Trio in La maggiore per Flauto traversiere, Oboe d'amore e Basso

Author: 
Lotti, Antonio (1667 - 1740)
Library: 
Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Musikabteilung (D-B)
Source: 
The source is the manuscript of separate parts. Caption title: “TRIO | à | Flute Traversieur | Hautbois d'Amour | et | Basse Chiffrée | del | Seigneur Lotti”, Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Musikabteilung (D-B), Mus.ms. 13216, RISM ID no.: 452021898.
Sample: 
Sample page — 633x ⇩
Date: 
Monday, June 11, 2018
Release notes: 
Version 1.0

News & Comments

Sun, 09/23/2018 - 16:53 — Gerry McDonald (not verified)
Also see G major version (Rostock University Library) as cited in Haynes catalogue. Much more user friendly as far as balance between flute and oboe d'amore is concerned. Modern edition by Peters

Fri, 09/21/2018 - 03:37 — joseph.fasel
This trio sonata is the same music as one supposedly by Telemann, TWV 42:A9. A scan of the source cited in this Bolognani edition is present at IMSLP, and for the Telemann, two manuscripts, apparently by different copyists: a score and a set of parts. Neither page at IMSLP refers to the other, so perhaps no one has noticed before that these are the same piece. Does anyone have a notion of which composer (if either) actually wrote this trio sonata?

Thu, 08/23/2018 - 22:30 — alan.paul
Yes, the untransposed part in the score makes it easer for the harpsichordist to play the correct harmonies, and, needless to say, the transposed part is necessary for the oboist to play the d'amore part. More importantly, thanks for all these beautiful editions on baroquemusic.it. The site is a true gold mine!

Thu, 09/06/2018 - 22:11 — Gerry McDonald (not verified)
All oboe d'amore players should learn to read french violin clef so they can transpose a minor third fluently at sight. Good for the neural pathways in the brain!

Thu, 09/06/2018 - 23:12 — joseph.fasel
Yes indeed, that minor-third transposition, as if reading French clef is useful as well for playing voice flute in D with reference to F fingerings, and speaking of F fingerings, it's also good for oboe players to be comfortable with them, for oboe da caccia and taille, but none of this alters the first observation, that it's helpful for the chording continuo players to have a score with all the staves in the same key. Thanks again to Mario for providing it.

Mon, 08/20/2018 - 01:33 — joseph.fasel
Could we please have a score with the oboe d'amore part at pitch (in A major), rather than transposed to C major? Particularly because the basso is unfigured, the cembalist would have a much easier time identifying the harmonies from the score with an untransposed oboe d'amore staff. Many thanks for a lovely edition.