Sonates en Trio Pour Deux Violons, Flutes Traversieres, e la Basse Continue ... Prix 7tt. ... Gravées par De Gland. [Set of parts]
- Paris: L'Auteur rüe St. Martin près la rüe neuve St. Meri. Madame Boivin Mde. rüe St Honoré à la Reigle[!] d'Or. le Sr Le Clerc M, 1733
Paris: L'Auteur rüe St. Martin près la rüe neuve St. Meri. Madame Boivin Mde. rüe St Honoré à la Reigle[!] d'Or. le Sr Le Clerc Md. rüe du Roulle à la Croix d'Or. Avec Privilege du Roy, 1733. Folio. Disbound.
Violino primo: 1f. (recto title, verso blank), 12 pp.
Violino secundo: 1f. (recto title, verso blank), 11 pp.
Basso: 1f. (recto title, verso blank), 11, [i] (privilege) pp.
Violino primo title detached; signatures separated; moderately browned, with soiling and occasional small stains, mainly to blank margins; several small tears repaired. Violino secundo moderately browned, with occasional foxing and small stains; stain to p. 9 extending into music; darker stains to pp. 10 and 11, affecting clef and notehead; final signature detached. Basso moderately browned, soiled; several small stains, with stain to blank outer margin affecting final five leaves. First Edition. Rare. Lesure p. 521. RISM Q47 (one copy only in North America).
Quentin, a French violinist and composer, played the violin at the Paris Opera in 1718, and the viola in the 'grand choeur' in 1738. "References to him indicate that he was a violinist of high reputation. As a composer he was prolific. ... His 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. Despite a certain rhythmic monotony, Quentin's music shows melodic inventiveness and unusually rich harmonies." Laurel Fay in Grove Music Online.
Violino primo: 1f. (recto title, verso blank), 12 pp.
Violino secundo: 1f. (recto title, verso blank), 11 pp.
Basso: 1f. (recto title, verso blank), 11, [i] (privilege) pp.
Violino primo title detached; signatures separated; moderately browned, with soiling and occasional small stains, mainly to blank margins; several small tears repaired. Violino secundo moderately browned, with occasional foxing and small stains; stain to p. 9 extending into music; darker stains to pp. 10 and 11, affecting clef and notehead; final signature detached. Basso moderately browned, soiled; several small stains, with stain to blank outer margin affecting final five leaves. First Edition. Rare. Lesure p. 521. RISM Q47 (one copy only in North America).
Quentin, a French violinist and composer, played the violin at the Paris Opera in 1718, and the viola in the 'grand choeur' in 1738. "References to him indicate that he was a violinist of high reputation. As a composer he was prolific. ... His 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. Despite a certain rhythmic monotony, Quentin's music shows melodic inventiveness and unusually rich harmonies." Laurel Fay in Grove Music Online.