Vivaldi

1732 · 39416 — London: I. Walsh . and I Hare 1732. 8 volumes. Small folio. Sewn. Housed in a custom-made brown linen clamshell archival box with printed title label to spine.<br /> <br /> Violino Primo: 1f. title 1 blank 2-27 1f. title 1 blank 2-7 i blank 8-18 pp. John Young overpaste to titles of both parts several minor edge stains.<br /> Violino Secondo: 1f. title 1 blank 2-25 1 blank 26-31 pp. <br /> Violino Terzo: 1f. title 1 blank 2-12 1 blank 13-17 1 blank 18-28 pp. <br /> Violino Quatro: 1f. title 1 blank 2-10 1 blank 11-15; 1 blank 2-7 1 blank 8-12 pp.<br /> Alto Primo: 1f. title 1 blank 2-23 pp.<br /> Alto Secondo: 1 title 2-23 pp.<br /> Violoncello: 1f. title 1 blank 2-27 pp.<br /> Violino e Cembalo: 1f.title 1blank 2-10; 1f.title 11-16 1 blank 2-5 1 blank 6-12 pp. <br /> <br /> Engraved throughout. Early manuscript numbering to upper margins of each page of music to parts for Violino Secondo Terzo and and Alto Primo. "No. 451" absent from the Violino e Cembalo part.<br /> <br /> All parts with Japanese paper reinforcement to spines and binder's pinholes to inner margins; some outer margins trimmed just affecting printed area. A mixed set predominantly a reissue of the second London edition first published in 1717; the Violino Primo and Violino e Cembalo parts from an earlier issue before 1730. Smith & Humphries 1520. BUC p. 1047. Ryom: Répertoire des Oeuvres d'Antonio Vivaldi. Les compositions instrumentales p. 17 6a and 9. RISM V2205 and VV2203.<br /> <br /> "In 1711 Etienne Roger the Amsterdam publisher brought out what was to become the most influential music publication of the first half of the 18th century: Vivaldi's L'estro armonico op. 3 dedicated to Grand Prince Ferdinando of Tuscany; it comprised 12 concertos divided equally into works for one two and four solo violins. The third fifth and 12th concertos from op. 3 along with the concerto published individually under the title 'The Cuckow' RV 335 became staples of the repertoire of many violinists were arranged for a variety of instruments and were extracted for use in violin tutors throughout the 18th century and beyond. Nowhere was the enthusiasm for Vivaldi's concertos stronger than in Germany. Bach transcribed several of them including five from op. 3 for keyboard and his noble patron Prince Johann Ernst of Saxe-Weimar wrote concertos in Vivaldi's style." Michael Talbot revised by Nicholas Lockey in Grove Music Online<br /> <br /> All lifetime editions of Vivaldi's works are rare. I. Walsh ... and I Hare unknown