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Geminiani, Francesco
Rules for Playing in a True Taste Op. 8 (H. 400) - A Treatise of Good Taste in the Art of Musick (H. 401)
[Opera Omnia - Vol. 12]
Critical Edition


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Product Details

[Practical Edition in preparation]

Author: Francesco Geminiani (1687-1762)
Editor: Peter Walls
Publication Date: 2012
Collana: Francesco Geminiani Opera Omnia
Pages: pp. 180
Size: 235x315 mm
Binding: Hardback (Cloth Hard Cover)
ISMN: 979-0-2153-1998-1
Codice: GCE 4
           Contents

  Preface

  Sample Pages

Description

Geminiani’s Opus 8 ‘Rules for Playing in a True Taste’ probably appeared in 1748, between the Opus 7 ‘Concerti Grossi’ (which, after delays, were finally issued in February 1748) and ‘A Treatise of Good Taste’, dated 1749, in which Geminiani refered to the Rules as “the last Work that I made public”. The two manuals are intimately connected, a relationship made explicit in the catalogue of Geminiani’s works that appeared in John Johnson’s edition of ‘The Art of Accompaniment’ where the Treatise is described as “the second part of the Rules”.

Series Details

Francesco Geminiani Opera Omnia
Critical Edition - General Editor: Christopher Hogwood
Advisory Committee: Clive Brown, Enrico Careri, Kate Eckersley, Christopher Hogwood (Chairman), Peter Holman, Sandra Mangsen, Richard Maunder, Fulvia Morabito, Rudolf Rasch, Robin Stowell, Michael Talbot, Peter Walls, Christoph Wolff, Neal Zaslaw

Of all the leading composers of the 18th century, only Francesco Geminiani (1687-1762) is lacking a complete critical edition of his music and writings. Although held to be the equal of Corelli in his own day - and indeed thought by some to be superior to his contemporary Handel in instrumental composition - a surprisingly large proportion of his compositions have never been reissued since his lifetime, and with the exception of a few solo sonatas and his treatises on “good taste“ and violin playing, Geminiani is largely ignored by the baroque taste of the present day.
The lack of availability of his music in scrupulous modern editions designed for practical performance has concealed the enormous originality he showed both in writing and re-writing his own music, and that of his teacher, Corelli. His adaptations and re-workings have never to date been presented fully and in a form that allows for pertinent comparison, and the majority of his music has not been revisited by musicologists for the last half century.
To celebrate the 250th anniversary of the composer’s death in 2012, Francesco Geminiani Opera Omnia will present all his works, instrumental, vocal and didactic, in full critical editions, with the composer’s first versions, revisions and re-workings presented consecutively by opus number, including a full critical commentary and facsimiles, together with practical editions and complete performance material for the orchestral and chamber works. The didactic treatises issued in English will be accompanied by Italian, French or German translations of the period, where these exist, together with full commentaries from modern authorities.
The Geminiani Opera Omnia is supplemented by Geminiani Studies, a volume of sixteen essays by international scholars on Geminiani's compositions and theoretical works, his art dealing and experiences with Freemasonry and the law, and his reception throughout history and in performance today.

[Preface and Critical Commentary in English]

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