Bladmuziek
Uitvoeringen
Partituren en partijen
Amadeus Verlag, 1979.
Editeur
Ulrich Drüner (b. 1943)
Volcker Lutz (b. 1940), continuo realization
Volcker Lutz (b. 1940), continuo realization
Uitgever
Zurich: Amadeus Verlag, 1979. Plate BP 2605.
Auteursrecht
Manuscript, n.d.(1st half 18th century).
Uitgever
Manuscript, n.d.(1st half 18th century)
Overige opmerkingen
For viola or viola da gamba? In Telemann's works Viola da braccio and alto viola are clearly the modern viola, while viole, violetta and viola are ambiguous. The ms only specifies viola. In favor of vdg — b below the viola range in movt 3. In favor of viola — many high d's, difficult on the vdg.
[This may have been an earlier contributor's opinion. However, the D above the alto staff is not a particularly high or difficult note. It routinely occurs in concertante parts for viola da gamba from the 17th and 18th centuries, and some parts for the instrument go substantially higher. Furthermore, if I have counted correctly the high D occurs only three times in the part, and the part mostly lies within the five lines of the staff. Both the range and the tessitura of the part thus suggest viola da gamba rather than viola, and indeed the range excludes the viola altogether.]
Auteursrecht
Martin Sheen.
Amadeus Verlag, 1979.
Editeur
Ulrich Drüner (b. 1943)
Volcker Lutz (b. 1940), continuo realization
Volcker Lutz (b. 1940), continuo realization
Uitgever
Zurich: Amadeus Verlag, 1979. Plate BP 2605.
Auteursrecht
Manuscript, n.d.(1st half 18th century).
Uitgever
Manuscript, n.d.(1st half 18th century)
Overige opmerkingen
For viola or viola da gamba? In Telemann's works Viola da braccio and alto viola are clearly the modern viola, while viole, violetta and viola are ambiguous. The ms only specifies viola. In favor of vdg — b below the viola range in movt 3. In favor of viola — many high d's, difficult on the vdg.
[This may have been an earlier contributor's opinion. However, the D above the alto staff is not a particularly high or difficult note. It routinely occurs in concertante parts for viola da gamba from the 17th and 18th centuries, and some parts for the instrument go substantially higher. Furthermore, if I have counted correctly the high D occurs only three times in the part, and the part mostly lies within the five lines of the staff. Both the range and the tessitura of the part thus suggest viola da gamba rather than viola, and indeed the range excludes the viola altogether.]
Auteursrecht
Martin Sheen.