- 314
Veracini, Francesco Maria (1690-1768).
Estimate
3,000 - 4,000 EUR
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Description
- Sonate a violino solo, e basso, Op.1, [partition]. Dresden: 1721.
- paper
première édition, grand in-4 oblong (26 x 36.5 cm), [5] et 78 pages, entièrement gravée, dédicace de Veracini au Roi Auguste II de Pologne, superbe frontispice gravé avant la 'Parte Seconda', représentant un violon dans une guirlande de fleurs, demi-maroquin du XIXe siècle, petit manque au pied du dos, mors usagés.
Literature
RISM V1205
Condition
Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Rare : Nous n'avons pas d'enregistrement de cette première édition des sonates de Veracini à une vente publique depuis plus de soixante ans.
Veracini fut l'un des plus importants compositeurs de l'histoire du developpement de la technique du violon. Il developpa particulièrement les positions de la main, et fut comparé à son modèle, Arcangelo Corelli.
Ces nouvelles positions permirent au compositeur d'explorer les notes les plus aigües du violon, et d'utiliser dans sa septième sonate des passages complexes atteignant le La le plus haut, quatre lignes au dessus de la clef de sol. Soit une octave et demi au dessus du Mi le plus aigu, qui demande normalement l'utilisation de la septième position.
Veracini était non seulement un violoniste virtuose, mais aussi un grand compositeur. Ses contactes avec les musiciens de Dresde, où il fut le principal compositeur de la cour, expliquent son style très contrapuntique. De ce fait, dans sa Dissertazioni à propos des Sonatas op.5 de Corelli, il intensifia les structures de la composition pour augmenter le contrepoint. (voir J.W.Hill, The Life and Works of Francesco Maria Veracini, 1979).
Rare: we have no record of this first edition of Veracini's sonatas appearing at auction for over sixty years.
Veracini was one the most important composers in the history of the development of violin-playing technique. In particular he extended the hand positions dramatically compared with his model Arcangelo Corelli. This allowed him to explore the upper range of the violin so that the seventh sonata, for example employs virtuoso passagework up to top A, four lines above the treble clef. This is about an octave and a half above the highest open string E, and normally requires the use of seventh position.
Yet Veracini was not merely a virtuoso violinist, but an important composer in his own right. His contact with musicians in Dresden, where he was the leading composer at court, meant that his style was strongly contrapuntal. Indeed, in Veracini's Dissertazioni on Corelli's Sonatas op.5, he reworked many of the sonatas, to enhance the compositional structures and improving the counterpoint. (see J.W.Hill, The Life and Works of Francesco Maria Veracini, 1979).
Veracini fut l'un des plus importants compositeurs de l'histoire du developpement de la technique du violon. Il developpa particulièrement les positions de la main, et fut comparé à son modèle, Arcangelo Corelli.
Ces nouvelles positions permirent au compositeur d'explorer les notes les plus aigües du violon, et d'utiliser dans sa septième sonate des passages complexes atteignant le La le plus haut, quatre lignes au dessus de la clef de sol. Soit une octave et demi au dessus du Mi le plus aigu, qui demande normalement l'utilisation de la septième position.
Veracini était non seulement un violoniste virtuose, mais aussi un grand compositeur. Ses contactes avec les musiciens de Dresde, où il fut le principal compositeur de la cour, expliquent son style très contrapuntique. De ce fait, dans sa Dissertazioni à propos des Sonatas op.5 de Corelli, il intensifia les structures de la composition pour augmenter le contrepoint. (voir J.W.Hill, The Life and Works of Francesco Maria Veracini, 1979).
Rare: we have no record of this first edition of Veracini's sonatas appearing at auction for over sixty years.
Veracini was one the most important composers in the history of the development of violin-playing technique. In particular he extended the hand positions dramatically compared with his model Arcangelo Corelli. This allowed him to explore the upper range of the violin so that the seventh sonata, for example employs virtuoso passagework up to top A, four lines above the treble clef. This is about an octave and a half above the highest open string E, and normally requires the use of seventh position.
Yet Veracini was not merely a virtuoso violinist, but an important composer in his own right. His contact with musicians in Dresden, where he was the leading composer at court, meant that his style was strongly contrapuntal. Indeed, in Veracini's Dissertazioni on Corelli's Sonatas op.5, he reworked many of the sonatas, to enhance the compositional structures and improving the counterpoint. (see J.W.Hill, The Life and Works of Francesco Maria Veracini, 1979).