Suite Turque by Charles Henri de Blainville
from “Historie générale et philologique de la musique”, Paris 1767
The PDF includes:
- Facsimil of the dances
Arrangement for Traverso, two violins, viola, violoncello & percussion ad libitum by Javier Lupiáñez as performed by Les Esprits Animaux (Watch video!)
Arrangement of the 14 Canons on the first 8 fundamental notes of the aria from the Goldberg Variations, BWV 1087 by Johann Sebastian Bach for recorder, traverso, 2 violins, viola, violoncello and harpsichord.
Fourteen ( B  A  C  H  = 14 )* is the precise total of the Canons on the first eight notes of the Aria from the Goldberg Variations, a enigmatic work by Bach, rediscovered in 1975 when the Bibliothèque Nationale de France acquired a first edition of the Variations that 15 had belonged to Bach himself and contained on its back cover some curious canons written in the form of musical puzzles. Of these canons, only nos.11 and 13 were known before 1975. Using inversion and retrograde motion, augmenting and diminishing the note values in a counterpoint that might seem impossible were it not for his perfect and elegant mathematics, Bach sketches unheard-of worlds using as his sole basis the first eight notes of the bass of the Aria from the Goldberg Variations.
But the meaning of these compositions goes beyond a highly refined mathematical succession of notes. Canon 11 tells us a little more of its history thanks to a first version that Bach himself inscribed in the autograph book of a friend of his, the theologian and amateur musician Johann Gottlieb Fulde. There the same canon is accompanied by two inscriptions: Symbolum: Christus Coronabit Crucigeros (Motto: Christ will crown the Cross-bearers) and Domino Possessori commendare notulis hisce se volebat J. S. Bach (J. S. Bach wished to recommend himself to the Gentleman owning this book in these few notes). So this little canon contains a rhetorical message in its mathematical perfection: the pain of the Five Wounds of Christ in the five notes in chromatic progression (passus duriusculus), and the representation of the Cross in the intersecting melodic movement of the voices.
Another canon that reveals more about its history is no.13, which was already known long before, mainly because
it appears in one of the most famous portraits of J. S. Bach, painted by Elias Haussmann in 1746. In the painting,
the composer is depicted wearing a jacket with fourteen buttons and displaying the canon in question, which
along with the Variations on Vom Himmel hoch gained him admittance to Mizler’s Society of Musical Science.
* In the German system of note-names, B = B ﬂat and H = B natural
Score (12 pages) and Parts (friendly performance edition): Recorder, Traverso, Violin I, Violin II, Viola, Violoncello and Harpsichord.
Composed by Pisendel and containing annotations by Antonio Montanari.
Authenticated in 2005 as a piece by Pisendel, the Sonata in E major was written during his journey through Italy and is a perfect exponent of the personal and virtuoso compositional Pisendel’s style. It is very rarely performed, partly because of the relative novelty of the pisendelian paternity of the piece and in part by the difficulty of reading the manuscript, that contains lots of annotations and corrections. However these corrections add interest to the piece as recent studies suggest that were made by Antonio Montanari, making the composition a perfect example of musical experiences Pisendel in Italy.
Score (5 pages) , friendly performance edition and Preface (1 page) :
The year 2015 brought the discovery of two new works by Vivaldi: The Trio sonata for violin and cello in G major, independently identified as a genuine Vivaldian work by Mr. Federico Maria Sardelli and Mr. Javier Lupiáñez in 2014 and catalogued at the beginning of 2015 as RV 820, and the Sonata for violin in A major, identified by Lupiáñez in 2015 and to be included in RISM as RV 205/2.
Both pieces are part of Pisendel’s collection in Dresden. Dresden is, in fact, one of the major archives of Vivaldi’s music. During the first part of the 18th century, the concertmaster of the Dresden court orchestra, Georg Pisendel, compiled a great amount of chamber music, and especially music by Italian composers and Vivaldi. Pisendel was a great friend of Vivaldi and his pupil .
One of the main reasons to attribute these works to Vivaldi is the significant amount of concordances and links with Vivaldi’s known pieces. To name a few of these similarities, the first movement of the Sonata in A major is a re-utilization of the second movement of Vivaldi’s concerto RV 205. In addition, we find more than fifty references in this sonata to other Vivaldian works and some formal structures that have been described as uniquely Vivaldian. This Vivaldian discovery had been included in the RISM as RV 205/2.
Score (3 pages) in a friendly performance edition and study-preface (8 pages) by Javier Lupiáñez:
The Trio Sonata in G major was independently identified as an early Vivaldian work in 2014 by the Italian scholar, recorder player, and ensemble director Mr. Federico Maria Sardelli and by the Spanish scholar, violin player and ensemble director Mr. Javier Lupiáñez. The piece was recently cataloged as RV 820 in the Vivaldi Catalog and is the earliest known work by Vivaldi.
The Trio Sonata presents a different Vivaldi to the one we are used to. It shows the young Vivaldi: On the one hand, clearly influenced by the masters of the end of 17th century such Corelli, Bonporti or Torelli, and on the other hand it is easy to perceive that some new and original Vivaldian ideas start to blossom in this early work.
The discovery and attribution of this Sonata is very important to understand the roots of Vivaldi’s style and the change of musical taste that happened at the beginning of the 18th century.
Score (8 pages) in a friendly performance edition, study-preface (3 pages) and reconstruction of missing parts by Javier Lupiáñez
(Grave by Pisendel)
The Sonata RV 25 by Antonio Lucio Vivaldi is not only a work that demonstrates the originality and quality of one of the greatest composers of the Baroque, but is also a valuable evidence of the special bond that was created between the Venetian master and the young Pisendel. It was Vivaldi himself who copied and dedicated the sonata to Pisendel, in his own handwriting he titled: “Suonata à Solo fatto p[er] Ma[estr]: Pisendel Del Vivaldi” (Sonata made for the master Pisendel by Vivaldi). But Vivaldi did not complete the sonata and left room for Pisendel to add a movement of his own creation, Thereby, we find, between the notes written by Vivaldi, a slow movement written in a different hand, that of Pisendel. The musical piece is a perfect example of the close relationship that was created between the two virtuosos.
Score (4 pages), performing friendly edition: