Partition complète, 8 sonates pour Cembalo, 8 Sonate per Cembalo
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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 HenryEdition: Stephen Henry
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VIII SONATAS
for
HARPSICHORD
Opus I
Revised
by
DOMENICO 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
VIII SONATE per Cembalo
R
OperaPrima
R
da DICENOMO A
BLRETIC
London, Printed forI. Walsh, in Catherine Street, in the Strand @ #
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
ii
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 foe VmnAaince--e!taiduper ot deua e p bu ta.h aWsl iss wastionlicaoL nnodnsupOi 1 Jbyn oh17, , 48eh dopts suplbsi as his humously si cnocide noitre pntse is dosanatk yeobrath eighterned wi stro di cappella scandalousof the San Marco Basilica in Venice, and ofact 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 14thof 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 18thcentury. 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 ModeratoAcknowledgements 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, 2nded.,ed. Stanley Sadie, MacMillan Publishers, Ltd., 2001 Johann Christian Bach and the Early Italian Classical Masters Daniel E. Freeman in18thCentury Keyboard Music, ed. Robert L. Marshall, Schirmer Books, 1994
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VIII SONATE per CEMBALO
Sonata I Domenico Alberti Andante I.33
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