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[Op. 1]. [6] Sonates A Violon Seul Avec la Basse Continue... Dediées A M. Le Duc Dantin Pair de France Œuvre Prix 6 [livre] en blanc Gravés par Le Sr. Hue... Avec Privilege du Roy. [Score]
Paris: L'Auteur... La Veuve Boivin... Le Sr. Le Clerc. 1738. 1f. (title), 1f. (dedication), 5, [6] (blank), 7-28, [29] (blank), 30-31, [32] (blank), 33-38, [i] (Privilege General dated December 20, 1737), [i] (blank). Engraved. Notated on two systems: violin and figured bass. First Edition. RISM C4586 (five copies). Lesure p. 144. Bound with: Cupis de Camargo [Op. 2]. [6] Sonates Pour Le Violon, Composées Par Mr. Cupis. Dediées A M. Le Duc de Nivernois, Paire de France. Second Œuvre. Prix 9 [livre] en blanc. Gravée par Le Sr. Hüe... Avec Privilege du Roy. L'Auteur a adjoutés a Son premier Livrie les agréments nécessaires pou que l'on joüe ses Ouvrages dans son goût. [Score]. Paris: L'Auteur, [?1738]. Signed by the composer. 1f. (title), 1f. (dedication), 44, [i] (Privilege General,dated December 20, 1737), [i] (blank). Engraved. Notated on two systems: violin and figured bass. Slight loss to music to upper outer corner of pp. 32-33; composer's signature somewhat faded. First Edition. RISM C4587 (seven copies). Lesure p. 144 (dated "c. 1745"). Bound with: Veracini, Francesco Maria 1690-1768 [12] Sonate A Violino Solo E Basso Dedicate A Sue Altezza Reale, Il Serenissimo Principe Reale Di Pollonia, Et Elettorale di Sassonia... Opera Prima Gravées par Le Sr Hue Prix 12 [livre]... Avec Privilege du Roy. Paris: Mr. Le Clerc le Cadet... Le Sr Le Clerc... Madame Boivin, [ca. 1742]. [Score]. 1f. (title), [1] (publisher's catalogue), 2-29, [30] (blank) 31-81, [i] (blank) pp. Engraved. Pages 23-24 (end of Sonata V and beginning of Sonata VI) and 35- end (end of Sonata VII and all of Sonatas VIII-XII) lacking; pp. 31-34 (beginning of Sonata VII) loosely inserted, trimmed and slightly frayed at edges. Slight loss to music to upper outer corner of pp. 7-8 and to fifth measure of p. 15. A later edition, later issue (first published in Dresden, 1721). RISM V1208 (seven copies). Lesure p. 623 (dated "1736"; apparently earlier issue). Dated according to publisher's catalogue, which corresponds closely to Devriès-Lesure catalogue no. 125. Folio. Modern quarter mid-tan calf with marbled boards, raised bands on spine in compartments gilt, red leather title label gilt. From the collection of André Meyer, Paris. Binding slightly worn. Some soiling and offsetting; occasional stains; many leaves wormed at gutter and dampstained at lower margin; extensive professional paper repairs to all leaves. . Rare compilation of early French editions. "The Mercure de France of 1 June 1738 compared Cupis favourably with his contemporaries, predicting that his playing would unite the tenderness and feeling of Leclair with the fire and brilliance of Guignon. Rameau named a movement of his fifth concert (1741) after him. Cupis contributed to the evolution of violin playing through his use of 8th position, fourth-finger extensions and new bowing methods with extended phrases on single bow strokes. His violin sonatas (with one exception) each contain four movements, a slow movement followed by three faster ones. The allegro movements are characteristically monothematic and careful attention to dynamic nuance is evident throughout. The first sonata of op.2 contains the famous ‘menuet de Cupis’ praised by D’Aquin de Château-Lyon (1753)." Julie-Anne Sadie in Grove Music Online. "Veracini... dedicated a set of 12 solo sonatas to Prince Elector Friedrich August of Saxony. Though knowing that a violinist was not needed at the Dresden court... the prince persuaded his father to retain Veracini... Veracini travelled to Dresden where he was transferred from the prince’s private employment to the regular court payroll on 20 November 1717. His salary was equal to Heinichen’s, Volumier’s and Johann Schmidt’s, and far exceeded those of the other composers, J.G. Pisendel, Christian Pezold and J.D. Zelenka. In February 1719 Veracini was entrusted with hiring more singers for the court while he was in Bologna and Venice. He returned to Dresden where he remained until 1722, when on 13 August he leapt from a third-storey window in a fit of madness brought on by too much application to music and reading of alchemy, according to Mattheson. Veracini’s treatise hints that there was a plot against his life inspired by jealousy, however... The op. 1 sonatas of 1721 are... contrapuntal, perhaps owing to the influence of the German composers at Dresden, from whom he certainly got the idea of beginning a suite of dances with a French overture (unheard of in Italian solo sonatas)." John Walter Hill in Grove Music Online. The Meyer collection, formed over a period of some 75 years, was one of the most important collections of printed music, musical autographs, and books on music of the 20th century
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