• Geminiani, Francesco : 6 Sonatas Op. 5 for Violoncello and Basso Continuo (H. 103-108) - 6 Sonatas Op. 5 for Violin and Basso Continuo (H. 109-114)

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Francesco Geminiani

6 Sonatas Op. 5 for Violoncello and Basso Continuo (H. 103-108) - 6 Sonatas Op. 5 for Violin and Basso Continuo (H. 109-114)

  • Critical Edition [Opera Omnia - Vol. 5]
  • Editor: Christopher Hogwood
  • Publisher: Ut Orpheus
  • Code: GCE 1
  •   In Stock
  • € 63.95

The six sonatas of Opus 5 are Geminiani’s only solo works for cello, and were rapidly followed by his own adaptation of all six for violin. Both versions appeared in 1746, first in Paris, later in the Hague and (after some apparent commercial chicanery) in London. From the small number of surviving copies (RISM lists only five copies of the cello version, and eleven of the violin), they do not appear to have achieved the high sales of his earlier sonatas and concertos, maybe because of their technical difficulty and “fantastical” style. However since the 20th century their status has risen perhaps more than any other opus of Geminiani, evidenced by more than one printed edition and several facsimile reissues of original prints.

Author: Francesco Geminiani (1687-1762)

Editor: Christopher Hogwood

Publication Date: 4/1/2010

Series: Francesco Geminiani Opera Omnia

Pages: pp. 152

Size: 235x315 mm

Binding: Paperback (Soft Cover)

ISMN: 979-0-2153-1839-7

Code: GCE 1

ClassicsToday.com (09-2010)
... The six sonatas of Op. 5 were composed in 1746 for cello and continuo, then immediately transcribed for violin. Their composition was part of the larger process, described by Christopher Hogwood in some detail in his excellent preface, by which the cello gradually supplanted the bass viol as the lower stringed instrument of choice ... having both versions printed together in a single volume, as here, proves a great advantage to scholars and performers equally ... Hogwood reproduces Geminiani’s (or his publisher’s) original notation, and particularly his ornamentation, with admirable fidelity ... Not the least of the present volume’s attractions is the reproduction (and helpful translation) of the various copyright “privileges” Geminiani received from the governments of France, Holland, and England ... It is ironic that a composer who took such pains over the publication, dissemination, and protection of his music should have had to wait until now for a complete, modern critical edition. Appearing in good time for the 250th anniversary of Geminiani’s death in 2012, this Ut Orpheus project represents a major effort toward correcting alongstanding injustice. (David Hurwitz)