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Ï Ï# ä Ïn Ï Ï ä Ïn Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ïn Ï Ï Ï Sonata quinta

dell' ottavo tuono un tuono più alto

Giovanni Maria Bononcini

Edited by Thomas D. Dunn

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A. Sonate da chiesa a due violini. Opera sesta di Gio. Maria Bononcini del concerto de gli

strumenti dell’ altezza serenissima di Modana [sic] et accademico filarmonico dedicata all’ ill.mo

& rev.mo sig.r abbate conte Giulio Camillo Campori. In Venetia 1672. Apresso Francesco Magni detto Gardano.

3 partbooks: Violino Primo, Violino Secondo, Organo.

I-Baf (compl.), I-Bc.

RISM A/I B 3631, Sartori I-II 1672a.

Facsimile reprint by Forni editore, 1970.

B. Suonate a due violini con il basso continuo per l’organo di Gio. Maria Bononcini, maestro di capella nella cattedrale di Modona [sic], & accademico filarmonico di Bologna. Opera sesta. Al molt’ iIllustre sig. il Signor Antonio Maria Padovani. In Bologna 1677 per Giacomo Monti.

3 partbooks: Violino Primo, Violino Secondo, Organo.

I-Bc (compl.), D-MÜs (compl.).

RISM A/I B 3632, Sartori I 1677e.

A and B appear to have been printed from different sets of plates. This edition follows A which seems to have been more carefully prepared.

Editorial Remarks.

Slurs and fermatas are indicated in the source by what appears to be the same symbol (ᴗ).

Performance Notes.

The slurred note pairs in the violin parts of measures 76-79 will involve playing in second and third positions if awkward string crossings are to be avoided.

As mentioned in the Introduction, the first edition of this collection is prefaced by a letter in which the writer complains that performers have gotten to the point where they freely

recompose entire passages, filling up wide melodic intervals with scales or arpeggios and breaking up sustained notes. He states that composers “have become obliged to ask these…players

to…play things simply as they are written.” Exceptions would be the insertion of “certain graces which…ornament and add beauty to the Compositions…”¹

CRITICAL NOTES

Violino Primo (Vl. I), pp.12-13: Violino Secondo (Vl. II), pp. 12-13; Organo (Org.), pp. 12-13.

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M. 16, Vl. I: first rest after n. 1 is sixteenth in B.

M. 17, Vl. II: no accidental on n. 1 in B.

M. 19, Vl. I: nn. 6-7 are eighths in B.

M. 21, Org.: figure for n. 5 is 5 in B.

Mm. 30-52, Vl. I and Vl. II: Time signature notated in source as 12/8; Organo part remains in C.

M. 38, Vl. II: n. 5 line through notehead has faded in B.

M. 53 ff., Vl. I and Vl. II: time (proportional) signature is 8/12 in source, indicating the return of the previous meter C.

M. 54, Vl. II: fermata under rest on beat 3 in B.

M. 68, Vl. II: B: ink has filled notehead of n. 4, or note was misprinted as a quarter.

M. 77, Vl. I: note 1 is g´´ in B.