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 詳細情報.
楽譜
演奏
楽譜
Unidentified Publisher, n.d.(ca.1724).
出版社
London: Unidentified Publisher, n.d.(ca.1724).
その他の注記
Boston Public Library, Music Department (US-Bp): RISM A/I: A 1420
Stefano Paparozzi, 2022.
校訂者
Stefano Paparozzi (b. 1986)
出版社
Stefano Paparozzi, 2022.
その他の注記
This is not a scientific critical edition, it's just an engraving made for study purpose. The source used is the edition available on IMSLP [Boston Public Library, Music Department (US-Bp): RISM A/I: A 1420]. The source is very well readable regarding the instrumental parts, having just a couple of minor mistakes, and being overall very coherent about dynamics and articulations. More problematic were some occurences in the text: both because of the hyphenation and the subdivision of syllabic beaming, the resulting syllabation looks sometimes awkward (especially in 3rd Cantata's first Aria), also considering that this is from an Italian composer who should know well how to use elisions and distribute accents. The original, debatable lyrics were conserved, but an alternative syllabation is proposed in italiacs (also after a comparison with the recording by Musica Solare with Laurie Reviol).
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 詳細情報.
Unidentified Publisher, n.d.(ca.1724).
出版社
London: Unidentified Publisher, n.d.(ca.1724).
その他の注記
Boston Public Library, Music Department (US-Bp): RISM A/I: A 1420
Stefano Paparozzi, 2022.
校訂者
Stefano Paparozzi (b. 1986)
出版社
Stefano Paparozzi, 2022.
その他の注記
This is not a scientific critical edition, it's just an engraving made for study purpose. The source used is the edition available on IMSLP [Boston Public Library, Music Department (US-Bp): RISM A/I: A 1420]. The source is very well readable regarding the instrumental parts, having just a couple of minor mistakes, and being overall very coherent about dynamics and articulations. More problematic were some occurences in the text: both because of the hyphenation and the subdivision of syllabic beaming, the resulting syllabation looks sometimes awkward (especially in 3rd Cantata's first Aria), also considering that this is from an Italian composer who should know well how to use elisions and distribute accents. The original, debatable lyrics were conserved, but an alternative syllabation is proposed in italiacs (also after a comparison with the recording by Musica Solare with Laurie Reviol).