Partition complète, 8 sonates pour Cembalo, 8 Sonate per Cembalo

Domenico Alberti

Description

Redécouvrez la partition de morceau 8 sonates pour Cembalo partition complète, sonates, fruit du travail de Alberti, Domenico , Opus 1. La partition baroque écrite pour les instruments suivants:

• clavecin

La partition aborde plusieurs mouvements et l'on retrouve ce genre de musique classifiée dans les genres pour 1 musicien, pour clavecin, partitions pour clavecin, sonates
Travaillez de la même façon une grande sélection de musique pour clavecin sur YouScribe, dans la catégorie Partitions de musique baroque.
Rédacteur: Stephen Henry
Edition: Stephen Henry

Sujets

• Baroque
• Harpsichord
• Alberti

Informations

• Publié par: ALBERTI
• Nombre de lectures: 116
• Licence : En savoir +
  Paternité
• Langue: Français

Extrait

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VIII  SONATAS

for

 HARPSICHORD

Opus I

Revised

by

 D OMENICO   A

LBERTI

Published by Stephen Henry in the United States of America   MMVIII under a Creative Commons Attribution 3.0 license

Guide to this electronic edition

e Table of Contents &  ematic Index contain embedded links pointing to the pertinent pages of this document. Click on the link to navigate directly to the page of interest.

Each sonata may be auditioned by playing an embedded MIDI fi le. Click on the first measure of any movement to start its MIDI fi le. (Repeats are usually not observed.)

Cover design after Bruce Rogers

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Edited by Stephen Henry

Table of Contents   

Introduction.................................................. .................1..........   Sonata I in G Major    I. Andante ......................................................................... 2  II. Andante .......................................................................... 6

Sonata II in F Major  I. Allegro Moderato............................................................. 8  II. Allegro Assai................................................................. 12

Sonata III in C Major  I. Allegro ma non tanto ..................................................... 16  II. Menuet ......................................................................... 20 Sonata IV in g minor  I. Allegro............................................................................ 21  II. Presto (Giga) ................................................................ 24

Sonata V in A Major  I. Allegro Moderato........................................................... 28  II. Allegro .......................................................................... 30

Sonata VI in G Major  I. Allegro Moderato........................................................... 34  II. Allegro .......................................................................... 38

Sonata VII in F Major  I. Allegro............................................................................ 40  II. Tempo di Menuet (with Four Variations) ..................... 44

Sonata VIII in G Major  I. Allegro............................................................................ 48  II. Presto Assai .................................................................. 52

Critical Report......................................................... ......65........

ematic Index ................................................................59

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 While contemporaneous opinion ascribed the tech- nique to him, modern scholarship, although fi nding little evidence for its use prior to Alberti, prefers to regard him as one its earliest proponents but not necessarily its inventor.  

Introduction D   fo e   V m n A a i n c e - - e ! taiduper ot  deua e p bu ta.h  aWsl iss wastionlica oL nnodnsupOi 1   Jbyn oh 17, , 48eh dopts suplbsi as his humously  si cnocide noitre pntse is  d osanat k yeobrath eighterned wi stro di cappella  scandalous of the San Marco Basilica in Venice, and of act of plagiarism by one Giuseppe Jozzi (ca. 1710-  Antonio Lotti (1666-1740), who succeeded Biffi in that position.  1770) who had these same sonatas printed under his own name in London in 1745.  Sometimes dismissed as an amateur, Alberti received a thorough grounding in music. His teacher Lotti also  Each sonata is in two mo vements, generally a slow- instructed Baldassare Galuppi, Michelange Gasparini and  er movement followed by a somewhat faster one.  e sonata Benedetto Marcello. Alberti seems never have occupied an  movements often employ a rounded binary form, A      BA  , “official” musical post, but nonetheless established a reputation as  where the theme of the fi rst half is repeated at the conclusion of a composer, singer and harpsichor dist, often accompanying him-  the second half. us in Alberti’s sonatas one may discern, in a self at the keyboard.While serving as a page in the entourage of the  rudimentary form, the lineaments of the classical sonata as even- Venetian ambassador to the Spanish court in 1736, his singing  tually expounded by Haydn and Mozart. elicited the favorable opinion of none other than Carlo Maria Broschi (1705-1782), famous in history by his stage name  e collection seems very much a random compliation Farinelli. with no overall plan. All the sonatas except the fourth are in major keys. Sonata IV is in g minor and concludes with a Giga. Sonata  Subsequently, he joined the household of the  VII in F major is distinguished by a minuet with four variations. MarcheseGiovanni Carlo Molinari in Rome where he was to die on the 14 th of October, 1740. He was laid to rest in the church of  Perhaps no greater claim may be laid for him than that San Marco, Formio.  ofpetit maître, but placed within the context of his time, Alberti's was a voice of the future and his infl uence was to extend right  His surviving works are comprised of 14 complete key-  through to the end of the 18 th century. Even today, “his” bass may board sonatas and 10 separate sonata movements, all considered  be employed, if only in caricature, to suggest a sort of antique late works written during his last years in Rome.  ese are all  preciosity. that remain of the more than 40 that are thought to have once existed. Additionally, there are two serenatas:Endimione(Venice, A Note on Performance 1737) andLa Galatea(Venice, 1737), aSalve Regina,and various  ough intended for the harpsichord or spinet, miscellaneous arias. these sonatas are eminently suitable for the modern piano. Today he is primarily known for his “Alberti” bass.  Ornaments are confined to trills and appogiaturas. Historically, In keyboard music, this is a fi guration of the left hand that serves  trills were understood to begin on the upper note except in step- as an accompaniment to a theme in the right hand. At its most  wise descending passages where they may begin on the primary formulaic, the left hand describes a triad beginning with the root  note. Appogiaturas were performed on the beat and could be held of the chord, ascending to the fi fth, descending to the third and  for as long as half the length of the main note. returning to the fifth:  Allegro Moderato Acknowledgements   VIII Sonate per Cembalo, Opera Prima, da Domenico Alberti facsimile edition, Peacock Press, Hebden Bridge, 2006 Domenic Alberti Michael Talbot in theGrove Dictionary of Music & Musicians, 2 nd ed.,ed. Stanley Sadie, MacMillan Publishers, Ltd., 2001 Johann Christian Bach and the Early Italian Classical Masters Daniel E. Freeman in18 th Century Keyboard Music, ed. Robert L. Marshall, Schirmer Books, 1994

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VIII SONATE per CEMBALO

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4                                                             

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