Antonio Vivaldi (1678–1741)
Nicolas Chédeville (1705–1782)
Sonata in G minor from “Il Pastor Fido” (RV 58)for alto recorder and basso continuo
Edited by Franz Müller-Busch
Realization of the thorough bass by Eckhart KuperGirolamo G 12.022, score and 2 parts, € 16,00
ISMN 979-0-50084-038-1
Preface
In 1737, a collection of 6 sonatas was published at Me. Boivin in Paris, entitled
Il Pastor Fido, / Sonates, / pour / La Musette, Viele, Flûte, Hautbois, Violon, /
Avec la Basse Continüe. / Del Sigr. / Antonio Vivaldi. / Opera XIIIa. / …In the meantime ample proof has been collected that the Il Pastor Fido can definitely not be attributed to Vivaldi. The collection of sonatas was forged and contains several parts of works “borrowed” from Joseph Meck, Giuseppe Matteo Alberti and Antonio Vivaldi. Research by Philippe Lescat1) has proven that Nicolas Chédeville le cadet (the younger, 1705–1782) had composed or better compiled this volume of sonatas which was published by means of a Privilège du Roy (a permission for publishing by the king) by his cousin the publisher Jean Noël Marchand. On request of Chédeville the volume was published falsely under the name of Vivaldi.
Chédeville was known in Paris especially as virtuoso and teacher of the musette (a small bagpipe with 2 pipes for playing on and 2 to 4 bourdon pipes). Around 1748 the daughters of Louis XV as well as the king himself were among his pupils. Furthermore as oboe player he was member of the Chambre and Ecurie du Roy for many years and also had a post as bassoon player at the Paris Opera. He published numerous works for the musette among which arrangements of Italian works as well as his own suites and sonatas written in the French or Italian style.
The 6th sonata published here, displays fully all features of the Italian style. So far, no other work has been discovered from which the first three movements could have been copied. Therefore one can assume that they were originally composed by Chédeville. The catchy and expressive motives, the well structured thorough bass and the thematic reference between the second and fourth movement give a fine example of Chédeville’s mastery of the Italian style. Apart from two abridgements and a few minor changes, the fourth movement (that covers about 30 % of the sonata) has been borrowed from the first movement of the violin concert op.4 no.6 (RV 316a) by Vivaldi. J.S. Bach had arranged this concert for harpsichord solo (BWV 975).
This edition is kept as close as possible to the first print of 1737. In the first three movements only a few errors have been corrected. As to the fourth movement, the violin concert by Vivaldi as well as the keyboard arrangement by Bach have been consulted and deviations included. These, along with other additions, are indicated and partly mentioned by footnotes in the score. Although the recorder is not mentioned specifically in the title, one can perform this sonata without any changes on the treble recorder.
Translation: Julia Whybrow
Freiburg, July 2003, Franz Müller-Busch
1) see preface of the facsimile reprint “Nicolas Chédeville, Il Pastor Fido (œuvre attribuée à Antonio Vivaldi) 1737”, edited by Philippe Lescat, F-Courlay (Fuzeau), 1994
