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Avison: Concerto Grosso Arrangements of Geminiani's Opus 1 Violin Sonatas

Charles Avison
Concerto Grosso Arrangements of Geminiani’s Opus 1 Violin Sonatas
Edited by Mark Kroll
B160
Avison: Concerto Grosso Arrangements of Geminiani's Opus 1 Violin Sonatas
Full Score (2010)
978-0-89579-671-4
9x12, xvi + 186 pp.

Availability: In stock

$135.00
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Performance Parts

Availability: In stock

B160R01
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R02
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R03
Rental Parts (2011)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R04
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R05
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R06
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R07
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R08
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R09
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R10
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011

B160R11
Rental Parts (2014)
Set of 12 parts: 0000 0000 Concertino = 11110 / Ripieno = 33011
Charles Avison was the leading advocate of the Italian concerto-grosso style in England during the eighteenth century. A pupil of Francesco Geminiani and a friend to many other Italian musicians who immigrated to England during this period, Avison wrote more than fifty works in the genre, including his well-known orchestral transcriptions of Domenico Scarlatti’s keyboard sonatas, and he was happy to assume the role of the genre’s staunchest defender. Avison’s arrangements of Geminiani’s Sonatas for Violin and Basso Continuo, op. 1 (1716) were unknown to us until 2002, when they were discovered in the second of two of his workbooks that reappeared after being hidden for more than two hundred years. These works represent a significant addition not only to the repertoire and reputation of Avison, but also to our understanding of the influence of the Italian concerto-grosso style in England during the seventeenth and eighteenth centuries.
1. Concerto in G Major (from Sonata in A Major, Op. 1, No. 1)
I. Grave; Allegro; Adagio; Allegro; Adagio
II. Allegro
III. Grave
IV. Allegro
 
2. Concerto in D Minor (from Sonata in D Minor, Op. 1, No. 2)
I. Adagio
II. Allegro
III. Adagio
IV. Allegro
 
3. Concerto in E Minor (from Sonata in E Minor, Op. 1, No. 3)
I. Adagio; Allegro; Adagio; Tempo giusto; Adagio
II. Allegro
 
4. Concerto in D Major (from Sonata in D Major, Op. 1, No. 4)
I. Adagio
II. Allegro
III. Grave
IV. Allegro
 
5. Concerto in B-flat Major (from Sonata in B-flat Major, Op. 1, No. 5)
I. Affettuoso
II. Vivace
III. Grave
IV. Allegro
 
6. Concerto in G Minor (from Sonata in G Minor, Op. 1, No. 6)
I. Affettuoso
II. Adagio
III. Allegro
IV. Andante
 
7. Concerto in C Minor (from Sonata in C Minor, Op. 1, No. 7)
I. Grave
II. Allegro
III. Grave
IV. Allegro
 
8. Concerto in B Minor (from Sonata in B Minor, Op. 1, No. 8)
I. Affettuoso
II. Vivace
III. Adagio
IV. Vivace
 
9. Concerto in F Major (from Sonata in F Major, Op. 1, No. 9)
I. Vivace
II. Andante
III. Allegro
 
10. Concerto in D Major (from Sonata in E Major, Op. 1, No. 10)
I. Adagio
II. Allegro
III. Adagio
IV. Allegro
 
11. Concerto in D Minor (from Sonata in D Minor, Op. 1, No. 12)
I. Amoroso
II. Allegro
III. Adagio; Allegro
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