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The Sonatas
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Abstract
THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’. Op. I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute. The second set of violin sonatas, Op. IV (1739), of which a version for concerto grosso also exists, were transcribed almost in their entirety for harpsichord. The cello sonatas, Op. V (1746), were published simultaneously with their transcription for violin. The remaining sonatas, with few exceptions, are drawn from earlier compositions: the two sets of Pieces de Clavecin (1743, 1762) from Opp. I, II, IV, V, and VII, and the treatises for violin and cittem.
Title: The Sonatas
Description:
Abstract
THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’.
Op.
I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute.
The second set of violin sonatas, Op.
IV (1739), of which a version for concerto grosso also exists, were transcribed almost in their entirety for harpsichord.
The cello sonatas, Op.
V (1746), were published simultaneously with their transcription for violin.
The remaining sonatas, with few exceptions, are drawn from earlier compositions: the two sets of Pieces de Clavecin (1743, 1762) from Opp.
I, II, IV, V, and VII, and the treatises for violin and cittem.
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