Pietro degli Antonii (1639–1720)
Opus 5 (Bologna 1686)
Vol. I: Sonatas 1 and 2for alto recorder and basso continuo
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart KuperGirolamo G 12.014, score and 2 parts, € 14,00
ISMN 979-0-50084-027-5
Preface
The two sonatas presented here are Nos. 1 and 2 from the print that appeared in 1686 and is entitled:
Suonate / A Violino Solo / Con il Basso Continuo per l’ Organo /
consecrate / all’ altezza serenissima di / Francesco secondo / Duca di Modona, Reggio, &c. /
da Pietro degl’ Antonii / Maestro di Capella nella Basilica di S. Stefano di Bo- /
logna, & Accademico Filaschise, e Filarmonico / Opera Quinta. /
in Bologna, MDCLXXXVI. / Per Giacomo Monti. Con licenza de’ Superiori. /
Si vendono da Marino Silvani, all’ Insegna del Violino.For this edition a draft was used that is kept in the Civico Museo Bibliografico Musicale di Bologna.
Both sonatas have been left in their original key. Just one lengthier passage and two single tones had to be transposed upwards to accommodate the tone range of the treble recorder. This is indicated by the brackets. Barlines and accidentals have been added according to modern use and printing errors discreetly corrected. All other additions made by the editor have been indicated.
Pietro degli Antonii was born in 1648 in Bologna, where he led a rather ordinary life as a musician with appointments as maestro di capella in various churches as well as being a member and for several times chairman of the “Accademia Filarmonica”. Degli Antonii died in 1720 in his native town.
The general development in sonata form becomes apparent if we compare these two sonatas with the sonatas for identical instruments which Antonii published under op. 4, ten years earlier. The separate sections have become longer and more clearly distinct from one another through contrasting tempi. The former equality of the upper voice and bass, achieved by the imitative handling of the thematic material in both voices, has been abandoned. The bass now has a much more subordinate, purely accompanying function. A few of the sonatas contained in op. 5 have preserved the older, counterpoint-like style. This applies for instance to the second of the sonatas published here.
It is clear from the title of the original publication that Antonii intended the continuo part to be played on the organ, which undoubtedly makes sense too if the upper voice is played by a treble recorder. However, there is no reason why the continuo should not be played by a harpsichord, lute and/or other instruments, depending on circumstances and availability.
Translation: John Whybrow
Freiburg, January 2000, Franz Müller-Busch
