Michel Corrette
6 Sonates from “Prototypes” (Paris 1775) for Violin and Continuo
- Editor: Eloise Ameruoso
- Publisher: Ut Orpheus
- Code: CSS 74
- In Stock
-
€ 19.95
Michel Corrette (Rouen, 1707 - Paris, 1795), besides being a brilliant organist and a prolific composer, dedicated most of his life to teaching and founding a music school that, year after year, became more and more important not only in Paris but throughout France. It was for this reason that he wrote many fundamental works and teaching methods for a variety of instruments in order to make learning easier for students. These texts were so well-received by the public that many of them were frequently reprinted.
Among the works written for the harpsichord are to be found, in order of print, Les Amusements du Parnasse (1749), Le Maître de Clavecin (1753) and Prototypes, published one year later, which includes in the appendix two sonatas for violin (or recorder or pardessus de viole) and thoroughbass. The latter was reprinted twice: in the second edition of 1762, it was enriched by four additional sonatas as a supplement to the first two. In the 1775 edition three famous ariettas by the Italian composers, Pergolesi, Galuppi and Rinaldo di Capua have been added with a violin and thoroughbass accompaniment, not only to implement the music lessons learnt but probably also to recreate interest in the opera.
The peculiarity of this treatise, which distinguishes it from more authoritative ones, is that of having inserted whole sonatas with the “[figured] basso, created [by the author] to guide beginners”. It represents an excellent resource to understand the means of accompanying in Corrette’s time and the execution of the thoroughbass in the second half of the 18th century in France.
These sonatas are the faithful transcriptions of the only original existing edition in the world today, published by the author in Paris and conserved in the Newberry Library of Chicago.
Among the works written for the harpsichord are to be found, in order of print, Les Amusements du Parnasse (1749), Le Maître de Clavecin (1753) and Prototypes, published one year later, which includes in the appendix two sonatas for violin (or recorder or pardessus de viole) and thoroughbass. The latter was reprinted twice: in the second edition of 1762, it was enriched by four additional sonatas as a supplement to the first two. In the 1775 edition three famous ariettas by the Italian composers, Pergolesi, Galuppi and Rinaldo di Capua have been added with a violin and thoroughbass accompaniment, not only to implement the music lessons learnt but probably also to recreate interest in the opera.
The peculiarity of this treatise, which distinguishes it from more authoritative ones, is that of having inserted whole sonatas with the “[figured] basso, created [by the author] to guide beginners”. It represents an excellent resource to understand the means of accompanying in Corrette’s time and the execution of the thoroughbass in the second half of the 18th century in France.
These sonatas are the faithful transcriptions of the only original existing edition in the world today, published by the author in Paris and conserved in the Newberry Library of Chicago.
Author: Michel Corrette (1707-1795)
Editor: Eloise Ameruoso
Publication Date: 1/31/2017
Edition: Score and Parts
Pages: pp. 40 + parts pp. 16
Size: 230x310 mm
Binding: Saddle stitching
ISMN: 979-0-2153-2426-8
Code: CSS 74
Archi Magazine (gennaio-febbraio 2018)
... nella presente pubblicazione ci occupiamo di altro: un’appendice ad un trattato per clavicembalo, intitolato ‘Prototypes’, che Corrette pubblicò nel 1754, fu da questi aggiunta al metodo per tastiera, allo scopo di illustrare come accompagnare al Continuo una linea musicale, affidata in questo caso ad un violino. ... L’intento dell’autore, come egli stesso illustra nella sua prefazione, è quello di fornire intere Sonate con basso figurato realizzato da lui stesso «per guidare i principianti». ... I sei brani, uniformati allo schema della Sonata da Camera con la classica alternanza di tempi lenti e veloci, sono tutti in tre tempi, ad esclusione del primo che inizia con un Adagio, e sono di scrittura limpida e piacevole; sicuramente un’interessante curiosità, nel panorama della letteratura didattica. (Giovanni Pandolfo)
... nella presente pubblicazione ci occupiamo di altro: un’appendice ad un trattato per clavicembalo, intitolato ‘Prototypes’, che Corrette pubblicò nel 1754, fu da questi aggiunta al metodo per tastiera, allo scopo di illustrare come accompagnare al Continuo una linea musicale, affidata in questo caso ad un violino. ... L’intento dell’autore, come egli stesso illustra nella sua prefazione, è quello di fornire intere Sonate con basso figurato realizzato da lui stesso «per guidare i principianti». ... I sei brani, uniformati allo schema della Sonata da Camera con la classica alternanza di tempi lenti e veloci, sono tutti in tre tempi, ad esclusione del primo che inizia con un Adagio, e sono di scrittura limpida e piacevole; sicuramente un’interessante curiosità, nel panorama della letteratura didattica. (Giovanni Pandolfo)
Arco Magazine (Summer 2017)
... These sonatas are certainly worth buying and will provide a lovely addition to the repertoire. (V. Lumfield)
... These sonatas are certainly worth buying and will provide a lovely addition to the repertoire. (V. Lumfield)
Strings Magazine (2017)
Editor Eloise Ameruoso has faithfully transcribed these charming works of the late-Baroque era ... His prototypes represent an informal dialogue between teacher and student and remain today, in Ut Orpheus’ wonderfully clear print, an ideal study tool for aficionados of the era. (MN)
Editor Eloise Ameruoso has faithfully transcribed these charming works of the late-Baroque era ... His prototypes represent an informal dialogue between teacher and student and remain today, in Ut Orpheus’ wonderfully clear print, an ideal study tool for aficionados of the era. (MN)
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