Domenico Sarri (1679–1744)
Sonata terza D major
for alto recorder and basso continuo
Edited by Martin Nitz
Realization of the thorough bass by Martin NitzGirolamo G 12.013, score and 2 parts, € 16,00
ISMN 979-0-50084-025-1
Preface
The Sonata of Domenico Sarri published here, originates from a manuscript1) that – apart from one exception – comprises works for treble recorder. Most of them nevertheless were intended for violin and have been arranged accordingly.
If one examines the draft, one has the impression that the music was written rather hurriedly (several writers have been at work here). This was probably due to some “enthusiast” of chamber music for recorder whose sudden huge demand for this music had to be met quickly. Owing to the resulting copyist’s lapses, apart from having to correct numerous spelling mistakes, it was also necessary to make further alterations to the original text.2)
Because of the numerous corrections the editor has abstained from a critical report. Interested performers are referred to the facsimile edition which is freely obtainable. The editor has adapted the accidentals to modern use and has also undertaken the realisation of the unfigured bass. The figures added by the editor should be understood as an aid to an improvised realisation of the bass part. Any further additions by the editor have been indicated.
Domenico Sarri spent most of his life in Napels where he was very successful as composer of operas. Besides that he wrote many cantatas for special occasions. Apart from the recorder sonata presented here, Sarri’s instrumental works, as far as known, comprise merely one concert for traverso3) as well as two further sonatas.
Translation: J. Whybrow
Hamburg, September 1998, Martin Nitz
1) Sinfonie di varii Autori, Ms., ca. 1720/30, kept in the Biblioteca Palatina in Parma, can be obtained as a facsimile from Studio Per Edizioni Scelte, Florence. The manuscript contains 24 compositions for treble recorder and b.c., one for two treble recorders and one for oboe and b.c.
2) Unnecessary bar repetitions have thus been eliminated and missing bars added to correspond to the predominantly even-numbered periodic structure. Corrections have also been made to the illogically truncated sequences in the 4th movement. The 2nd movement has been shortened by the removal of bars 45 to 69 which consist only of a lengthy series of empty phrases.
3) The New Grove Dictionary of Music and Musicians (1980) lists this concerto as Domenico Sarri’s only instrumental composition.
