Saint-Georges, Joseph Bologne de: Violin Concerto in C major, Op. 5, No. 1 [Study Edition] (AE254/SE) – sheet music


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Saint-Georges, Joseph Bologne de (1745-1799)

Product Code: AE254/SE
Description: Violin Concerto in C major, Op. 5, No. 1 [Study Edition]
Edited by: Allan Badley
Year of Publication: 2004
Instrumentation: vn pr; pfte
Binding: Piano Reduction: Stapled / Parts: Unbound
Duration: 21 min(s)
Key: C major
ISBN: 1-877230-80-4
Option(s): Piano Reduction + Solo Part(s) (Hardcopy): $36.00 Piano Reduction + Solo Part(s) + CD (Hardcopy): $47.00 Piano Reduction + Solo Part(s) (PDF): $27.00

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The present work probably dates from the mid-1770s and was doubtless composed by Saint-Georges for performance with the Concert des Amateurs. The work was published by Bailleux in 1775 along with one other work. The title page of the print reads: ' DEUX / CONCERTO / A VIOLON PRINCPAL / Premier et Second Dessus Alto et Basse, / Hautbois, ou Flutes, et deux Cors , ad Libitum. / COMPOS / PAR / MR. DE ST. GEORGES / OEUVRE V. / Mis au Jour par MR. BAILLEUX '. The print contains parts for oboes and horns for the first concerto only.While it is possible that wind parts did exist at some stage for the A major Concerto, it is clear that Bailleux published it, presumably with the knowledge and consent of Saint-Georges, for strings only. Breitkopf advertised the Op.5 print for sale in its famous thematic catalogue (Supplement XV, 1782-1784) giving the instrumentation: ' I. a Viol. princ.2C.2Ob ou Clarinetti [!].2 Viol. V. e B;' II: 'a Viol. princ. 2 Viol. V. e B '. This edition is based on a copy of the Bailleux print now preserved in the library of the Paris Conservatoire under the shelfmark K. 5403. The print is for the most part reasonably accurate although there are the usual instances of careless engraving, some of which may be due to unclear instructions in the copy used by the engraver to prepare the plates. In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in Bailleux's print. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Like most eighteenth century sources, the Bailleux print is inconsistent at times in its notation of appoggiature ; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Allan Badley



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