乐谱
乐谱
Manuscript, n.d.
出版社
Manuscript, n.d.
其他说明
F-Pn Ms.2511 . Complete version of this manuscript, but lacks the adagio introduction present in the autograph at Brussels.
Stefano Paparozzi, 2025.
校订者
Stefano Paparozzi (b. 1986)
出版社
Stefano Paparozzi, 2025.
其他说明
This is not a scientific critical edition, it's just an engraving made for study purpose. The source used is the manuscript available on IMSLP (F-Pn Ms.2511). Except for the usual small inconsitencies unavoidable for such source (like incoherent articulations and/or slurs between repeated passage), the manuscript is generally well readable and free of evident mistakes. In m.453, though, Violin I part has 6 eights instead of the usual 5 notes which make this piece so characteristic: the original has been noted in grey, while the editorial adjustment has been made on the basis of the recording by Kaspar Zehnder and the Prague Philharmonia (maybe based on a set of parts available somewhere else, which corrects this issue). The abbreviations common for the era, like long passages of an instrument just asking to play the same notes of another, have been written out entirely (the only exception are the 16ths tremolos, which any modern edition would mantain abbreviated).
Manuscript, n.d.
出版社
Manuscript, n.d.
其他说明
F-Pn Ms.2511 . Complete version of this manuscript, but lacks the adagio introduction present in the autograph at Brussels.
Stefano Paparozzi, 2025.
校订者
Stefano Paparozzi (b. 1986)
出版社
Stefano Paparozzi, 2025.
其他说明
This is not a scientific critical edition, it's just an engraving made for study purpose. The source used is the manuscript available on IMSLP (F-Pn Ms.2511). Except for the usual small inconsitencies unavoidable for such source (like incoherent articulations and/or slurs between repeated passage), the manuscript is generally well readable and free of evident mistakes. In m.453, though, Violin I part has 6 eights instead of the usual 5 notes which make this piece so characteristic: the original has been noted in grey, while the editorial adjustment has been made on the basis of the recording by Kaspar Zehnder and the Prague Philharmonia (maybe based on a set of parts available somewhere else, which corrects this issue). The abbreviations common for the era, like long passages of an instrument just asking to play the same notes of another, have been written out entirely (the only exception are the 16ths tremolos, which any modern edition would mantain abbreviated).