Pietro degli Antonii (1639–1720)
Opus 4 (Bologna 1676)
Vol. II: Sonatas 10 and 12

for alto recorder and basso continuo
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart Kuper

Girolamo G 12.016, score and 2 parts, € 16,00
ISMN 979-0-50084-029-9

sample page

G 12.015 G 12.017

 

 

 

Preface

The two sonatas presented here are Nos. 10 and 12 from the print that appeared in 1676 and is entitled:

Sonate / A Violino Solo / Con il Basso Continuo per l’ Organo /
di Pietro de gli Antoni / Accademico Filaschise / Opera Quarta. /
All’ Illustrissimo Signore / Co. Gio. Carlo / Ranuzzi. /
in Bologna MDCLXXVI. /
Per Giacomo Monti. Con licenza de’ Superiori.

For this edition a draft was used that is kept in the Civico Museo Bibliografico Musicale di Bologna.

The tenth sonata has been transposed upwards a minor third from A major to C major and the twelfth sonata a major second from E flat major to F major in order to achieve a suitable range for the treble recorder. The high bass notes produced by this procedure are still within the range of other untransposed sonatas from op. 4. In both sonatas, in a few places in the upper voice, a transposition upwards by one octave was unavoidable. 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 number of his works that have survived is modest in comparison with many of his contemporaries. On the other hand, the quality of his musical output is unusually high. The melodies of his instrumental works are inventive and unaffected. They derive directly from vocal music and include also the recitative. The bass line is written in counterpoint and is of equal weight to the upper voice.

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 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: J. Whybrow

Freiburg, January 2001, Franz Müller-Busch

 

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