Luigi Boccherini
9 Quintets for Guitar, 2 Violins, Viola and Violoncello (G 445-450, 451, 453, G deest)
- Critical Edition [Opera Omnia - Vol. XXII]
- Editor: Fulvia Morabito, Andrea Schiavina
- Publisher: Ut Orpheus
- Code: BCE 8
- In Stock
-
€ 159.00
The Quintets nos. 1-7, 9 and the 12 Variazioni sulla Ritirata di Madrid, for guitar and string quartet, are not listed in Boccherini’s autograph catalogues, nor in the Catalogo Boccherini y Calonje, nor in the Catalogue Baillot. However they are mentioned in the Catalogue Picquot, and they have come down to us through three non-autograph manuscripts and three unauthorized printed editions of the early twentieth century. The documentary evidence establishes their authorship, their dating and the relevant musical source, as the single movements for the most part are transcriptions of compositions for other instrumental settings.
The primary source of the Quintets 1-6 is ms. Wc, Washington (DC), Library of Congress, Ms. M. 574. B Case, olim M. 572. B65 Case [RISM A/II: deest]. Written in Madrid in 1811 by François de Fossa, it derives from a copy prepared by Boccherini for the commissioner of the pieces, Francisco Borja de Riquer y de Ros, marquis of Benavent, an amateur guitarist and patron of Boccherini from 1796.
The primary source of the Quintets 7, 9 and the 12 Variazioni sulla Ritirata di Madrid is ms. L520, a codex comprising 5 volumes, dating from the first half of the nineteenth century, certainly assembled at Bar-Le-Duc, the residence of Louis Picquot from 1832 to 1853, who probably was the commissioner and first owner. Upon Picquot’s death, the codex was sold at auction in 1904 by the Berlin antiquarian Leo Liepmannssohn as lot 520. In 1911 it was acquired by the Gitarristische Vereinigung of Munich. During the twentieth century this institution dissolved, and the ex lot 520 passed into anonymous private hands. Rediscovered and examined in 2010 by Andreas Stevens and Fulvia Morabito, the codex was acquired by the Bayerische Staatsbibliothek in Munich.
The primary source of the Quintets 1-6 is ms. Wc, Washington (DC), Library of Congress, Ms. M. 574. B Case, olim M. 572. B65 Case [RISM A/II: deest]. Written in Madrid in 1811 by François de Fossa, it derives from a copy prepared by Boccherini for the commissioner of the pieces, Francisco Borja de Riquer y de Ros, marquis of Benavent, an amateur guitarist and patron of Boccherini from 1796.
The primary source of the Quintets 7, 9 and the 12 Variazioni sulla Ritirata di Madrid is ms. L520, a codex comprising 5 volumes, dating from the first half of the nineteenth century, certainly assembled at Bar-Le-Duc, the residence of Louis Picquot from 1832 to 1853, who probably was the commissioner and first owner. Upon Picquot’s death, the codex was sold at auction in 1904 by the Berlin antiquarian Leo Liepmannssohn as lot 520. In 1911 it was acquired by the Gitarristische Vereinigung of Munich. During the twentieth century this institution dissolved, and the ex lot 520 passed into anonymous private hands. Rediscovered and examined in 2010 by Andreas Stevens and Fulvia Morabito, the codex was acquired by the Bayerische Staatsbibliothek in Munich.
Author: Luigi Boccherini (1743-1805)
Editor: Fulvia Morabito, Andrea Schiavina
Publication Date: 1/24/2019
Series: Luigi Boccherini Opera Omnia
Pages: pp. 436
Size: 230x305 mm
Binding: Paperback (Soft Cover)
ISMN: 979-0-2153-2538-8
ISBN: 978-88-8109-509-4
Code: BCE 8
Notes Vol. 77 No. 3 (March 2021)
... As with the other published volumes in the series, this is a well-prepared and presented edition. The preface to the edition outlines editorial symbols, and the critical commentary gives detailed information about decisions taken in the editorial process. The editorial additions in the music are clear and discrete and do not overcomplicate the musical text. Performance terms typically used by Boccherini have also been maintained. ... The Luigi Boccherini Opera Omnia edition series is filling an important gap in the availability of scholarly and authoritative editions of Boccherini’s works, and is playing an important role in the promotion of his music to a wider audience. The present edition of Boccherini’s guitar quintets is no exception. (Loukia Drosopoulou)
... As with the other published volumes in the series, this is a well-prepared and presented edition. The preface to the edition outlines editorial symbols, and the critical commentary gives detailed information about decisions taken in the editorial process. The editorial additions in the music are clear and discrete and do not overcomplicate the musical text. Performance terms typically used by Boccherini have also been maintained. ... The Luigi Boccherini Opera Omnia edition series is filling an important gap in the availability of scholarly and authoritative editions of Boccherini’s works, and is playing an important role in the promotion of his music to a wider audience. The present edition of Boccherini’s guitar quintets is no exception. (Loukia Drosopoulou)
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