Relevant bibliographies by topics / Trio sonatas (Flute, violin, continuo)

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Academic literature on the topic 'Trio sonatas (Flute, violin, continuo)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Trio sonatas (Flute, violin, continuo)"

1

Talbot, Michael. "Seven Trio Sonatas, and: Six Quartets for Flute, Violin, Viola, and Basso Continuo (review)." Notes 62, no. 3 (2006): 806–9. http://dx.doi.org/10.1353/not.2006.0036.

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Burrows, D. "George Frideric Handel, The Chamber Music: Vol I, The Flute Sonatas; Vol. II, The Violin Sonatas; The OBOE Sontas, Vol. III, The Trio Sonatas OP 2, Vol. IV, The Trio Sonatas OP 5; Vol V, Trio Sonatas for Two Violins and Basso Continuo; Vol VI, The Recorder Sonatas, L' Ecole d'Orphee CRD 3373-78 (six CDs, issued 1992) Trio Sonatas OP.2 London Baroque Harmoma Mundi HMC 901379 (rec 1991) Trio Sonatas OP.5, London Baroque Harmoma Mundi HMC 901389 (rec 1991); Trio Sonatas OP.5, La Stravaganza Salzburg, directed by Siegbert Rampe, Saphir INT 830.882 (rec 1990)." Early Music XXI, no. 1 (1993): 153–55. http://dx.doi.org/10.1093/em/xxi.1.153.

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Ford, Robert, Carl Friedrich Abel, Thomas Augustine Arne, et al. "Six Sonatas for 2 Violins or Flute and Violin and Continuo, Op. 3." Notes 45, no. 2 (1988): 377. http://dx.doi.org/10.2307/941366.

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4

Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.

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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided wi
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5

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble
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6

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble
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7

WILLIS, CHRISTOPHER. "DOMENICO SCARLATTI (1685–1757) COMPLETE KEYBOARD SONATAS; SIX CONTINUO SONATAS (K78, K81, K88, K89, K90, K91) Richard Lester (harpsichord, fortepiano and organ), Mark Baigence (oboe), Warwick Cole (violoncello), Elizabeth Lester (recorder), Jonathan Morgan (flute), Ben Sansom (violin) and Taro Takeuchi (mandolin) Privilege Accord 68001 – 68020, 2001–2005; 38 discs." Eighteenth Century Music 3, no. 2 (2006): 352–55. http://dx.doi.org/10.1017/s1478570606320635.

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Books on the topic "Trio sonatas (Flute, violin, continuo)"

1

Boismortier, Joseph Bodin de. Concerto h-Moll für zwei Soloinstrumente (Querflöte und Violine, zwei Querflöten, Querflöte und Oboe), Streicher (drei Violinen) und Basso continuo oder für zwei Soloinstrumente und Basso continuo =: Concerto in B minor for two solo instruments (flute and violin, two flutes, flute and oboe), strings (three violins) and basso continuo or for two solo instruments and basso continuo, op. 21/4. Bärenreiter, 1988.

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2

Graun, Johann Gottlieb. Sonate F-Dur für Querflöte (Violine), Viola und Basso continuo =: Sonata in F major for flute (violin), viola and basso continuo. Bärenreiter, 1986.

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3

Ottaviano, Tenerani, and Testi Marica, eds. 7 triosonate per flauto, violino e basso continuo (flauto e clavicembalo): For flute, violin and continuo (flute and harpsichord : Triosonata V in mi minore = E minor. Ut Orpheus Edizioni, 2002.

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Quantz, Johann Joachim. Triosonate G-moll für Altblockflöte, Querflöte (Violine) und Basso continuo =: Trio sonata in G minor for treble recorder, flute (violin) and basso continuo. Bärenreiter, 1988.

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5

Boismortier, Joseph Bodin de. Sonate D-dur für Querflöte (Oboe, Violine), Gambe (Fagott, Violoncello) und Basso continuo : op. 37/3 =: Sonata in D major for flute (oboe, violin), viola da gamba (bassoon, violoncello) and basso continuo : op. 37/3. Bärenreiter, 1988.

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6

Quantz, Johann Joachim. Triosonate Es-Dur für Querflöte, Violine, und Basso continuo oder für Querflöte und obligates Cembalo =: Trio sonata in E-flat major for flute, violin, and basso continuo or for flute and harpsichord obbligato. Bärenreiter, 1987.

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7

Bach, Johann Sebastian. Triosonate C-Dur für Flöte, Violine und Basso continuo nach der Sonate A-Dur BWV 1032 =: Trio sonata in C major for flute, violin, and basso continuo according to the Sonata in A major BWV 1032. Bärenreiter, 1988.

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8

Dornel, Antoine. Triosonate h-Moll für Querflöten oder Oboen oder Violinen und Basso continuo =: Trio sonata in B minor for flutes or oboes or violins and basso continuo, op. III/3. Bärenreiter, 1988.

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9

Vivaldi, Antonio. Trio in G minor for lute (guitar), violin, and basso continuo, RV 85. T. Presser, 1991.

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10

Corrette, Michel. Six sonatas, opéra XIII, c. 1735, 1 & 2: For flute (violin, oboe) and basso continuo. Dovehouse Editions, 1985.

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Book chapters on the topic "Trio sonatas (Flute, violin, continuo)"

1

Careri, Enrico. "The Sonatas." In Francesco Genminiani (1687–1762). Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0006.

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Abstract THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’. Op. I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute. The second set of violin sonatas, Op. IV (1739), of which a version for concerto grosso also exists, were tran
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