INSTRUMENTAL

“Paris Quartet no.12″: 6e. Quatuor (from Nouveaux quatuors en six suites, 1738)

score [Telemann's version for cello]

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The basso continuo part I prepared for myself last January, when we performed Bach’s Brandenburg Concerto no.4 (BWV 1049). It was a very nice project (appart from the music itself) because I think it was the first one that arose in the kitchen of our house in Utrecht, while having dinner with my roommates: two recorders and a violin…, I suposse it was going to happen, we were the perfect instrumental set for this piece.

A pity our violinist got worryingly sick for the final performance…, and now he is in Brussels. We should definitely recover this music when he’s back next winter.

With this upload, I also inaugurate a section for J.S. Bach!

Brandenburg Concerto no.4, BWV 1049 (after Bach’s autograph, 1721) - basso continuo part

INSTRUMENTAL

Brandenburg Concerto no.4, BWV 1049 (after Bach’s autograph, 1721)

parts: basso continuo

Brandenburg Concerto no.6, BWV 1051 (after Bach’s autograph, 1721)

parts: Violone è Cembalo

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INSTRUMENTAL

Folias echa para mi Señora Doña Tarolilla de Carallenos (from Il primo libro di Canzone…, 1650)

score

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One of the ideas that inspired me to open this site was the possibiliy of sharing the music I usually transcribe for my personal use, and offering it to other performers.

So… today I open this Archive with a Vivaldi cantata:

All’ombra di sospetto (Cantata para Canto Solo con Flauto Traverso) RV 678 (*)

If you are interested, just download it in pdf or consult the list of composers. I also recommend you to take a look in my Editorial Policy (where you will also find the abreviations that I normally use in the Critical Commentary).

New editions and revisions will be published through this blog, so don’t miss them!

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(*) following RYOM, P. (2007): Antonio Vivaldi: thematisch-systematisches Verzeichnis seiner Werke (RV). Wiesbaden: Breitkopf & Härtel.

SOLO CONCERTOS

Concerto in c for recorder and strings, RV 441

keyboard reduction

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SOLO CANTATAS

All’ombra di sospetto (Cantata à Canto Solo con Flauto Traverso) RV 678

score

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B

Bach, Johann Sebastian (1685-1750)

F

Falconieri, Andrea (1585/6-1656)

T

Telemann, Georg Philipp (1681-1767)

V

Vivaldi, Antonio (1678-1741)

My main interest in editing a musical text is the respect for the original. As a performer, I normally want to have access to an original source (or facsimile edition instead), but that is not always possible or easy (due to readability, accesibility or cost). This is the reason why I arrange some of my music, and I prefer modern editions that provide not only the content but also (when possible) the appearance of the original, because us, as readers from the 21st century, can only “interpret” what is there written.

Anyway, there are few things that I accomodate in my “translation” of the music, trying to look always for clarity.

Original CLEFS are replaced by modern ones in the score, but can be consulted in the Critical Commentary of each piece (where I also include changes when they occur).

When dealing with ensemble music (specially orchestral), those cases where doubling is expressly indicated in the sources by adding words as flûte, hautbois, etc., to one of the melodic lines, I add a new staff for each new instrument to visualize easily the orchestration. I should admit that this one is a problematic decision for me as it changes the appearance and hides a bit the fact that the INSTRUMENTATION is made mainly by doubling string parts. But it has a practical and visual advantage. Again, the specific original texts are mentioned in the Critical Commentary.

I have modernize the function of ACCIDENTALS: sharps and flats for ascending and descending semitones respectively; naturals to restore the original pitch of a note. Nevertheless, in order to keep as much as possible the original appearance of the music, I copy every accidental, even when they can seem superfluous (that is, they do not apply generally to all the notes with the same name in the same bar, although there are some cases in which a single accidental obviously affects more than one note; I leave it to the performer’s judgement). Editorial accidentals appear either on the note or (in vertical dispositions or when the continuo figuring can cause confusion) between brackets.

REPETITIONS are indicated in the modern standard way also. The Critical Commentary includes, however, the original repetition indications (and their place).

Other material, as KEY SIGNATURES, PHRASING MARKS, ORNAMENTATION and FIGURING in the continuo, is original.

EDITORIAL REMARKS but accidentals appear between square brackets. Each time I make the decision of changing anything from the original, I include an entry in the Critical Commentary, where the content is divided in pieces, sections, movements…

I use a lot of abreviations in my Critical Commentary. All of them (except those concerning sources as they are specific of each piece) are included below, together with a diagram of the pitch notation I use in my commentaries (it’s easier than writing each example in music notation).

ABREVIATIONS:

b. = bar

B. = base, basso

BC = continuo, basso continuo

Bs. = bassoon

C. = canto

C1 = soprano clef

Cfr. = confront, compare with

F4 = base clef

Fl. = flute, flauto

G1 = French treble clef

G2 = treble clef

p(p). = page(s)

Va. = viola

Vc. = violoncello

Vn. = violin, violino

Vne. = violone

Pitch notation:

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Studying composition forced me to daring,

I then arranged some small pieces,

now edition has become a way of life…

… they start to be stacked and I need to share…

Currently it is not uncommon for me to edit a new piece per week. Many belong to the personal field, of course, and a glance over them just becomes a sort of diary of my stylistic interests.

Others are due to need: provided that the readability of originals is doubtful (in many manuscripts, for instance), when the piece in question was only published in parts (and I like to have a general idea of the whole) or just the opposite, when there are no parts in music for bigger ensembles…

This hobby is beginning to bear fruit in the professional area. I collaborate since 2007 with the production office of the Koninklijk Conservatorium in The Hague in preparing materials for projects organized by the Early Music department.

For more information, you can read my Editorial Policy. And if you like, send me consultations and/or suggestions to my email address.

The editions available in this site are by Patricia González Fernández and are under Creative Commons Licence: Attribution-Non-commercial-No derivative works 3.0 Unported.

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Consult the list of composers>