of the Paris, edition. Line-cut of another surviving print of the Paris, edition. Introduction by Don Hulbert. Musique pour Viole de Gambe, 1 Paris, Preface in Fr by Jean-Louis Charbonnier. Oblong, 31 x 22 cm, 44, 48 pp. Line-cut of the Boivin edition, Paris, Oblong, 31 x 22 cm, 45 pp. Line-cut of the 18th-c. Opera quinta, libro primo. Monumenta Musicae Revocata, Line-cut of the Roger edition, Amsterdam, c. Preface in It-Eng by Laura Ochs. Wrappers with portfolio in quarter linen and ties.

Introduction by Jean Saint-Arroman.

Henri Foucault, Paris, Faksimile-Edition Kammermusik des Barock, 3. Introduction by Paul Fustier. For up to 4 voices in staff notation with lute accompaniment in French tablature.

The bass part is probably played by the bass viol. Line-cut of the Paris, n. Fac-similes de Manuscrits de Claude Debussy, [5]. Wrappers with exposed stitching, in special art paper. Line-cut of the Paris, , Paris, n. Newly revised critical edition of the original suites for harpsichord alone Amsterdam, , and line-cut facsimile of the optional Roger parts for violin or recorder and viol or archlute, mises en concert Amsterdam, Line-cut of the Roger partbooks, Amsterdam, , for violin or recorder and viol or archlute.

Viole de Gambe, IV. Line-cut of the Paris, [c. Halftone of the London, edition. Printed in table-book format. Some pieces can be played as lute solos. Wherein is Contained Musicall Harmonie of 3. Parts, to be Sung and Plaid with the Lute and Viols. Up to 4 voices in staff notation with lute accompaniment in French tablature. Edited by Diana Poulton. Line-cut of the Humfrey Lownes edition London, , in table book format. Line-cut of the Thomas Este edition London, , in table book format.

Line-cut of the Thomas Adams edition, London, , in table book format. Line-cut of the Christophe Ballard edition, Paris Three of the motets can be performed by double choir. One of best treatments of cello technique up to its time and the basis of modern cello playing. Discusses fingering, cadences, the coup de poignet, choice of bowings, etc. Sonatas and other pieces. Hardbound, with decorative paper and linen spine. Out of print, few copies remaining. Facsimile of the Score with Revised Parts.

Full-color facsimile of the autograph score, together with modern performance parts. Line-cut of the London, edition, together with new performing edition transcribed for violoncello. Library of Congress, Washington, D. Halftone of the autograph of Op. Line-cut of the Endter edition, Nuremberg, Some pieces call for scordatura tuning. The exemplar upon which this facsimile is based lacks sonata no. Anvers, vefve de Iean Laet, Oblong, 20 x 15 cm, 5 partbooks, c. Line-cut of the Antwerp, edition. Contains 29 pieces a3, 14 a2 and 7 a1 in staff notation.

Wrappers and slipcase in decorative paper. Line-cut of the London, edition, in French tablature. Line-cut of the London, Opera quarta e sexta. Line-cut of Roger edition, Amsterdam, []. Line-cut of the Roger edition, Amsterdam, , possibly engraved by Finger himself. Divided into four grouping of three pieces by their scoring: Introduction in It by Giovanni Battista Columbro.

Wrappers, in decorative paper, in matching portfolio. Line-cut of the Bartolomeo Magni edition, Venice, Consists of 18 sonatas. Wrappers and slip cover in decorative paper. Viole de Gambe, II. Dedicated to Madame Henriette de France. Bass and viol parts in score. Edited by Margarita Mazo. Facsimile Edited by Simon Wynberg. Oblong, 29 x 21 cm, 17 pp. The second 6 of a set of 12 sonatas. The second sonata is for violoncello or viol.

Canone a due violoncelli. Sonate per violoncello e basso continuo. Prefazione e apparato critico di Marc Vanscheeuwijck. Oblong, 31 x 21 cm, 9, 56 pp. Line-cut of two important mss containing the complete works for cello solo 7 ricercari , cello and bc 2 sonatas and two cellos 1 canon by Gabrielli. Preface in It, with summaries in Fr-Eng.

Musique de Chambre, 8. Line-cut of the Walsh edition, London, []. Oblong, 22 x 16 cm, 48 pp. Laid paper with handsome binding in linen. Oblong, 22 x 16 cm, 71 pp. Oblong, 23 x 16 cm, 2 partbooks: Consists of 67 textless duos derived for the most part from masses by a representative selection of composers.

Oblong, 21 x 16 cm, 18, 3 partbooks, c. Includes 2 Regina celi by Willaert and Rore and instrumental trios in strict contrapuntal style. Introduction in Flem-Eng by Ignace Bossuyt. Line-cut of The Hage, edition. Oblong, 22 x 17 cm, pp. Gerle introduces students to the rudiments of playing the renaissance lute, the viol and rebec, including the way they were tuned, held, and played.

Musicologists have called it the first viol tutor. Hardbound with decorative paper boards. Apt for Viols and Voyces. Early Cello Series, 7. Herausgegeben von Bernhard Billeter. With an Introduction by Albert Clement. Exempla Musica Zelandica, 2. Line-cut of the Suenonius Madelgreen edition, Middelburg, []. Line-cut of the Giacomo Monti edition, Bologna, , in mixed tablature.

Line-cut of the score plus new critical edition of the parts. Scored for vdg solo, vln I-II, vla, bass. Color facsimile of the viola da gamba part, together with new performing edition score and solo VdG. Line-cut of the autograph parts. Songes of Sundrie Kindes Edited by Sarah Freiberg.

With critical apparatus listing all errors and inconsistencies. Facsimile of the Manuscript in the Augburg Staats- und Stadtbibliothek. French tablature with Baroque tuning. Staff notation for bowed instruments. Con due violini e violoncello di concertino obligati e due altri violini viola e basso di concerto grosso. British Library Manuscript R. Handel's great outdoor piece for strings and wind band. Halftone of the autograph score, composed for the celebration of the Treaty of Aix-la-Chapelle.

The manuscript also bears evidence of arguments over scoring that went on with the civil servants organizing the spectacle. Line-cut of the original Walsh printed parts, London, []. Ayres to be Sunge to the Lute [ca. Line-cut of manuscript R. Ayres for solo voice, lute and bass viol, in table book format. Staff notation and French tablature. Line-cut of the Artaria edition, Vienna, Preface by Peter Holman. Faksimile-Edition Viola da Gambe, 8. Oblong, 22 x 18 cm, 19 pp. Viol-digambe oder Posaunen gesetzt.

Line-cut of the Thorn, edition. Canzon for 8 instruments in mensural notation. Livres I et II. Line-cut of the Leipzig, c. It is the largest surviving collection of its kind, most of the pieces are of the pavan-galliard combination. Handsome bibliophile edition produced with vellum-paper boards, with matching slipcase. Line-cut of the 2nd edition, London, Oblong, 31 x 22 cm, 2 vols, xviii, pp. Oblong, 31 x 22 cm, 13, 18 pp. Line-cut of Paris, edition. Oblong, 25 x 18 cm, 3 vols, , 23 pp.

Line-cut of the Vienna, c. Hardbound in decorative paper, with handsome slipcase. Four suites including pictorial pieces. With an Introduction by Frank Traficante. For voice with instrumental accompaniment, and instruments alone in various combinations. London, British Library, Ms. Contains 9 duets, 2 fantasias and 6 ayres. In addition, there are two anonymous fantasias and works of John Ward Introduction by Piet Stryckers.

Oblong, 31 x 22 cm, 64 pp. Line-cut of the Prag, edition.

Books by Joseph Bodin de Boismortier

Faksimile-Edition Canto e Continuo, 5. Line-cut of the Strasbourg, partbooks cantus, altus, tenor, bassus, bassus ad organum. Over 60 monodies among the 3 publications, the first and third from engraved plates, the second in movable type. Italian lute tablature occurs only the arias of book I, otherwise staff notation has been employed. Introduction in It by Orlando Cristoforetti. Wrappers in decorative paper with slip case. Line-cut of the Munich, c. Hardbound in decorative paper, with slipcase.

Zwei Teile in einem Band. Faksimile-Edition Kammermusik des Barock, 7 Stuttgart, Hardboard in beautiful decorative paper with matching slip case. Stuttgart, Paul Treu Wrappers, with slipcase covered in marbled paper. Pieces for the Viol Lesson. Halftone of a contemporary ms copy, together with modern edition. Line-cut of the Kassel, edition. Oblong, 21 x 15 cm, xi, pp. Line-cut of the Lodovico Britannico edition, Brescia, Introduction in It by Giuseppe Massera. Line-cut of the Johannes Laet edition, Antwerp, Contains 18 motets, some of which were undoubtedly written in Italy, but clearly rewritten in Antwerp.

Oblong, 31 x 22 cm, 38 pp. Line-cut of the Bologna, 18th-c. Collection of 12 sonatas. Examination and inventory of the Lawes manuscript British Library, Add. MS , together with a selection of halftone plates with autograph examples and music of his contemporaries.

Line-cut of the Paris, edition, containing 12 sonatas. Line-cut of the Paris, [] edition, containing 12 sonatas. Line-cut of the Paris, edition, containing 6 sonatas which, according to the title page, can also be played on 2 violes. On peut jouer ces sonates a deux violes.

Line-cut of the Paris, edition, containing 6 sonatas. Line-cut of the Paris, [] edition, containing 6 sonatas. Libro terzo, opera ottava. Xerographic reprint of the Giacomo Monti edition, Bologna, Viole de Gambe, IX. Faksimile-Edition Schermar-Bibliothek Ulm, Oblong, 13 x 9 cm, 5 partbooks, c. Line-cut of the Pierre Ballard edition, Paris, Wrappers, with handsome slipcase in marbled paper. Early Cello Series, 1. Dialogo quarto di musica [dove si ragiona sotto un piacevole discorso sulle cose pertinenti per intavolare le opere di musica et esercitarle con la viola a mano over liuto con sue tavole ordinate per diversi gradi alti e bassi].

A cura di Patrizio Barbieri. Sources and Materials for the History and Theory of Music, Short treatise explaining how to transcribe any contrapuntal score into tabulature for viola a mano or lute. Includes 14 tables showing the gamut, clefs, staves, accidentals, and the corresponding signs for Italian lute tablature. Xerographic reprint of the Jeanne Roger edition, Amsterdam, [].

Reprint of the Amsterdam Edition. Introduction by Paul van Reijen. Line-cut of the violin solo and basso continuo parts. These orchestral parts supplement the violin solo and basso parts previously published by Saul B. Dedicate al molto illustre signore il signor Abraham Croock. In Two Several Varieties: The First 20 are for Two Trebles and a Basse. Oblong, 24 x 19 cm, 3 parts, 36 pp. Line-cut of the London, partbook edition, in staff notation. Line-cut of a contemporary ms copy, a unique source for this sonata. Kommentar von Martin Kirnbauer.

Faksimile-Edition Theoretica, 7 Suttgart, Oblong, 20 x 16 cm, , xvi pp. Line-cut of the Strasbourg, edition. Besides the Virdung redux it also provides a treatise on mensural notation and polyphonic composition. Hardbound in decorative paper. Early Cello Series, Describes many aspects of performance, including ornaments; includes fingerings and trill fingerings. Oblong, 21 x 15 cm, pp.

Arcangelo Corelli: Trio Sonatas, Op. 3

Halftone of the Nuremberg, edition second, vastly reset edition of Museum Musicum. Fascinating treatment of music theory, including 10 woodcuts of instruments and a glossary of musical terms taken from Greek, Latin, Italian and French. Oblong, 30 x 20 cm, 2 partbooks, , iv pp. Oblong, 32 x 23 cm, 2 partbooks, xvi, , pp. Line-cut of the Paris, editions. Oblong, 30 x 20 cm, 2 partbooks, , vi pp. Oblong, 32 x 23 cm, 2 partbooks, 10, pp.

Livre pour la viole. Livre pour la basse continue, Oblong, 30 x 20 cm, 2 partbooks: Oblong, 32 x 23 cm, 2 partbooks, xv, pp. Oblong, 30 x 20 cm, , iv pp. Oblong, 32 x 23 cm, 2 partbooks, 16, pp. Oblong, 21 x 15 cm, 3 partbooks, xii, pp. Wrappers in decorative paper with slipcover. Edited by John Hsu. Oblong, 21 x 13 cm, 3 partbooks, xiv, pp. Viole de Gambe, XIV. A suite of dances, mostly minuets. Introduction on how to play the two instruments. Concerti [da Eterio Stinfalico.

Oblong, 38 x 28 cm, 6 partbooks, 72 pp.

Line-cut of the Augsburg, c. Line-cut of the Amsterdam, c. Introduction de Vittorio Ghielmi. Line-cut of the Gardano edition, Venice, Introduction in It by Marcello Castelliani. Monumenta Brixiensia, Fototypice Expressa, 8. Line-cut of 7 autograph manuscripts in possession of the Fondazione Pagliara, together with new critical editions: Capriccio per pianoforte op. Line-cut of Paris, c. Ridotti ad intavolatura a due violini e viola. Line-cut of the Milan, edition.

Top Selling Bassoon Titles

Mattei, pupil of Martini and professor of counterpoint at the Liceo from its foundation in , was the teacher of Rossini, Donizetti and many others. Bassi numerati consists of lovely musical miniatures: Contains 29 fantasias for viola da gamba by Lupo, Gibbons, Coprario and Daman. Instrumental pieces for bass viol and lute. With an Introduction by Jon Newsom. Composed when Mendelssohn was 16 years old, this work was the first of its type in the literature. Although it is an extremely clean copy, it contains a number of markings and passages that were ultimately removed for the first edition.

Quarter linen and decorative paper with signature of the composer in gold on the cover. Oblong, 33 x 24 cm, vii, 16 Line-cut of the Paris, c. In quibus agitur de sonorum natura, causis, et effectibus: Complements the Harmonie universelle. Der Prophet Meyerbeer , op. Flute Violin , Viola, and Guitar. Edited by Brian Torosian. Line-cut of the Jos. Aibl edition, Munich, , together with preface and new practical edition. According to composer these pieces are suitable for dancing.

Also contains 9 instrumental fantasies. Rameau Trio - Soloist: Jean Antrim, flute; Ensemble: Fortunato Arico, viola da gamba; Jocelyn Chaparro, harpsichord. Instrumental Solo Part and CD. Published by Music Minus On. Includes a high-quality printed music score and a compact disc containing a complete performance with soloist; then a second version with the accompaniment, minus the soloist.

Published by Music Minu. For Recorder alto or Flute. Published by Music Minus. By Georg Philipp Telemann. Edited by Herbert Kolbel. Playing Score; Set of Parts. Published by Baerenreiter-Ausgaben German import. Published by Edition Peters. By Carl Philipp Emanuel Bach.

Set of performance parts for recorder in C or in F , oboe or Violin or Viola de gamba , piano accompaniment and cello optional;. By Georg Philipp Telemann Edited by Alessandro Bares. For oboe, violin, viola da gamba and basso continuo. Score and set of parts. Published by Musedita Edi. For Tenor Saxophone and Piano. For Bassoon and Piano. Collection and set of parts for viola de gamba or cello and harpsichord or piano. With introductory text, performance notes an. For viola or viola da gamba and piano or harpsichord. Urtext of the New Bach Edition. Includes set of performance parts includes separate pull-out viola.

By George Frideric Handel Collection and set of performance parts for 2 violins, cello viola da gamba and cembalo basso conitnuo. With basso continuo notation,. For violin or viola da gamba - extra part included and piano or harpsichord. Composed by Godfrey Finger. Edited by Arthur Marshall. The solo sonatas of Op. Over the next several decades, four more Italian reprints appeared, but the real surge in the dissemination of these sonatas occurred in northern musical centers.

The Amsterdam publisher Estienne Roger issued his first Op. New copies of the Op. Similar figures might be cited for the other trio sonata collections; nor were these the only Corellian works to enjoy such general approbation. It is said [by Samuel Johnson in the preface to his edition of Shakespeare] there is in every nation a style, both in speaking and in writing, which never becomes obsolete; a certain mode of phraseology, so consonant and congenial to the analogy and principles of its respective language, as to remain settled and unaltered.

This, but with much greater latitude, may be said of music; and accordingly it may be observed of the compositions of Corelli, not only that they are equally intelligible to the learned and unlearned, but that the impressions made by them have been found to be as durable as general. His music is the language of nature; and for a series of years all that heard it became sensible of its effects; of this there cannot be a stronger proof than that, amidst all the innovations which the love of change had introduced, it continued to be performed, and was heard with delight in churches, in theatres, at public solemnities and festivals in all the cities of Europe for near forty years.

Men remembered, and would refer to passages in it as to a classic author; and even at this day the masters of the science, of whom it must be observed, that though their studies are regulated by the taste of the public, yet have they a taste of their own, do not hesitate to pronounce of the compositions of Corelli, that, of fine harmony and elegant modulation, they are the most perfect exemplars.

Sonatas are ordinarily extended pieces, varied by all sorts of emotions and styles, according to the fancy of the composer. There are sonatas of 1, 2, 3, 4, 5, 6, 7, and 8 parts, but most usually they are for violin alone or for two violins with a basso continuo for the harpsichord, and often a more florid bass part for the viola da gamba or bassoon, etc. Thus there is an infinite variety of styles possible, but the Italians ordinarily reduce them to two types.

The first comprises the Sonatas da chiesa —that is, proper for the church—which differs from the second, comprising the Sonatas da camera —that is, proper for chamber use—in that the movements of the da chiesa type are Adagios or Largos, etc. For models see the works of Corelli. Corelli published his twelve trio sonatas, Op. The entrance is usually with all the fullness of harmony figurated and adorned that the master of that time could contrive, and this is termed Grave. This Grave most aptly represents seriousness and thought. The movement is as of one so disposed, and if he were to speak, his utterance would be according, and his manner rational and arguing.

The upper parts only fullfill the harmony, without any singularity in the movement; but all joyne in a comon tendency to provoke in the hearers a series of thinking according as the air invites, whether Magnifick or Querolous, which the sharp or flat key determines. When there hath bin enough of this, which if it be good will not be very soon, variety enters, and the parts fall to action, and move quick; and the entrance of this denouement is with a fugue.

This hath a cast of business or debate, of which the melodious point is made the subject; and accordingly it is wrought over and under till, like waves upon water, it is spent and vanisheth, leaving the musick to proceed smoothly, and as if it were satisfyed and contented.

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