GRANCINO EDITIONS
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CATALOGUE
2008
Abel, Carl Friedrich.
ECS27. Six Sonatas for Violin, Violoncello and Basso Continuo, Op. 9,
(1772). In two volumes. £20.00 per volume.
Albicastro, Henricus.
ENS7. Twelve Sonatas for Two Violins, Cello and Keyboard, Op. 4. (c.
1705). In four volumes. £20.00 per volume.
Anfossi, Pasquale.
ECS3. Favorite Duo for Violin and Cello
from the Overture to II Curioso Indiscreto (c. 1777). £8.00.
Barriere, Jean.
ECS24. Six Sonatas for Violoncello and Basso Continuo, (1733). These
sonatas may also be performed by two cellos or cello with keyboard. In two
volumes. £20.00 per volume.
Barthelemon, Franlcois Hippolyte.
VLNI. Six Duets, Op. 8, (c. 1778). 11.50 per volume. In three volumes as
follows:
Volume I: Two Duets for Two Violins
Volume 2: Two Duets for Violin and Viola
Volume 3: Two Duets for Violin and Cello
Benda, Jean.
ENS2. Two Sonates for Keyboard and String Quartet, (mid 18th
C.). In two volumes. £20.00 per volume.
Boni, Pietro Guiseppe Gaetano.
ECS25. Twelve Sonatas for Violoncello and Basso Continuo, Op.1, (1717).
These sonatas may also be performed by two cellos or cello with keyboard. In
four volumes. £20.00 per volume.
Bononcini, Giovanni Battista, and other Eminent Authors.
ECS36. Six Sonatas for Violoncello and Basso Continuo, (1748). These
sonatas may also be performed by two cellos or cello with keyboard. In two
volumes. £20.00 per volume.
Bronnemiiller, Elias.
ENS5. Six Sonatas for Two Violins, Cello and Keyboard, Op.1, (1709). In
two volumes. £20.00 per volume.
de Call, Leonard.
ECSI8. Serenade for Violoncello (or Violin), with Guitar, Op. 99, (c.
1800). £16.00.
ECS30. Serenade for Violoncello (or Flute), with Guitar, Op. 84, (c. 1800).
£16.00.
Caporale, Andrea.
ECSIO. Six Solos for Violoncello and Basso Continuo, (1746). These
sonatas may also be performed by two cellos or cello with keyboard. In two
volumes. £20.00 per volume.
Cervetto, Giacobo Bassevi.
ECS5. Six Trios for Three Cellos or Two Violins and Cello with Keyboard
ad lib., Op.1, (1741). In three volumes. £26.50 per volume.
Cirri, Gianbattista.
ECS35. Six Concertos in Four Parts for Violoncello Obbligato, Two
Violins and a Second Violoncello, Op. 14, (1780). In six volumes. £26.50 per
volume.
Claggett, Walter.
ECS33. Eighteen Duets" ... composed from the Most Favorite
Airs" for Two Violoncellos (or Violin and Violoncello), (c. 1785). £20.00
Filtz, Anton.
ECS13. Five Triosf or Flute (or Violin), with Cello Obbligato and Basso
Continuo, Op. 6, (c. 1750). In two volumes. £20.00 per volume.
Galliard, Johann Ernst.
ECS9. Six Solos for Violoncello and Basso Continuo, (1746). These
sonatas may also be performed by two cellos or cello with keyboard. In two
volumes. £20.00 per volume.
Gehot, Joseph.
VLN4. The Art of Bowing the Violin, (c. 1790). Written for violin and
cello. £20.00.
Giordani, Tommaso.
ECS7. Four Duets for Violin and Violoncello, Op. 2], (1775). In two
volumes. $20.00 per volume.
Giuliani, Francesco.
VLN2. Six Duets for Violin and
Violoncello, Op. 3, (late 18th C.). In three volumes. £20.00 per volume.
Handel, George Frideric.
ENS3. Mi palpita il cor, Cantata for Soprano, Oboe, and Basso Continuo,
(1711-1713). £20.00.
Haydn, Josef. (arr. H. J. Banister).
ECS31. Twelve Movements arranged for Violoncello and Pianoforte, Book],
(c. 1790). £20.00.
Hoffmann, Leopold.
VLAI. Sonata a Tre (Divertimento a A Major)for Violoncello and Viola,
with an accompanying Second Violoncello, (late 18th
C.). £13.50
ENS6. Two Divertimenti (Sonata a Tre), (late 18th
C.). £13.50 per volume. In two volumes as follows:
Volume I: Sonata a Tre (Divertimento in D
Major) for Violoncello Obbligato, Violin Obbligato and Accompanying
Violoncello.
Volume 2: Sonata a Tre (Divertimento in B
flat) for Viola Concertato, Violoncello Concertato and Accompanying
Violoncello.
Lanzetti, Salvatore.
ECS II. Six Solos for Violoncello or Flute and Basso Continuo, Op. 2,
(1745). These sonatas may also be performed by flute and cello, two cellos,
cello with keyboard, or flute with keyboard. In two volumes. £20.00 per volume.
Liebmann, Helene.
ECSI. Sonata for Violoncello and Pianoforte, Op.]], (1806). £20.00.
Lindley, Robert.
ECS39. Trio for Bassoon, Viola and Violoncello (or Two Violoncellos and
Viola), Op. 7, (early 19th C.). £20.00.
Magito, Alexis.
ECSI9. Six Sonatas for Violoncello and Basso Continuo, Op.], (c. 1748).
These sonatas may also be performed by two cellos or cello with keyboard. In
two volumes. £20.00 per volume.
Marcello, Benedetto.
ECS29. Salmo Decimoquinto from Estro PoeticoArmonico Vol. IIl,for Alto
Voice, Violoncello and Basso Continuo, (1724 - 1726). £20.00.
Martino, Giuseppe.
ECS22. Six Sonatas for Violoncello and Basso Continuo, Op.], (c. 1748).
These sonatas may also be performed by two cellos or cello with keyboard. In
two volumes. £20.00 per volume.
de Marzis, Pasqualino.
ECS21. Six Sonatas for Two Violoncellos (Keyboard ad lib.), Op.],
(1747). These sonatas may also be performed by cello and basso continuo, two
cellos, or cello with keyboard. In two volumes. £20.00 per volume.
Nares, James.
ENS9. Sonata in D for Harpsichord, Two Violins and Cello, (1759). £23.50
Paxton, Stephen.
ECSI2. Six Sonatas for Violoncello and Basso Continuo, Op.], (1772). These
sonatas may also be performed by two cellos or cello with keyboard. In two
volumes. £20.00 per volume.
ECS37. Six Easy Solos for Violoncello or Bassoon with Basso Continuo,
Op. 3, (c. 1778). These sonatas may also be performed by two cellos, two bassoons,
cello and bassoon, cello with keyboard, or bassoon with keyboard. In two
volumes. £20.00 per volume.
Pergolesi, Giovanni Battista.
ECS 17 . Sinfonia for Violoncello Solo and a Second Violoncello
(Keyboard ad lib.), (c. 1730). This work may also be performed by cello with
basso continuo, or cello with keyboard. £16.50
Raimondi, Ignazio.
VLA3. A Duet for Violin and Viola, (c. 1770 - 1775). £12.00.
Reinagle, Joseph.
ECSI5. Thirty Progressive Lessonsfor the Violoncello, (c. 1800). Written
for two cellos. £16.50.
de Ruvo, Giulio.
ECS8. Five Sonatas for Violoncello and Basso Continuo, Op.13, (1703).
These sonatas may also be performed by two cellos or cello with keyboard. In
two volumes as follows:
Volume I: Sonatas 1- 3. £20.00.
Volume 2: Sonatas 4 and 5. £16.50
Scarlatti, Alessandro.
ECS4. Three Sonatas for Two Violoncellos, (c. 1700). £13.50
ECSI6. Three Cantatas for Voice (Low), Cello and Keyboard, (c. 1700).
£20.00.
ENS4. Tra Sperenza a Timore, Cantata for Bass, Violin and Basso Continuo,
(early 18th C.).
£13.50
Schonebeck, Carl Siegesmund.
ECS6. Three Concertante Duos for Two Violoncellos, Op.12 Book 1, (c.
1800). £20.00.
Somis, Giovanni Battista.
ECS2. Twelve Sonatas for Two Violoncellos, (c. 1715). In two volumes.
£16.50 per volume.
Stiastny, Bernard.
ECS40. II Maestro ed II Scolaro: Eight Imitations and Six Pieces with
Fugues for Two Violoncellos, (c. 1814). £20.00.
Storace, Stephen.
ENS I. Three Sonatas for Harpsichord or Pianoforte with Violin and
Cello, (c. 1788). In three volumes. £20.00 per volume.
Trikler, Jean Balthasar.
ECSI4. Six Grand Solos for the Violoncello accompanied by a second
Violoncello, (1784). £23.50
Tutor. (Eminent Masters).
ECS28. A New and Complete Tutor for the Violoncello, (c. 1770). £13.50
Valentini, Giuseppe.
ECS20. Twelve Solos for Violin or Cello, with Basso Continuo, Op. 8,
(1714). These solos may also be performed by violin and cello, two cellos,
violin with keyboard, or cello with keyboard. In four volumes. £23.50 per
volume.
Vallotti, Francescantonio.
ECS38. Gratias agimus for Tenor, Violoncello Obbligato and Basso
Continuo, (mid 18th C.).
£13.50
Vivaldi, Antonio.
ECS34. Ten Sonatas for Violoncello and Basso Continuo. These sonatas may
also be performed two cellos, or cello with keyboard. In three volumes.
Volume I: £20.00. Volume 2: £20.00. Volume
3: £23.50
Zanetti, Francesco.
ECS26. Sonata da Camera for Three Violins and Two Violoncellos, Op. 2,
(1763). £13.50
Zappa, Francesco.
ECS23. Sonata a Tre for Violoncello Obbligato, Violin and Basso, (c.
1760). £16.50
Zumsteeg, Johann Rudolf.
ECS32. Three Duosfor Flute and Violoncello, (1800).
£16.50
Please note that pricing and printing specifications are subject to
change at any time and without notice. © 2008 Grancino Editions.
GRANCINO EDITORIAL POLICY
18th Century vs. 21st Century: Expectations and Conventions
17th and 18th centuries a wide range of historical styles was not a part
of a performer's thinking. It was
unusual for musicians to play music from a previous decade, much less an
earlier century. Thus the problems of "style," or of historical
appropriateness, which confront the modern player who undertakes to play music
spanning several centuries - were virtually non-existent for his earlier
counterpart. The Baroque or Classical musician was steeped in the style of the
only period he knew, and thus the problem of communication - for the composer
or publisher - was much less acute than it is today. Ornamentation, so much a
part of 18th century music, need only be hinted at to be understood; and rhythm,
even rhythmic complexities, would be grasped immediately though only
approximately notated. Slurs and dynamic markings, too, did not demand slavish
consistency ... the slightest indication was sufficient to indicate to the performer
what was intended and it was left to his intelligence and sense of musical
style and taste to carry them out. In short, complete accuracy in notation was
not essential for the performer to understand the meaning of the composer.
Indeed, the performer was considered in those days to
be an equal creator with the composer (often they were one and the same); and
since his sense of style was uninfluenced by knowledge of any widely differing
musical period, the interpretation of the music - the correct interpretation of
the music - could safely be left in his hands. Hence musical notation, the way
in which a composer communicates to a performer he has never met, was in these
earlier eras a kind of short-hand, with as much to be gleaned from reading
between the lines as from what actually appeared on the printed (or
handwritten) page.
Coupled with this attitude was another, typical of the
period, which eschewed consistency (perhaps as a lack of imagination). Thus a
repeat sign might well be indicated in three ways:
(To add scan )
all within a single work.
These attitudes were quite different from
those inculcated into the 21st century music student, who is taught to obey to
the letter the most minute details of the printed page.
The Editor as "Translator"
The major emphasis of editorial policy at
Grancino Editions is to bridge the gap for the modern player between what was
written in the 17th and 18th centuries and what would have been tacitly
understood. In this respect, we see our task as one of "translating"
the music of an earlier era into a musical language more readily understood by
modern musicians. To accomplish this we have adopted various means to indicate
where what the composer actually wrote left off and what a contemporaneous
performer would have understood begins. This is easily enough done when it
comes to continuing bowing marks by means of broken-line slurs or missing
dynamic continuations by bracketed dynamic markings. It becomes more difficult when a free ornamentation or an extended improvisation
is appropriate. In such cases one is faced with the problem of how to suggest
to the modern performer an appropriate improvisation without destroying the
concept of spontaneity. Different works have necessitated different solutions
to this problem.
"Silent Editing" and Editorial Opinion
With the exception of changing out-dated clefs into those more familiar
to the modern player (the 18th century cellist was confronted with no less than
nine different clefs!) and systematizing repeat marks, we have attempted to
avoid all so-called "silent editing." It is our intention that the modern player should easily discern what was
written by the composer and what was added by the editors for the purpose of
clarification. a degree, for judgments must be made - and all judgments are to
at least some degree subjective. Nevertheless, we have attempted to minimize
the problem of subjective judgment by indicating all notational changes (even
the most obvious ones) by the use of footnotes giving the original. We have
also attempted to avoid entirely any indication of what we might personally do
in performance in favor of what was actually given (or implied) in the
original. Fingerings are almost entirely absent from these editions, since in
17th and 18th century music they rarely occur except in tutors; and editorial
bowings (broken lines) are confined to what was implied in the music.
Terminology
Language was used in these earlier epochs with a
freedom quite unknown today. It was not
unusual for a work to be called "VI Solos" on the tide page (albeit
the "solo" was meant to encompass at least a second, if not a third,
player - e.g., Pasqualino's "Six Solos for Two Violoncellos") and
then give each work within the set the title "Sonata." Similarly,
"violoncello" on the cover of a work might be followed with
"basso" on the inside pages - or vice versa. Our policy on this
problem may appear to be somewhat haphazard, but the goal has always been to
preserve as much of the original as possible without utterly confusing the
modern performer.
Editing from Early Prints
One problem remains unavoidable: to what degree can
one accept that an early engraving accurately represents what the composer
originally wrote. The obvious answer is that, human error being what it is, it is
almost impossible to assume that an early engraving or wood-cut will be
entirely true to the original manuscript. However, it should be added in the
same breath that while minor discrepancies and inaccuracies are bound to creep
in, it would be wrong to assume that one is going to be led too far astray by
an early print. The essential point here is that, just as performers at that
time were steeped in the current style and virtually innocent of any other, so
too must engravers have been incapable of committing gross errors of stylistic
judgment such as we, with our much wider range of stylistic knowledge, might be
capable of today.
Prefaces
Since most of the music published by Grancino Editions
is unfamiliar to modern musicians, it seemed useful to write a brief preface
for each volume giving a short biographical sketch of the composer and a few
historical and/or performance comments on the music itself. Scholars will, of
course, find this information inadequate. But these prefaces are intended more
for the performer whose interest is merely to inform himself in a general way
about an unknown composer and work. To do more in the prefaces would be far
beyond the scope of this publishing project.
'From the Preface to A New and Complete Tutor (Grancino ECS28).