Complete
This page is only for complete editions and multiple selections from the collection here. For arrangements, new editions, etc. see (or create) separate pages for individual works linked in Plus d’informations.
Partition
Parties
Huberty, n.d.
Graveur
Mme Huberty
Maison d’édition
Paris: Huberty, n.d.
Remarques diverses
Six Trio pour deux Violons et Alto Viola ou Basse Obligé.
Alternate Cello part missing.
Alternate Cello part missing.
Droits d’auteur
Sonatas 1-4
Sonatas 1-4
Markordt, n.d.
Maison d’édition
The Hague: Van Laak, n.d.(ca.1780).
co-issue - Amsterdam: Markordt, n.d.
co-issue - Amsterdam: Markordt, n.d.
Remarques diverses
N.B. Sonatas are presented in the order 4, 1, 3, 2. Alternate Viola missing.
It is possible that this is a publisher's label pasted over the original printer's name.
Title: Quattro Sonate Notturne a Due Violini, e Basso o piuttosto Viola.
This file is part of the Sibley Mirroring Project.
It is possible that this is a publisher's label pasted over the original printer's name.
Title: Quattro Sonate Notturne a Due Violini, e Basso o piuttosto Viola.
This file is part of the Sibley Mirroring Project.
Droits d’auteur
Sonatas 2, 4 & 6
Sonatas 2, 4 & 6
Bärenreiter Verlag, 1949.
Éditeur scientifique
Walter Upmeyer (1876-1961)
Maison d’édition
Hortus Musicus, No.37
Kassel: Bärenreiter Verlag, 1949.
Kassel: Bärenreiter Verlag, 1949.
Réimpression
1957
Remarques diverses
From the uploader's library. Scanned A3 after unstapling. N.B. Sonatas are presented in the order 2, 6, 4.
Walter Upmeyer in his Introduction to this edition (1948) considers we can witness in this work the disappearance of the basso continuo in favour of the galant style of solo writing influenced by Tartini. He has based his (first) edition on manuscripts in the Berlin Schlossbibliothek.
Walter Upmeyer in his Introduction to this edition (1948) considers we can witness in this work the disappearance of the basso continuo in favour of the galant style of solo writing influenced by Tartini. He has based his (first) edition on manuscripts in the Berlin Schlossbibliothek.
Droits d’auteur
Sur cette page
This page is only for complete editions and multiple selections from the collection here. For arrangements, new editions, etc. see (or create) separate pages for individual works linked in Plus d’informations.
Terminé
Complete
Complete
Huberty, n.d.
Graveur
Mme Huberty
Maison d’édition
Paris: Huberty, n.d.
Remarques diverses
Six Trio pour deux Violons et Alto Viola ou Basse Obligé.
Alternate Cello part missing.
Alternate Cello part missing.
Droits d’auteur
Sonatas 1-4
Sonatas 1-4
Sonatas 1-4
Sonatas 1-4
Markordt, n.d.
Maison d’édition
The Hague: Van Laak, n.d.(ca.1780).
co-issue - Amsterdam: Markordt, n.d.
co-issue - Amsterdam: Markordt, n.d.
Remarques diverses
N.B. Sonatas are presented in the order 4, 1, 3, 2. Alternate Viola missing.
It is possible that this is a publisher's label pasted over the original printer's name.
Title: Quattro Sonate Notturne a Due Violini, e Basso o piuttosto Viola.
This file is part of the Sibley Mirroring Project.
It is possible that this is a publisher's label pasted over the original printer's name.
Title: Quattro Sonate Notturne a Due Violini, e Basso o piuttosto Viola.
This file is part of the Sibley Mirroring Project.
Droits d’auteur
Sonatas 2, 4 & 6
Sonatas 2, 4 & 6
Sonatas 2, 4 & 6
Sonatas 2, 4 & 6
Bärenreiter Verlag, 1949.
Éditeur scientifique
Walter Upmeyer (1876-1961)
Maison d’édition
Hortus Musicus, No.37
Kassel: Bärenreiter Verlag, 1949.
Kassel: Bärenreiter Verlag, 1949.
Réimpression
1957
Remarques diverses
From the uploader's library. Scanned A3 after unstapling. N.B. Sonatas are presented in the order 2, 6, 4.
Walter Upmeyer in his Introduction to this edition (1948) considers we can witness in this work the disappearance of the basso continuo in favour of the galant style of solo writing influenced by Tartini. He has based his (first) edition on manuscripts in the Berlin Schlossbibliothek.
Walter Upmeyer in his Introduction to this edition (1948) considers we can witness in this work the disappearance of the basso continuo in favour of the galant style of solo writing influenced by Tartini. He has based his (first) edition on manuscripts in the Berlin Schlossbibliothek.
Droits d’auteur