It is not often that previously unknown instrumental compositions by Albinoni (1671–1751) turn up, but Michael Talbot recently found two violin sonatas – one from the very start of his career and the other from the period of his maturity – among the anonymous manuscripts of the Este Collection in the Austrian National Library. Both sonatas originate from the collection of Niccolò Sanguinazzo, an amateur musician resident in Padua, and one of them may well have been written for the court of Mantua. Talbot’s attribution of the sonatas to Albinoni, which draws on his very extensive knowledge of this highly individual composer, is based on contextual, structural and stylistic criteria. The probably earlier work, in G minor, is similar in character to some four-part balletti in the same collection and is particularly interesting for some cantata-like features in its opening movement. The other sonata, in B flat major and resembling the works published in Albinoni’s Op. 6 (1712), is noteworthy for the finely chiselled melodic lines of its slow movements and sparkling passage-work in the quick ones. Both sonatas are attractive additions to the Albinonian canon.
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 Music example Sonata 1 (pdf)
Music example Sonata 2 (pdf)
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EARLY ENGLISH KEYBOARD CONCERTOS, VOLUME 2
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Henry Burgess (1718–1786) takes credit for being the first English composer to publish a set of concertos for a keyboard instrument (organ or harpsichord) in the wake of Handel’s Op. 4 set of 1738 (those by Burgess appeared five years later). This fact has long been recognized, yet, strangely enough, until recently there has been no detailed investigation of the composer’s life or music. Even more surprising, given the originality, variety of expression and sheer enjoyability of Burgess’s concertos, is the lack of a modern edition. This void is now being filled, bringing into the public arena music that is eminently practical: relatively simple to play — albeit brilliant in effect — and performable with or without accompanying orchestra (in the latter case with or without a separate continuo player), and with a choice of organ (manuals only) or harpsichord as solo instrument.
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Music example Concerto No. 4 (pdf)
Music example Concerto No. 5 (pdf)
Music example Concerto No. 6 (pdf)
Format: Instrumental parts (PDF digital download)
Code: HH546.IPT
Price: £45.00
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MOZART’S CORONATION CONCERTO arranged by HUMMEL
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| Hummel’s arrangement of the Piano Concerto in D major, K537, the fifth in the series to appear, was published in 1835. The lead-in (Eingänge) models that he provided are particularly valuable in the case of K537, which is among those concertos for which Mozart left no written-out examples. Equally importantly, Hummel might well have witnessed the work’s compositional process and first performance, and thus his own contributions could be considered as authoritative.
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ed. Leonardo Miucci & Gigliola Di Grazia
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Valse nostalgique
