Pietro degli Antonii (1639–1720)
Opus 5 (Bologna 1686)
Vol. II: Sonatas 4 and 7

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

Girolamo G 12.021, score and 2 parts, € 18,00
ISMN 979-0-50084-036-7

sample page

G 12.020 G 12.022

 

 

 

Preface

The two sonatas presented here are Nos. 4 and 7 from the print that appeared in 1686 in Bologna 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 transposed upwards by a minor third to achieve an appropriate range and tone for the treble recorder. In this way it was possible to avoid octaval transpositions and voice breaks. 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 not born as assumed in 1648 but according to latest research 9 years earlier in 1639 in Bologna (see article “Degli Antonii” in MGG, index of persons vol. 5, column 678ff., Kassel, 2001 and The New Grove, vol. 7, p. 135, London, 2001). He returned to his native town after an early career as travelling virtuoso on the cornett with appointments as maestro di capella in various churches. He was also a member and at times principal of the Accademia Filarmonica. Degli Antonii died in 1720 in Bologna.

Stylistically spoken the sonatas by Antonii belong to the transitional period between early and late baroque. Lines between single movements can not be drawn sharply and the changes from slow to quick parts are not yet established. One should mention the pronounced contrapuntal dialogue between upper voice and the bass part as well as the rather unusual marking “Posato” meaning steady, sedate and balanced. Antonii’s sonatas reflect his affinity to vocal music. The performer may take liberties in regard to embellishing, articulating and choice of tempo within the given framework. Or in other words: in order to convey the hidden charm of the sonatas the phrases have to be clearly shaped.

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: Julia Whybrow

Freiburg, August 2002, Franz Müller-Busch

 

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