[Op. 5]. Parte Prima Sonate a Violino e Violone o Cimbalo Dedicate all Altezza Serenissima Electorale di Sofia Charlotta ... Opera Quinta. Si vendono à Pasquino all' Insegna della Stella da Filippo Farinelli. Incisa da Gasparo Pietra Santa. Bound with: Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia. Arcangelo CORELLI.
[Op. 5]. Parte Prima Sonate a Violino e Violone o Cimbalo Dedicate all Altezza Serenissima Electorale di Sofia Charlotta ... Opera Quinta. Si vendono à Pasquino all' Insegna della Stella da Filippo Farinelli. Incisa da Gasparo Pietra Santa. Bound with: Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia.
[Op. 5]. Parte Prima Sonate a Violino e Violone o Cimbalo Dedicate all Altezza Serenissima Electorale di Sofia Charlotta ... Opera Quinta. Si vendono à Pasquino all' Insegna della Stella da Filippo Farinelli. Incisa da Gasparo Pietra Santa. Bound with: Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia.
[Op. 5]. Parte Prima Sonate a Violino e Violone o Cimbalo Dedicate all Altezza Serenissima Electorale di Sofia Charlotta ... Opera Quinta. Si vendono à Pasquino all' Insegna della Stella da Filippo Farinelli. Incisa da Gasparo Pietra Santa. Bound with: Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia.

[Op. 5]. Parte Prima Sonate a Violino e Violone o Cimbalo Dedicate all Altezza Serenissima Electorale di Sofia Charlotta ... Opera Quinta. Si vendono à Pasquino all' Insegna della Stella da Filippo Farinelli. Incisa da Gasparo Pietra Santa. Bound with: Parte Seconda Preludii Allemande Correnti Gighe Sarabande Gavotte e Follia.

[Roma]: Gasparo Pietra Santa, [1700]. Oblong folio (350 x 254 mm). Full contemporary vellum with titling in manuscript to upper. 1f. (recto frontispiece, verso blank), 1f. (recto title, verso blank), 1f. (recto printed dedication, verso blank), 3-39, 40 (title to Part II within decorative border by Cerrini), 41-68 pp. Engraved throughout.

Attractive full-page pictorial frontispiece engraved by Girolamo Frezza after Antonio Melone incorporating musical instruments.

Early ownership signature and date ("Penrose Florence 1794") to upper outer corner of front pastedown.

With interesting full page contemporary manuscript notes in English to verso of dedication leaf consisting of biographical notes on Corelli and on Opus 5, citing both Burney and Hawkins; an additional two lines in the same hand to upper margin of p. 62, a Follia: "This ground was composed by Farinelli uncle of the famous singer and componist, violinist, and concert master at Hanover about 1684. He was ennobled by the King of Denmark, and was by George I appointed his resident at Venice." Occasional performance annotations.

Binding quite worn with minor loss to corners and edges. Uniform light browning; occasional minor foxing and soiling; early paper tape repairs to blank lower margins of a number of leaves, occasionally just touching lower staff lines.

First Edition, second issue. Marx p. 173, 2. Rinaldi p. 456. Sartori: Estratto da Collectanea Historiae Musicae Vol. II, p. 387. BUC p. 220. RISM C3801.

The first six sonatas are "church" sonatas, while the second six (with a separate title) are "chamber" sonatas, the last of which is actually the Follia, one of the most renowned compositions of Baroque string literature.

"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other authentic works, and its virtual restriction to three genres – solo sonata, trio sonata and concerto – Corelli exercised an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon. As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in large part to the activity of music publishers, and the first to produce ‘classic’ instrumental works which were admired and studied long after their idiom became outmoded." Michael Talbot in Grove Music Online. Item #31980

Price: $2,200.00  other currencies

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