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Book web page: https://www.areditions.com/rr/rrb/b185.html Giovanni Maria Ruggieri (ca. 1669¿1714) lived and worked in Venice, and his Suonate da chiesa, op. 4 (Venice: Giuseppe Sala, 1697) is preserved in the Musiksammlung of the Österreichische Nationalbibliothek, Vienna. Although Ruggieri remained an amateur musician, this set of sonatas shows that he was a highly accomplished composer. These trio sonatas comprise different styles. Faster fugal movements that accommodate passages of idiomatic instrumental writing are placed alongside more solemn slow movements, saturated with musical-rhetorical figures and, on occasion, stile antico writing. Dance style is merged with the learned style, and the musical quality is remarkable. The present edition enables musicians to explore these fine works, contributing to an understanding of the da chiesa repertoire in late-seventeenth-century Italy and aiding the rediscovery of an unjustly neglected composer. Performance parts available for purchase from the publisher.
Elegant works of great lyric expressiveness that rank among the glories of Baroque music. This volume, reprinted from the standard edition, contains all 48 of the trio sonatas (including the famous chaconne) of Opp. 1, 2, 3 and 4, along with all twelve solo sonatas, Op. 5.
Lelio Colista (1629–80) is considered the foremost composer of Italian trio sonatas in Rome before Corelli. In the Papal City, where he lived for most of his life, he was an acclaimed lutenist, composer, and teacher. He was part of a closely-knit professional milieu including the most appreciated instrumentalists of his generation, such as Alessandro Stradella, Carlo Ambrogio Lonati, and Carlo Mannelli. However, Colista’s trio sonatas were not published during his lifetime. No autograph has survived, and the many manuscript sources are today scattered throughout various European libraries. Their wide dissemination bears witness to the significant circulation of Colista’s trio sonatas in the last decades of the seventeenth century, particularly in England. This volume presents a critical edition of the complete output of Colista’s trio sonatas, and offers for the first time a full reassessment of the entire manuscript transmission, including all the known sources and concordances, as well as incomplete and doubtful works.