The most progressive, original and attractive features of Wolff’s later music are all prefigured in the orchestral works in Stockholm. The scholarly evaluation of his music, however, has been coloured from the start by negative perceptions of the galant style, from which only the most recent commentaries have been able partially to free themselves. They have identified his main published collections, consisting of a set of six “accompanied” sonatas for harpsichord (1776), a collection of 37 songs with written-out keyboard accompaniment (1777), a set of duets for two flutes (1778) and his final magnum opus, a collection of 57 chorale preludes for organ (1782). Earlier studies of Wolff’s life and works, most notably one by Werner Freytag (1936), have brought to light his brief period of residence in Berlin (1729–1732) and accurately linked him in a general way to the Berlin school of composers represented by such figures as J.J. These comprise two concertos for flute and strings, an oboe concerto and a sinfonia for strings. 1740) orchestral works preserved in Musik- och Teaterbiblioteket, Stockholm. Hardly known at all are his four relatively early (c. He has been disadvantaged by working in a very peripheral, provincial centre, but more particularly by the simple fact that it was only in the 1770s, when he was already advanced in age, that he began to publish his music systematically. The organist Christian Michael Wolff (1707–1789), who spent nearly his whole life in his native city of Stettin (today, Szczecin in Poland), has until recently attracted little attention as a composer. In the light of the results of the present research the Vivaldian attribution is very consistent. In other words, attempting to put together the strongest proofs and facts that can be used to point to Vivaldi as author of the analyzed pieces. Through the analysis of the external features of the sources (paper, watermarks, copyist, etc.) and the analysis of the style and language of Vivaldi and its characteristics, the final goal of this work is to highlight the possibility Vivaldi an authorship as much as possible. A Sonata for violin and continuo, a Trio Sonata for violin, violoncello and continuo and a Concerto for violin and orchestra captured my attention due its similarities with Vivaldi. Although the archive had been digitized and studied there are more than 60 sonatas for violin and continuo, around 12 string trio sonatas and most than 50 concertos remaining anonymous. The Schrank II (Cabinet II) collection from the Die Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) is not only one of the most interesting archives open to the worldwide audience thanks to the new technologies but also one of the major archives of Vivaldi's instrumental music. Generous music examples and illustrations bring the book's arguments to life. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions.
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