Konzert, C. dur, für Violine und Streich-orchester. Arr. for Violin and Piano by Karl Dittersvon DittersdorfReview by: Joseph BraunsteinNotes, Second Series, Vol. 22, No. 2 (Winter, 1965 - Winter, 1966), p. 974Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/895004 .

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cello is based on the copy of the Mauro Foa Collection (Turin). In the second movement, a 19-measure Andante, only the music of the solo instrument and the bass part with the remark "Tutti suonano il Basso" are committed to paper. Thus violins, violas, and the ripieno cello in the lower octave are combined in unison and form with the solo part a two-line setting. The editor feels that this move- ment could conceivably be played with- out harpsichord continuo which, inci- dentally the edition does not provide. He notes the absence of the remark "senza cembalo" which often can be found in Vivaldi passages accompanied by unison strings. In our case it could be an over- sight or the intention of the composer and, thus, the decision rests with the performer (conductor).

The Renzo Giordano Collection in- cludes a concerto for bassoon whose first movement is identical with the opening Allegro of our concerto for violoncello. Although Pincherle listed both under the same number (282), except for the first Allegro they are different pieces. Schroe- der draws attention to Pincherle's error. In this case only the Fanna numbers, F. III, No. 7 for the cello piece and F. VIII, No. 5 for the bassoon concerto pro- vide a fool-proof identification. Both scores of the Eulenburg edition offer a very reduced reproduction (1.5 by 2 inches) of the first page of the manu- script source.

This reviewer wonders about the pub- lisher's choice of these two items. There are numerous more important works of Vivaldi that deserve inclusion in the Eulenburg catalog. In the 1930s the firm brought out six concertos of L'estro armonico. (Nos. 2, 6, 8, 10, 11 and 12). This series is one of Vivaldi's finest achievements and its completion is def- initely more important and urgent than the issuance of the present two works.

Karl Ditters von Dittersdorf: Kon- zert, C. dur, fur Violine und Streich- orchester. Arr. for violin and piano. Wilhelmshaven: O. H. Noetzel Ver- lag; U.S.A.: C. F. Peters, New York, 1963. [Score, 24 p., & pt., $2.50]

There are no contemporary printings

cello is based on the copy of the Mauro Foa Collection (Turin). In the second movement, a 19-measure Andante, only the music of the solo instrument and the bass part with the remark "Tutti suonano il Basso" are committed to paper. Thus violins, violas, and the ripieno cello in the lower octave are combined in unison and form with the solo part a two-line setting. The editor feels that this move- ment could conceivably be played with- out harpsichord continuo which, inci- dentally the edition does not provide. He notes the absence of the remark "senza cembalo" which often can be found in Vivaldi passages accompanied by unison strings. In our case it could be an over- sight or the intention of the composer and, thus, the decision rests with the performer (conductor).

The Renzo Giordano Collection in- cludes a concerto for bassoon whose first movement is identical with the opening Allegro of our concerto for violoncello. Although Pincherle listed both under the same number (282), except for the first Allegro they are different pieces. Schroe- der draws attention to Pincherle's error. In this case only the Fanna numbers, F. III, No. 7 for the cello piece and F. VIII, No. 5 for the bassoon concerto pro- vide a fool-proof identification. Both scores of the Eulenburg edition offer a very reduced reproduction (1.5 by 2 inches) of the first page of the manu- script source.

This reviewer wonders about the pub- lisher's choice of these two items. There are numerous more important works of Vivaldi that deserve inclusion in the Eulenburg catalog. In the 1930s the firm brought out six concertos of L'estro armonico. (Nos. 2, 6, 8, 10, 11 and 12). This series is one of Vivaldi's finest achievements and its completion is def- initely more important and urgent than the issuance of the present two works.

Karl Ditters von Dittersdorf: Kon- zert, C. dur, fur Violine und Streich- orchester. Arr. for violin and piano. Wilhelmshaven: O. H. Noetzel Ver- lag; U.S.A.: C. F. Peters, New York, 1963. [Score, 24 p., & pt., $2.50]

There are no contemporary printings

cello is based on the copy of the Mauro Foa Collection (Turin). In the second movement, a 19-measure Andante, only the music of the solo instrument and the bass part with the remark "Tutti suonano il Basso" are committed to paper. Thus violins, violas, and the ripieno cello in the lower octave are combined in unison and form with the solo part a two-line setting. The editor feels that this move- ment could conceivably be played with- out harpsichord continuo which, inci- dentally the edition does not provide. He notes the absence of the remark "senza cembalo" which often can be found in Vivaldi passages accompanied by unison strings. In our case it could be an over- sight or the intention of the composer and, thus, the decision rests with the performer (conductor).

The Renzo Giordano Collection in- cludes a concerto for bassoon whose first movement is identical with the opening Allegro of our concerto for violoncello. Although Pincherle listed both under the same number (282), except for the first Allegro they are different pieces. Schroe- der draws attention to Pincherle's error. In this case only the Fanna numbers, F. III, No. 7 for the cello piece and F. VIII, No. 5 for the bassoon concerto pro- vide a fool-proof identification. Both scores of the Eulenburg edition offer a very reduced reproduction (1.5 by 2 inches) of the first page of the manu- script source.

This reviewer wonders about the pub- lisher's choice of these two items. There are numerous more important works of Vivaldi that deserve inclusion in the Eulenburg catalog. In the 1930s the firm brought out six concertos of L'estro armonico. (Nos. 2, 6, 8, 10, 11 and 12). This series is one of Vivaldi's finest achievements and its completion is def- initely more important and urgent than the issuance of the present two works.

Karl Ditters von Dittersdorf: Kon- zert, C. dur, fur Violine und Streich- orchester. Arr. for violin and piano. Wilhelmshaven: O. H. Noetzel Ver- lag; U.S.A.: C. F. Peters, New York, 1963. [Score, 24 p., & pt., $2.50]

There are no contemporary printings

of Dittersdorf's 17 violin concertos. Only eleven have been recovered thus far. The concerto under review was found in Vienna, but we are not told where. Re- ferring to an announcement in the Breit- kopf catalog of 1766, the editor places the composition of this concerto in the years prior to Dittersdorf's appointment to the musical establishment of the Prince Bishop of Grosswardein (Hungary, now Oradea in Rumania) in 1765 and rules out any possibility of influences by Haydn. Viewed technically the concerto is a specimen of the early classical con- certo with three movements, four tutti, and three solo sections in the outer move- ments, which disclose thematic dualism. Yet the orchestral texture reveals a cer- tain dependence from the baroque con- certo in the frequent substantial elimina- tion of the viola which results in a three- or even two-line setting and thus we find ourselves listening to a duo of the con- certizing violin and the unisonically com- hined ripieno violins or bass. To get down to cases, the viola is silent in the first Allegro in 120 measures out of the total of 165 and in 197 out of 306 in the finale. From the violinistic point of view the piece is considerably more demand- ing than the concertos of Haydn and Mozart as well as those by Viotti and Rode. The range is stretched up to d'''' in the 10th position. It is a fluent piece well suited for advanced students, and the orchestral setting does not pose any difficulties worth mentioning. Joseph Haydn: Trumpet Concerto. For trumpet & piano. New York: G. Schirmer, 1963. [Score, 31 p., & pt., $1.50]

Joseph Haydn: Konzert, C dur, fir Violoncello und Orchester. Ed. for cello and piano. Prague: Artia Ver- lag; U.S.A.: Boosey & Hawkes, New York, 1963. [Score, 32 p., & pt., $2.25] Joseph Haydn: Sinfonia in D, "Over- tura" (Hoboken Ia: 7.) Hrsg. von H. C. Robbins Landon. (Diletto Mu- sicale, Nr. 77.) Wien & Mtinchen: Ludwig Doblinger, 1959. [20 p.]

The adding of Haydn's delightful trum- pet concerto in E flat major, to Schirmer's

of Dittersdorf's 17 violin concertos. Only eleven have been recovered thus far. The concerto under review was found in Vienna, but we are not told where. Re- ferring to an announcement in the Breit- kopf catalog of 1766, the editor places the composition of this concerto in the years prior to Dittersdorf's appointment to the musical establishment of the Prince Bishop of Grosswardein (Hungary, now Oradea in Rumania) in 1765 and rules out any possibility of influences by Haydn. Viewed technically the concerto is a specimen of the early classical con- certo with three movements, four tutti, and three solo sections in the outer move- ments, which disclose thematic dualism. Yet the orchestral texture reveals a cer- tain dependence from the baroque con- certo in the frequent substantial elimina- tion of the viola which results in a three- or even two-line setting and thus we find ourselves listening to a duo of the con- certizing violin and the unisonically com- hined ripieno violins or bass. To get down to cases, the viola is silent in the first Allegro in 120 measures out of the total of 165 and in 197 out of 306 in the finale. From the violinistic point of view the piece is considerably more demand- ing than the concertos of Haydn and Mozart as well as those by Viotti and Rode. The range is stretched up to d'''' in the 10th position. It is a fluent piece well suited for advanced students, and the orchestral setting does not pose any difficulties worth mentioning. Joseph Haydn: Trumpet Concerto. For trumpet & piano. New York: G. Schirmer, 1963. [Score, 31 p., & pt., $1.50]

Joseph Haydn: Konzert, C dur, fir Violoncello und Orchester. Ed. for cello and piano. Prague: Artia Ver- lag; U.S.A.: Boosey & Hawkes, New York, 1963. [Score, 32 p., & pt., $2.25] Joseph Haydn: Sinfonia in D, "Over- tura" (Hoboken Ia: 7.) Hrsg. von H. C. Robbins Landon. (Diletto Mu- sicale, Nr. 77.) Wien & Mtinchen: Ludwig Doblinger, 1959. [20 p.]

The adding of Haydn's delightful trum- pet concerto in E flat major, to Schirmer's

of Dittersdorf's 17 violin concertos. Only eleven have been recovered thus far. The concerto under review was found in Vienna, but we are not told where. Re- ferring to an announcement in the Breit- kopf catalog of 1766, the editor places the composition of this concerto in the years prior to Dittersdorf's appointment to the musical establishment of the Prince Bishop of Grosswardein (Hungary, now Oradea in Rumania) in 1765 and rules out any possibility of influences by Haydn. Viewed technically the concerto is a specimen of the early classical con- certo with three movements, four tutti, and three solo sections in the outer move- ments, which disclose thematic dualism. Yet the orchestral texture reveals a cer- tain dependence from the baroque con- certo in the frequent substantial elimina- tion of the viola which results in a three- or even two-line setting and thus we find ourselves listening to a duo of the con- certizing violin and the unisonically com- hined ripieno violins or bass. To get down to cases, the viola is silent in the first Allegro in 120 measures out of the total of 165 and in 197 out of 306 in the finale. From the violinistic point of view the piece is considerably more demand- ing than the concertos of Haydn and Mozart as well as those by Viotti and Rode. The range is stretched up to d'''' in the 10th position. It is a fluent piece well suited for advanced students, and the orchestral setting does not pose any difficulties worth mentioning. Joseph Haydn: Trumpet Concerto. For trumpet & piano. New York: G. Schirmer, 1963. [Score, 31 p., & pt., $1.50]

Joseph Haydn: Konzert, C dur, fir Violoncello und Orchester. Ed. for cello and piano. Prague: Artia Ver- lag; U.S.A.: Boosey & Hawkes, New York, 1963. [Score, 32 p., & pt., $2.25] Joseph Haydn: Sinfonia in D, "Over- tura" (Hoboken Ia: 7.) Hrsg. von H. C. Robbins Landon. (Diletto Mu- sicale, Nr. 77.) Wien & Mtinchen: Ludwig Doblinger, 1959. [20 p.]

The adding of Haydn's delightful trum- pet concerto in E flat major, to Schirmer's

974 974 974

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