Elegant works of great lyric expressiveness that rank among the glories of Baroque music. This volume, reprinted from the standard edition, contains all 48 of the trio sonatas (including the famous chaconne) of Opp. 1, 2, 3 and 4, along with all twelve solo sonatas, Op. 5.

The first full-length study for forty years, Arcangelo Corelli offers a much needed reassessment of the seminal composer's life and works. His current historical perspective is still largely conditioned by the opinions of Burney and Hawkins in the late 18th century who saw him as the consolidator of past trends rather than an instigator--a view fully endorsed in the two biographies of the present century. Neither of these writers was truly in a position to make such judgements if only because neither was aware of the contributions of the Roman School to which Corelli emphatically affirmed his allegiance. Extensive archival research over recent years now dispels much of the anecdote and hearsay accumulated over the centuries and makes possible a more balanced evaluation of Corelli's true status in the development of the prime instrumental genres, accounting for his phenomenal success both during his lifetime and in the creation of musical canon in the decades after his death.

The music of Baroque composer Arcangelo Corelli made easy for solo classical guitar. Notated in standard notation and tablature. Includes: Adagio (from Violin Sonata in C Major, Op. 5, No. 3), Adagio (from Violin Sonata in F Major, Op. 5, No. 4), Adagio (from Violin Sonata in G Minor, Op. 5, No. 5), Adagio Cantabile (from Violin Sonata in G Minor, Op. 5, No. 5), Sarabande (from Violin Sonata in D Minor, Op. 5, No. 7), Prelude (from Violin Sonata in E Minor, Op. 5, No. 8), Prelude (from Violin Sonata in F Major, Op. 5, No. 10), Sarabande (from Violin Sonata in F Major, Op. 5, No. 10), Vivace (from Concerto Grosso in G Minor, Op. 6, No. 8), Gavotta (from Concerto Grosso in F Major, Op. 6, No. 9), Follia: Theme (from Violin Sonata in D Minor, Op. 5, No. 12)

"A History of Baroque Music is a detailed treatment of the music of the Baroque era, with particular focus on the seventeenth century. The author's approach is a history of musical style with an emphasis on musical scores. The book is divided initially by time period into early and later Baroque (1600-1700 and 1700-1750 respectively), and secondarily by country and composer. An introductory chapter discusses stylistic continuity with the late Renaissance and examines the etymology of the term "Baroque." The concluding chapter on the composer Telemann addresses the stylistic shift that led to the end of the Baroque and the transition into the Classical period."--Jacket.

An arrangement of Corelli's sonata for violin and continuo (op. 5 no. 8), transposed to A minor and arranged for viola. Viola part is unedited aside from being transposed; it retains the slurs from the first edition (ca. 1700) and includes no bow direction markings and no fingerings. Continuo part has been arranged for piano; LH part matches the original continuo part but with figured bass markings omitted, and RH part is kept simple to facilitate playing by intermediate level pianists. The viola part includes passages that require shifting at least as high as third position, some of which are notated in treble clef.

Southern Music