Violin and continuo
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:
(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: