Concerto en la. [GT 1.A16]. [Violin concerto in A major]. [Set of parts]. [Copyist musical manuscript]
![Concerto en la. [GT 1.A16]. [Violin concerto in A](https://d3525k1ryd2155.cloudfront.net/h/682/980/1701980682.0.x.jpg)
- [?]Italy or France , 1770
[?]Italy or France, 1770. Oblong folio. Unbound. Violino principale part 221 x 283 mm, all other parts 229 x 314 mm. Notated in ink on 10-stave rastrum-ruled paper, with single smaller oblong octavo leaf 113 x 212 mm notated on 7-stave rastrum-ruled paper tipped-in to violino principale part. Watermark of 3 half-moons and the letter "A," similar to Duckles WM 16.
1) Violino principale: [i] (title), 6 pp.
2) Violino primo ripieno: 4 pp.
3) Violino 1o. ripieno: 2 pp.
4) Violino 2o. ripieno: 2 pp.
5) Violino secondo obligato: 4 pp.
6) Alto viola: 1, [i] (blank) pp.
7) Violoncello obligato: [i] (title), 5 pp.
Spines of violino principale and violoncello obligato parts and upper outer corner of final leaf of violino principale part reinforced with contemporary rastrum-ruled music manuscript paper. Slightly worn; occasional stains, soiling, and dampstaining; edges slightly frayed. Catalogo tematico della composizioni di Giuseppe Tartini online, GT1.A16. Dounias p. 286, 103. Duckles p. 350, no. 87.
No autograph is known; no contemporary editions published.
Other sources include a copyist manuscript full score at the Bibliothèque nationale and copyist sets of parts at the Biblioteca Antoniana in Padua and the University of California, Berkeley.
The tipped-in leaf is of great interest. It begins with an incipit of the concerto ("Del concerto") and continues with a "Grave Lavorabo," apparently a virtuoso violinist's personal elaborated version of the Grave movement of the concerto; the conclusion is an unmeasured cadenza. The style of ornamentation is extremely florid, replete with grace notes, slurred melismas, high notes, and rapid 32nd and 64th notes.
Tartini, a violinist, composer, music theorist, and pedagogue, was a central figure in the history of the violin in the 18th century.
An unrecorded source offering significant insight into 18th century performance practice.
1) Violino principale: [i] (title), 6 pp.
2) Violino primo ripieno: 4 pp.
3) Violino 1o. ripieno: 2 pp.
4) Violino 2o. ripieno: 2 pp.
5) Violino secondo obligato: 4 pp.
6) Alto viola: 1, [i] (blank) pp.
7) Violoncello obligato: [i] (title), 5 pp.
Spines of violino principale and violoncello obligato parts and upper outer corner of final leaf of violino principale part reinforced with contemporary rastrum-ruled music manuscript paper. Slightly worn; occasional stains, soiling, and dampstaining; edges slightly frayed. Catalogo tematico della composizioni di Giuseppe Tartini online, GT1.A16. Dounias p. 286, 103. Duckles p. 350, no. 87.
No autograph is known; no contemporary editions published.
Other sources include a copyist manuscript full score at the Bibliothèque nationale and copyist sets of parts at the Biblioteca Antoniana in Padua and the University of California, Berkeley.
The tipped-in leaf is of great interest. It begins with an incipit of the concerto ("Del concerto") and continues with a "Grave Lavorabo," apparently a virtuoso violinist's personal elaborated version of the Grave movement of the concerto; the conclusion is an unmeasured cadenza. The style of ornamentation is extremely florid, replete with grace notes, slurred melismas, high notes, and rapid 32nd and 64th notes.
Tartini, a violinist, composer, music theorist, and pedagogue, was a central figure in the history of the violin in the 18th century.
An unrecorded source offering significant insight into 18th century performance practice.