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The Sonatas Opus 4 1739 Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) Rudolf Rasch The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) Please refer to this document in the following way: Rudolf Rasch, The Thirty-One Works of Francesco Geminiani: Work Eight: The Violin Sonatas Opus 4 (1739) https://geminiani.sites.uu.nl For remarks, suggestions, additions and corrections: [email protected] © Rudolf Rasch, Utrecht/Houten, 2019 24 December 2020 1 Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) WORK EIGHT THE VIOLIN SONATAS OP. 4 (1739) CONTENTS The Violin Sonatas Op. 4 (1739) ....................................................................................................................... 3 The Sonatas ..................................................................................................................................................... 11 Notation ........................................................................................................................................................... 18 Engraving and Printing .................................................................................................................................... 24 The British Edition (1739) ............................................................................................................................... 30 The French Issue (1740) .................................................................................................................................. 31 The Ann Arbor Copy ....................................................................................................................................... 37 The Corrected Revised Issue ........................................................................................................................... 38 The Johnson Issue ............................................................................................................................................ 42 The Welcker Issue ........................................................................................................................................... 45 The Sonatas in the Hands of Bremner and Preston ......................................................................................... 46 The Witvogel Edition ...................................................................................................................................... 46 The French Edition .......................................................................................................................................... 50 The Walsh Edition ........................................................................................................................................... 55 Manuscripts ..................................................................................................................................................... 56 Early Reception ............................................................................................................................................... 58 Early Arrangements ......................................................................................................................................... 61 Later Arrangements ......................................................................................................................................... 65 Facsimile Editions ........................................................................................................................................... 66 Modern Editions .............................................................................................................................................. 66 Recordings ....................................................................................................................................................... 72 Conclusion ....................................................................................................................................................... 74 2 Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) THE VIOLIN SONATAS OP. 4 (1739) In 1739 Geminiani published two substantial and one smaller publication: a volume with newly composed sonatas for violin and figured bass, the Sonatas Op. 4 (WORK EIGHT );, a revised version of his Op. 1 sonatas, still without opus number but now entitled Le prime sonate (WORK NINE ); and a small volume with two Minuets with variations for keyboard (WORK TEN ). These editions came into existence under circumstances totally different from those of the earlier works, the Violin Sonatas of 1716 and the various volumes with concertos published in the decade from 1726 to 1735. To understand the new circumstances it is of importance to bear in mind what Geminiani had published after the Sonatas of 1716 and how these publications had come into being. The following summary can be given: The first part of the concerto arrangements after Corelli’s Sonatas Op. 5 (the “Corelli Concertos, Prima parte ”; WORK TWO ) was first published by Smith & Barrett in 1726, within six weeks reprinted in London by Walsh & Hare and by Wright & Cooke and four years later in Amsterdam by Michel-Charles Le Cène (1730). The second part of the concerto arrangements after Corelli’s Sonatas Op. 5 (the “Corelli Concertos, Seconda parte ”; WORK THREE ) was first published printed in Amsterdam by Le Cène, with a second issue with the imprint “London: Nicholas Prevost”, in 1729. The arrangements were immediately reprinted in London by Walsh & Hare and by Cooke (both 1729), despite the British privilege dated 26 March 1728 that Geminiani had obtained. The Concertos Op. 3 (WORK FOUR ) were published by Walsh & Hare in 1732 with grunting consent by the composer. Le Cène published a reprint that claims corrections by the composer in 1733. The Concerti Op. 2 (WORK FIVE ) were published privately first, in 1732 in London, some weeks after Op. 3, then reprinted first by Le Cène in Amsterdam c. 1734 and later by the composer in cooperation with Walsh in 1737. Three original concertos by Geminiani in the third Select Harmony series of John Walsh (WORK SIX ) were first issued separately in 1734, then together in 1735, with a fourth one added. Everything probably without involvement or consent of the composer. A series of concerto arrangements after some of Corelli’s Sonatas Opp. 1 and 3 (WORK SEVEN ) were published by Walsh in 1736, probably also without involvement or consent of the composer (arranger). From this overview it is more than clear that John Walsh—now John Walsh Junior, who had taken the management of the firm at some point shortly after 1730—was, in the later 1730s, the principal sales agent for Geminiani’s music, with Michel-Charles Le Cène in Amsterdam being the second. In addition, the typographical quality of the editions produced both by Walsh (Op. 3, Select Harmony , Concertos from Corelli Opp. 1 and 3, Concertos from Corelli’s Op. 5) and Le Cène (Opp. 2 and 3, Concertos from Corelli’s Op. 5) was superior to the ones that were printed under the composer’s own supervision, such as the first part of the Corelli concerto arrangements and the Concertos Op. 2. The Sonatas of 1716 were available at Walsh’s and Le Cène’s in reprints that were typographically superior to the original edition, which was now for sale at Richard Meares’s shop. In short, Geminiani had not been successful in his attempts to fully control 3 Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) the dissemination of his printed works, nor to prevent Walsh from becoming the principal publisher and sales agent of his work. In fact, he had not even come close to achieving this goal. We cannot, of course, know what decisions Geminiani took in 1737, but it is certain that from then on he followed a totally different strategy regarding the publication of his works. This strategy comprised two kinds of actions. In the first place he went abroad to have his works engraved in Paris or The Hague, even if they were published in London in private editions subsequently. This applies roughly for the period 1737- 1747, in which he lived alternatively in Paris, London and The Hague. And in the second place more active use was made of privileges. He not only prolonged his British privilege (in 1739) but also obtained new privileges, in France (1740) and in the Dutch Republic (1746). The first works prepared under this new regime were the Violin Sonatas Op. 4 (WORK EIGHT ) and Le prime sonate (WORK NINE ). They were first published in London in 1739, but had been engraved, as will be shown, in Paris by Louis-Hector Hue. The Minuets, also published in London in 1739 (WORK TEN ), were at all probability engraved in London. After these came the Pièces de clavecin (WORK ELEVEN ), engraved in Paris by Mlle Vendome, and the Concertos from Op. 4 (WORK TWELVE ), engraved for the greater part in London by John Philips, but with a number of plates engraved in Paris by Mlle Vendome. Both editions were published in London in 1743, but the Pièces de clavecin had some kind of “pre-issue” published by Mme Boivin in Paris in 1743. A third group of works includes the Cello Sonatas Op. 5 (WORK THIRTEEN ), the Violin Sonatas Op. 5 (WORK FOURTEEN ) and the Concertos Op. 7 (WORK FIFTEEN ). They were all engraved in The Hague
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