Sonates a Violon Seul, & Basse-Continüe... Livre Ier [-IIeme] ... Prix 8tt. en blanc
- 1726
1726. 2 volumes. Folio. Modern marbled boards, printed paper label gilt to spines. Engraved throughout. Very occasionlal small stains and minor soiling to blank margins.
Vol. I
Chez L'Auteur, rue St. Martin proche St. Julien, des Menetriers, au vert galand, Le Sr. Boivin md. rue St. Honore a la regle d'or. Avec Privilege du Roy, 1724. 1f. (recto title, verso blank), 1f. (recto privilege, verso blank), 55 pp., with pp. 13, 23, 35, and 47 blank, as issued.
Vol. II
Chez L'Auteur, ruë St. Martin vis à vis la ruë Aubery le Boucher, Chez la Veuve de la Hode Limonadiere, Le. Sr. Boivin ruë St. Honoré a Regle d'Or. Avec Privilége du Roy, 1726. 1f. (recto title, verso blank), 53, [i] (blank), [i] (privilege) pp., with pp. 13, 20 and 30 blank, as issued. First Editions. Lesure p. 521. BUC p. 868. RISM Q42 and QQ42 (one copy only in the U.S.) and Q43 and !!43 (no copies in the U.S.).
"[Quentin] was a violinist at the Paris Opéra in 1718, and in 1738 he played the viola in the ‘grand choeur.’... His solo violin sonatas generally consist of four or five alternating slow and fast movements. The trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled ‘Allemande’ or ‘Contredanse’, which appear to be the ancestors of the modern waltz. In fast movements Quentin showed a penchant for da capo markings, which produce ternary structures. Technically, his sonatas are moderately difficult, with varied and precisely indicated bowing, and triple and quadruple stops as well as fluid passages in double stops. His use of dynamic markings is careful, and the term ‘tendrement’ is often appended to arias and gavottes." Laurel Fay in Grove Music Online
Crisp, wide-margined copies of an elegantly printed collection of violin sonatas.
Vol. I
Chez L'Auteur, rue St. Martin proche St. Julien, des Menetriers, au vert galand, Le Sr. Boivin md. rue St. Honore a la regle d'or. Avec Privilege du Roy, 1724. 1f. (recto title, verso blank), 1f. (recto privilege, verso blank), 55 pp., with pp. 13, 23, 35, and 47 blank, as issued.
Vol. II
Chez L'Auteur, ruë St. Martin vis à vis la ruë Aubery le Boucher, Chez la Veuve de la Hode Limonadiere, Le. Sr. Boivin ruë St. Honoré a Regle d'Or. Avec Privilége du Roy, 1726. 1f. (recto title, verso blank), 53, [i] (blank), [i] (privilege) pp., with pp. 13, 20 and 30 blank, as issued. First Editions. Lesure p. 521. BUC p. 868. RISM Q42 and QQ42 (one copy only in the U.S.) and Q43 and !!43 (no copies in the U.S.).
"[Quentin] was a violinist at the Paris Opéra in 1718, and in 1738 he played the viola in the ‘grand choeur.’... His solo violin sonatas generally consist of four or five alternating slow and fast movements. The trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled ‘Allemande’ or ‘Contredanse’, which appear to be the ancestors of the modern waltz. In fast movements Quentin showed a penchant for da capo markings, which produce ternary structures. Technically, his sonatas are moderately difficult, with varied and precisely indicated bowing, and triple and quadruple stops as well as fluid passages in double stops. His use of dynamic markings is careful, and the term ‘tendrement’ is often appended to arias and gavottes." Laurel Fay in Grove Music Online
Crisp, wide-margined copies of an elegantly printed collection of violin sonatas.