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(Musica Strumentale, 16) XXII, 92 pp.; 21 x 29 cm Introduzione e apparato critico in italiano e inglese Le Tre sonate per cembalo o pianoforte con violino o flauto di Diego Zucchinetti appartengono al genere – assai diffuso nella seconda metà del Settecento – della sonata per tastiera accompagnata da uno strumento melodico. L’autore, uscito dal Conservatorio napoletano della Pietà de’ Turchini, pubblicò a Napoli queste sonate intorno al 1794 presso Marescalchi; l’editore parigino Nadermann le ristampò qualche anno dopo. Tutte e tre in tre movimenti, si collocano in una cospicua tradizione di musiche destinate al cembalo o fortepiano con violino o flauto e mostrano un’equilibrata distribuzione del materiale musicale fra i due strumenti, tanto da potersi considerare per certi aspetti un vero e proprio duo. Elementi teatrali e cantabilità melodica legano al contesto napoletano queste sonate, gradevole esempio del repertorio strumentale italiano di fine Settecento. *** Diego Zucchinetti's Three Sonatas for the harpsichord or pianoforte with violin or flute belong to a genre—keyboard sonata with an accompanying melodic instrument—that was quite common by the late 18th century. The composer was an alumnus of the Pietà de' Turchini Conservatory, Naples; a local publisher, Marescalchi, printed those sonatas by 1794. In Paris, Nadermann reissued them few years later. They are all cast in three movements and show such a balanced distribution of musical material between the instruments, they can be virtually regarded as duets. Operatic passages and cantabile melodies link these pleasing specimens of late-century Italian instrumental music to their Neapolitan roots.
Accompanying CD-ROM contains ... "the entire publication [from 1989 to 2008] in PDF format."--P. [4] of cover.
This catalogue was first envisaged as a biography of Pleyel, with the traditional appended list of works plus an account of the music publishing enterprise he founded after he left Strasbourg to settle in Paris. As the project progressed, however, it became obvious that the vast number of Pleyel's compositions, together with the detailed documentation needed to clarify the interrelationships of the numerous arrangements and variants, required a separate publication. It was equally clear that the authoritative biography could not be written until the snarled web of his works was untangled and the compositions identified with more precision than had been previously attempted. The time had unquestionably arrived to, abandon the helplessness and resignation evinced by scholars for over a century when confronted with the ordering of Pleyel's oeuvre. It had to be faced head on