L'Arte del violino : 12 concerti per violino con 24 capricci ad libitum

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AMSTERDAM

MUZIEKUITGEVERIJ SAUL B. GROEN

1981

L'ARTE DEL VIOLINO

Orchestral parts for sale

©Vormgeving en uitgave B.V. Muziekhandel Saul B. Groen, 198

LOCATELLI

L'ARTE DEL VTOLINO

12 CONCERTI PER VIOLINO
CON 24 CAPRICCI AD LIBITUM

reprint of the 1733 Amsterdam edition

Introduction by Paul van Reijen

AMSTERDAM

MUZIEKUITGEVERIJ SAUL B. GROEN

1981

INTRODUCTION

Locatelli's L'Arte del Vio/ino is an example of a work whose
title is known to many violinists but whose contents remain in
fact something of a mystery. At most, it is known that Loca-
telli's opus magnum contains technically extremely difficult
music, a fact which in the course of time has not always re-
sulted in favourable judgements. The fact that, up till now
there has been no available edition of L'Arte del Violino to
provide Locatelli's exact and complete text, has formed the
stumbling block to a deeper acquaintance. The great interest
in Baroque performance practice today, including that of the
original performance techniques, is yet another reason why
the initiative to offer a facsimile of the original edition,
produced in Amsterdam in 1733 under Locatelli's direct
control, is fully justified.

Pietro Antonio Locatelli, born in Bergamo on 3 September
1695, travelled extensively in his early years as a virtuoso of
the violin. It is possible to demonstrate that he visited at least
Rome, Mantua, Venice, Dresden,Munich,Berlin and Kassel.'
Although he must have been in Amsterdam before, he
probably did not take up residence there until sometime after
1729. Concerning the second edition of his opus I (12 Con-
certi grossi, 1721), which was published by Michel-Charles le
Cene in Amsterdam, Locatelli commented that he himself
had made the corrections ("la Correzione che feci io medemo
in Amsterdam I'Anno 1729").^ Two years later he called him-
self an "Italiaans Musicq-meester wonende te Amsterdam"
("Italian music master residing in Amsterdam")^ in an appli-
cation for a letter patent to publish his own compositions.
Locatelli would remain in residence in Amsterdam until his
death on 30 March 1764. The main pivot of his activities was
to a certain extent shifted: composer and pedagogue took the
place of peripatetic virtuoso. It was in Amsterdam, one of the
most important centres for music publishing in the
eighteenth century, that Locatelli would arrange to publish
all his work (except opus VII). He himself took care of
smaller-scale works and those of limited instrumentation; the
larger, thus more expensive works were taken care by his
friend Michel-Charles le Cene.''

PUBLICATION

We are well informed concerning the publication of his opus
III entitled L'Arte del Violino. In the "Nouvelles d'Amster-
dam" of 2 and 9 January 1733 the completion of the printing
of opus III was announced in the following words: "Le meme
Libraire [viz. Le Cene] aura bientot acheve I'opera terza de
Mr. Pietro Locatelli re^u de sa main contenant Douze
Concerti savoir Violino principale con vintti quattro capricci
ad Libitum Violino primo Violino secondo alto Violoncello
e Basso."^ According to the advertisement which appeared on
25 June and 2 July in the "Amsterdamse Courant" the work
must have been available in June 1733: "Michel-Charles Le
Cene Boekverkoper t'Amsterdam op de Boom-markt, heeft
gedrukt op kopere Platen gegraveerd, L'Arte del Violino, XII
Concerti, cioe violino solo, con XXIV Capricci ad Libitum,
violino primo, e secondo, alto, violoncello solo, e Basso opera
Terza di Pietro Locatelli, de prys 25 guld."^
The "gopper plates" are all numbered 572. It is remarkable,
however, that both the music of the "Violino Solo" and the
"Violoncello Solo" bear the number 573.'^ This deviating

plate number shows that the publisher wished to store the
plates for the two solo parts of the same work separately.^ The
price of 25 guilders which Le Cene asked for his 6-part publi-
cation {RISM: L 2605) was certainly no small amount, con-
sidering that Locatelli had to pay around 20 guilders per
month for a 7-roomed house in the city centre.' "La cherte
excessive de I'Edition d'Hollande" was one of the major
reasons for the Parisian music publisher Le Clerc offering a
pirate edition in 1742 "a beaucoup meilleur marche".'"

DEDICATION

One learns from the title page that Locatelli dedicated his
opus III to a Venetian patriarch, Girolamo Michiel Lini. Since
Koole did not collate the sources properly in his dissertation
on Locatelli the name A/ichiellini was adopted, a personage
on whom no information could be found." On casting a criti-
cal eye over the title page ("Michiel'Lini") together with the
text of Locatelli's own "Distinto Catalogo" in his opus VIII
("Girolamo Michiel Lini")'^ it becomes apparent that the
man bore the surname "Lini".

According to the most recent researches of Albert Dunning'^,
Lini was born in Bergamo on 24 May 1690, fully five years
before Locatelli. He came to Venice as a "povero ragazzo per
garzonzelle nella Botthega di Droghe a piede di Rialto a S.
Bartolomeo all'lnsegna dell'Angelo". Lini achieved his
wealth by, amongst other things, a lucrative business in
colonial produce. As a kind of Maecenas he could call upon a
large arsenal of musicians in the city of the Doges and in
doing so was able to bring together ad hoc a "senza pari
numerosissima orchestra". In 1715 Lini was appointed "Cas-
tellan della Cappella di Bergamo", in other words comman-
dant of the garrison of Castello San Virgilio near Bergamo.
He was nonetheless able to retain his domicile in the
Venetian quarter of San Samuele. In 1717 he married a scion
of the Colleoni family.

The following is a translation of the dedication to Lini'**:
Most Nobly Born and E.xcellent Sir,

The honourwhich was accorded to me during my stay in Venice
of being repeatedly welcomed at Your Excellency's residence,
places upon me the obligation of demonstrating my recognition
to You by means of this devoted act of thankfulness, that is to
say, in dedicating to You these my Concertos; the more so, since
You graciously condescended to come and listen to them and to
judge them with favour when they were performed by that
skilled orchestra of unparalleled size and myself at those cele-
brated festiziities. I consider it unnecessary to beg the
authoritative Protection of Your Excellency for my efforts, of
whichever kind they may be; for the judgement ofG reat Men is
always correct while one should not pay heed to the criticism of
the arrogant or ignorant. Nonetheless, I beg Your Excellency to
permit his highly-esteemed Protection to continue upon me; in
the wish that Heaven should rain down the greatest and most
coveted happiness upon You, I offer myself in perpetuity. Your
Excellency's

Very Humble, Very Dedicated
and Most Indebted Servant
PIETRO LOCATELLI

V

One mav deduce from this text that Locatclli must have spent
some time m Venice and that it must have been repeated
several times in the course ot the 20's'^ and furthermore, that
the concertos ot opus III must have existed - either complete
or m part - some time earlier.'" The Qipriu i had in all proba-
bility played a part in the performance of these concertos, in a
more t^r less definitive version. In the outer movements of
each CoHirrlo Locatelli had placed a kind of violin etude or
"Capriccio" of often exceptional dilficulty. He expressly
stated in the title that the performance of these Capricii v/as
"ad libitum". Judgement of opus III as a whole has in fact been
prejudiced by the appearance and nature of the Capricci. To do
justice to Locatelli's opus one should regard the Concerti und
Capricci as two different aspects of the same musical per-
sonality. The concertos "represent in melodic and violinistic
respect the most advanced type of the concert literature of all
nations to that date".'' In contrast the capriccios were the
territory of violinists bent on experimentation and unlocking
from their instrument, through the most complex technical
positions, the most unusual sounds and combinations. That
this portion in particular of L'Arte del Violino has been the
object of a great deal of criticism, is a fact which cannot be
brushed aside easily. The Capricci not only afforded Locatelli
a certain notoriety but also formed the core of attraction for
those who wished to see him in person at work in Amsterdam.
Calmeyer gives in his dissertation on Locatelli a short histo-
rical survey of the overwhelmingly unfavourable criticism
which the Capricci\\ii\t suffered, but could have extended the
scope even more.'* Even the 5th edition of Grove (1954) finds
that Locatelli "oversteps all reasonable limits and aims at
effects which, being adverse to the very nature of the violin,
are neither beautiful nor musical, but ludicrous and absurd"
and concludes after a particular example (from the Capriccio
for the first movement of Concerto XII) that this "savours
strongly of charlatanism".'^

With a greater appreciation of the development of perfor-
mance technique and a better founded knowledge of old
instruments and their peculiarities, it should now be esta-
blished objectively that Locatelli was a pathfinder in the
variegated landscape of violin technique. The difficulties he
presents should not, however, be regarded as insurmountable.
A survey of the problems which most frequently occur in this
respect will be found under the heading "Capricci".

CONCERTI

In a formal sense the 12 Concerti which Locatelli collected
together in his opus III follow the procedure established in
particular by Giuseppe Torelli in his solo concertos
(published as opus 8 in 1709). Apart from the distribution of

tutti and sola sections inherent in the concerto, the most
important characteristic is the tripartite form: (rather) fast -
slow(er) - fast.^° The survey at the bottom of the page tabulates
the most important external features of the Concerti {tempo,
key, time-signature).

In more than half the instances we see that Locatelli did not
choose a really fast tempo for his opening movements. In
three cases (IV, V and VI) he has even provided a slow
introduction. The second movements are all relatively slow,
with the exception of XII, in which the Torellian tripartite
structure is adopted (although with a somewhat rudimentary
Adagio section).^' Where the composer evidently intended a
more flowing, less broad movement such as in the Siciliano-
like middle movement of X, he uses the combination Largo
Andante. This term may also be found in the works of Handel,
amongst others. The third movements have in general a
quite fast tempo. A dance-like character is mostly evident.
As far as tonal contrast between the movements is concerned,
it is characterised more by its absence from II, III and VI -
though this does not imply that there are no lively tonal
relationships within the structure of individual movements.
Subdominant and/or dominant relationships occur in V, VIII,
X and XI. The relationship most frequently chosen by
Locatelli is that of the third, viz. in I, IV, VII, IX and XII.
Without exception the first movements are in 4/4 time; where
there is a slow introduction it has a 3/4 signature by way of
contrast. The slow movements in general are in 3/4. The most
exceptional in this respect is again X. Concerto I apart, all other
concertos have a final movement in a simple binary or ternary
metre, with the light and dance-like 3/8 prevailing.
The solo sections vary in number from two to six. The smallest
number of solo fragments occurs in the middle movements.
The solo also plays with the ripieno violins in the tutti sections -
a normal practice for that time. The theme announced in the
opening tutti is not uncommonly repeated at the octave in the
solo (Locatelli makes the suggestion at the beginning of the
Violino Solo: "Dove Sono le linee /-•'-'^ Si deve Sonare un
Ottava pid alto"). Octave passages and wide leaps are impor-
tant components in the melodic outline. The melodic ideas
themselves betray some already rococo elements, despite the
ornamentation with which Locatelli often clothes them. - He
has a definite preference for syncopated and forward-driving
rhythms. - The richly figured basses do not conceal the fact
that Locatelli's harmonic vocabulary is rather limited and
unsophisticated.

Locatelli was fond of great variation and contrast in
dynamics. To this end he consistently uses the terms forte,
piano and pianissimo (see for example the Largo of Concerto
VII), but also echo effects and particular types of instrumen-

I

Allegro -D-4/4

Largo -B''-3/4

Allegro -

D

-4/4

II

Andante - c - 4/4

Largo -C -3/4

Andante -

c

-3/8

III

Andante -F -4/4

Largo -F -3/4

Vivace -

F

-3/8

IV

Largo-Andante - E

- 3/4-4/4

Largo -C -3/4

Andante -

E

-3/8

V

Largo-Andante - C

- 3/4-4/4

Adagio -f -3/4

Allegro -

C

-2/4

VI

Largo-Andante - g

- 3/4-4/4

Adagio -g -3/4

Vivace -

g

-3/8

VII

Andante -B''- 4/4

Largo -g -3/4

Allegro -

B"

-2/4

VIII

Andante- e -4/4

Largo - a - 3/4

Allegro -

e

-2/4

IX

Allegro -G -4/4

Largo -£''-4/4

Allegro -

G

-3/8

X

Allegro -F -4/4

Largo Andante - c - 12/8

Andante -

F

-3/4

XI

Allegro - A - 4/4

Largo -d -3/4

Andante-

A

-3/4

XII

Allegro -D -4/4

Largo-Presto-Adagio - b - 3/4

AUegro -

D

-3/8

VI

tation (e.g. senza cimbalo or basso lacet) in order to create
dynamic differentiation.

For a more detailed analysis the reader is referred to the rele-
vant chapters in the dissertations of Calmeyer and Koole.^^

CAPRICCI

Although the Concerti themselves were already much more
demanding technically than works of his contemporaries
(high positions, double stopping, bowing technique etc.), the
summit of technical, not to say mechanical difficulty, was
reached by Locatelli in his Capricci. Calmeyer writes:
"Locatelli wrote what were in effect lenghty cadenzas, which
he called Capriccios, at the end of most of which he left room
for a proper cadenza, that is a now written-out free
improvisation at the discretion of the performer.-'' This final
cadenza was followed by an orchestral tutti{. . .). The name
was probably chosen to indicate the formless, rhapsodical
nature of the piece (...). Actually, they are a complete catalog
of a violinistic technical repertoire which, notwithstanding a
span of more than two hundred years, stands up remarkably
well in comparison with the demands of our modern
technique."^'

If one wishes to obtain an insight into the technical material
which Locatelli presents in his Capricci, one may divide the
figurations and/or performance techniques into the follow-
ing categories (the sequence follows the order of frequency):

1. Fast figurations extended sequentially or imitatively,
often on or around a pedal point. Boyden writes about
"pedal-tone figuration in which one tone swirls about
above or below it. The pedal is often an open string, in-
cluding the open G string."^^

2. Arpeggios.

3. Double and multiple stops. "Among the most difficult ar-
ticulation demanded by Locatelli are those in double
stops in which one voice has grouped staccato and the
other voice a sustained note, a trill, or a legato line."^^ See
also under 4.

4. Mixed bowings. Boyden gives the Capriccio of the final
movement of Concerto II as example.,Here "Locatelli calls
for holding a long note in the lower part, while in the
upper part the bow starts legato and finishes with de-
tached notes played on the string - and all of these must be
under one slur in order to hold out the whole note
below."^^ See also under 3.

5. Staccato bowings. "Examination of Locatelli's music re-
veals a variety of musical contexts for group staccato
types of bowing and suggests that a wide gamut of articu-
lation techniques with a considerable expressive range is
appropriate for playing them."'^^

6. Tremolos. "The bowings in which several articulated
notes are grouped together in one bow stroke range from
the traditional, gently tremolo bowing (several pulsations
on the string with a single bow stroke (. . .)) to dazzling
patterns of eight to a dozen semiquavers articulated on a
single bow stroke in runs and arpeggios."^"

7. Trills.

Concerning further performance practice one's attention is
drawn to rapid string crossings, extension and contraction of
the left-hand and . . . playing in high to very high positions."

As far as this last point is concerned, it appears as if the
different authorities in the field are holding a "competition".
Boyden, for example, does not come further than the four-
teenth position in the Capriccio of XI^^; Koole reaches the
fifteenth", while Calmeyer - correctly - goes as far as the
seventeenth position. ^'^

Joan Luce has made a purely technical classification in her
recent dissertation on the caprices, especially in Chapter III:
"Technical Aspects of the Caprices from L'Arte del Violino".
"Technique is broken down into two areas: left-hand tech-
nique, encompassing positions (range), finger extensions,
double and multiple stops, and wide skips; and right-hand
technique, encompassing staccato bowing, across-the-string
bowing on adjacent strings, across-the-string bowing on non-
adjacent strings, and arpeggiated bowings. "^^ The technical
demands made by Locatelli in his caprices are considered by
Luce in the light of the violin methods of Geminiani (1751)
and Leopold Mozart (second edition, 1770).

NOTATION

Pure technical problems apart, the today's violinist is still con-
fronted with a number of specific notational problems. Since
the Capricci are based to a great extent on the constant
reiteration of a motive, it was to be expected that the
composer should resort to abbreviating his writing to a kind
of musical shorthand. The relevant passage may often be
written out fully once and then followed by the word "segue"
or"sempre segue". "In many instances, however, there is room
for different interpretations and this applies particularly to
arpeggios and arpeggio-like figurations. It is entirely possible
that Locatelli himself did not play the same type of figuration
in a single cadenza constantly with the same kind of bowing,
especially if no example is shown at the beginning (except,
perhaps, for the single word 'arpeggio') or no bowing is in-
dicated."''' The most striking example in this respect will be
found in the first Capriccio of XII. Despite the direction
"Arpeggio" there are nevertheless several possible ways of
realising it."

The following peculiarities in notation and engraving maybe
mentioned in connection with Le Cene's publication itself
Use of the flat-sign instead of the modern natural (one
example out of many: p. 3, final bar); a sharp-sign which
resembles our double sharp; the "English" sign for a crotchet
rest; the almost complete extension of the leger lines (e.g. p.
44, fourth stave from under); the placing of a direct ( W ) at
the end of every stave, a practice which also occurs at the be-
ginning of every octave passage (e.g. p. 2, fifth stave from
under). Normally the "segno" is placed ahead of the Capriccio.
However, there are exceptions to this rule: the first Capriccio
of I, the second of III and the first of VI. In these cases the
"segno" is placed at the end of the movement; in the last two
cases the direction "Cadenza" even is omitted - in other words
the Capriccio is immediately followed by the closing tutti. The
above-mentioned exceptions could be taken as implying that
perf ormance of the Capriccio is not "ad libitum" at all! It does
not seem too ventured to suggest that in these cases the
Capriccio should continue until the end of the final tidti And
that one should therefore play it through up to this point.
On turning to the most frequently occuring instance - the
"segno" before the Capriccio, we cite Luce: "There is a tutti
based on some part of the opening tutti of the movement just

VII

before the caprice in each ot the twenty movements in which
the sign appears before the caprice. By referring back to the
material ot the opening ot the movement, these 'prc-capricc
tuttis" bring the movement to a decisive close at the point
where the sign appears."'* Is it musically acceptable, however,
to speak here ot a "decisive close" without doing violence to
the structure of the concerto section as a whole? In this case,
not only would the Capriciio itself beomittcd(legitimately,of
course), but also the CatUmtt which mostly follows, and the
final tutti! Is it not conceivable that the soloist have made a
link with the Ciukpiza in order to end in any case with the final
tultt section ("post-caprice tutti")? ' "The latter is certainly not
invariably equivalent to the "pre-caprice tutti" (e.g. the first
movements of II, IV and XII, and the final movements of I, IX,
XI and XII). Simply chopping it oft at the "segno" as Luce
suggests, would mean that more than a third (35 pages) of the
97 pages of the violin solo should be omitted! It is implausible
that composer and publisher would have gone to so much
trouble with their expensive work while there is such a small
nctt amount of compulsory music to be garnered.
Ornamentation is limited to the use of trills (sometimes
reduced to inverted mordents) and long or short appog-
giaturas and combinations of these both. The notation of
slurs is not consistent here. The practiced performer will not
encounter many other problems.

It is noteworthy that both "Organo" and "Cimbalo" are used
in the "Basso" part. Calmeyer says that it is possible "that
Locatelli had played these concertos with organ accom-
paniment in one of the churches in Amsterdam before they
were published, and that he simply wanted to indicate in the
score that if an organ were used, its full support would be per-
missible [Organo Forte], or that the organ should not over-
power the sound of the string orchestra [ Organo Piano] The
"Basso" part demands as a general rule that at any rate where
"Contra Basso Solo" is mentioned the "Cimbalo" does not
play, but only a "Solo Basso". However, it is significant that
Locatelli continues to use bolh terms ("Cont. Solo", resp.
"Contr. Solo Sen. Cim.") in the concertos.

THE PORTRAIT

Included amongst Locatelli's estate was a "Pourtret van P.
Locatelli in Zwarte Konst op Koper, met 150 Afdrukken van
het zelve" (an "Engraved Copper Plate of the Portrait of P.
Locatelli, with 150 Prints of the same")."" This "Pourtret"
seems to have been based on an original crayoned ("gecrajon-
neerd") drawing by Cornelis Troost.''^

The composer Simon Mayr (established from 1789 until his
death in 1845 in Locatelli's birthplace Bergamo), who must
have seen the original, described Locatelli as an "uomo d'un
aspetto degnitoso ed imponente, d'una fronte spaziosa (sede,
secondo la dottore di Gall, dell'organo di fervida fantasia
musicale), di occhi scintillanti, e d'una bocca, che non sembra
awezza al riso." In Calmeyer's translation: "a man of
dignified and imposing bearing, with a spacious forehead (the
seat, according to the phrenologist Dr. Gall, of ardent musical
fantasy), scintillating eyes and a mouth which does not seem
used to smiling."'*^

There are three states of this copper engraving in existence.''''
The first is entirely lacking in text; the second displays an
inscription, the signature below, the dtle {L'Arte del Violino)
on the spine of the book above and a music stave. In the third

state the initial bars of the Vivace from Locatelli's Concerto
grosso opus I no. 8 have been filled into the music roll. This
explains the difference between Koole's illustration and the
one in MGC^^ According to Niemeijer'sdata the MGG illus-
tration should not be described as "erster Zustand" (first state)
but as the second. Calmeyer "explained" the absence of music
in the latter case in the following words: "In the MGG plate
this has come out so faintly as to make the sheet look almost
white."'"'

On the basis of the inscription on the spine of the upper book,
the present facsimile edition has adopted the portrait of
Locatelli from the third state of Cornelis Troost's engraving.

ACKNOWLEDGEMENTS

Finally, a word of thanks to the Toonkunst-Bibliotheek,
Amsterdam, whose recently acquired extremely handsome
copy (Sign. Zz-Loc-3) could be used for this edition and to the
Rijksprentenkabinet of the Rijksmuseum, Amsterdam for
making available the Troost print. I am extremely indebted to
Dr. Albert Dunning, Utrecht for his generous help. I should
also like to thank Drs. Pieter Fischer, Amsterdam for his sug-
gestions in preparing the translation of Locatelli's dedicafion.

Amsterdam, October 1980 Drs. Paul van Reijen

(Translation: Dr. Ian Parker)

NOTES

1) A. Koole, Art. "Locatelli", MGG VIII, Kassel 1960, col. 1076; art. "Loca-
telli", MGG XVI, Kassel 1979, col. 1150.

2) Dislinlo Catalogo delle Opcre Composte di mi Pietro Locatelli da Bergamo. Fac-
simile of this document in J. H. Calmeyer, The Life, Times and Works of
Pietro Antonio Locatelli. Diss, (typescript) University of North Carolina,
Chapel Hill 1969, p. 437 (English translation on p. 90). First published by
D. F. Scheurleer, "De in Nederland uitgegeven werken van Pietro
Locatelli", Tijdschrift der VereenigingvoorNederlandscheMuziekgeschicdenis,
IX (1909-1914), p. 210.Another version in A. Koole, Le^ien en werken van
Pietro Antonio Locatelli da Bergamo 1695-1794 [recte 1764], Amsterdam
1949, p. 49.

3) Scheurleer, op. cit., p. 202. Koole op. cit., p. 88.

4) A. Koole, Art. "Roger (Verlag)", MGG XL Kassel 1963, col. 631.

5) Koole, op. cit., p. 51. Calmeyer, op. cit., p. 104.

6) Antsterdamse Donderdaegse Courant, Ac. 1733, nos.76 and 79 respectively.
Copy in the Gemeentelijke A rchiefdienst, Amsterdam. An incorrect ver-
sion in Koole, op. cit., p. 53.

7) F. Lesure, Bibliographie des Editions Musicales publiees par Estienne Roger et
Michel-Charles le Gene (Amsterdam, 1696-1743). Pans 1969, p. \<)\\.V Arte del
Violino is identified exclusively under plate number 572 in Le Gene's
Catalogue des Livres de Musique, 1737, p. 56 (reprinted in Lesure).

8) None of the authors cited so far have mentioned this more than coinci-
dental state of affairs.

9) Calmeyer, op. cit., p. 105. The commentary which Calmeyer gives
elsewhere (p. 44), namely that Locatelli's work was offered to the public
"at prices which differ little from what we would pay for them today", can
very definitely not be applied to the price of opus III!

10) Calmeyer, op. cit., p. 105.

1 1) Koole, op. cit., p. 51.

12) Facsimile in Calmeyer, op. cit., p. 437. Scheurleer, op. cit., p. 211.

13) See Cunning's book Pietro Antonio Locatelli (1695-1764). Der Virtuose und
seine Welt, Buren 1981, Buch II, Kap. I. An Italian translation will be pu-
blished at the same time by Olschki in Florence and it is from this source
that I have cited here. The information previously collected on a
"Girolamo Michiel Lini" (cf A. Dunning-A. Koole, "Pietro Antonio
Locatelli. Nieuwe bijdragen tot de kennis van zijn leven en werken", Tijd-
schrift van de Vereniging voor Nederlandse Muziekgeschiedenis, XX (1967), p.
80, adopted by Calmeyer, op. at., p. 77) is hereby superseded.

VIII

14) Quite apart from the numerous printing errors and inconsequential use
of the original spelling, the text of the dedication given by Koole has the
following striking faults: "Huomo i Grandi" for Hitomini Grandi; "la sti-
matissima" for la sua stimatissima (ct. Koole, up. cit., pp. 51 and 53).

15) MGG XVI, Kassel 1979, col. 1150.

16) On this point see in particular Calmeyer, op. ctl., pp. 78 and 104 respec-
tively.

17) Citation from M. Dounias in Calmeyer, up. til., p. 170.

18) Calmeyer, op. cit., pp. 164ff.

19) P(aul) D(avid), Art. "Locatelli", Grove's Dictionary of Music and Musicians,
V, London 5/1954, p. 352. The Capriccio mentioned by David is not "Le
Labyrinthe", but forms a part of the twelfth Concerto whose title reads:
// Laberinto Armonico/Facilus aditus, difficilis exitus.

20) Historical correctness is once again lacking from Koole's work when he
maintains: "The twelve concertos have without exception three move-
ments, a formal principle which was established by Corel 1 1 and Vivaldi in
their solo concertos" (cf. Koole, op. cil., p. 169). Corelli did not write any
solo concertos at all!

21) ". . . and the slow movements [of Torelli] have a distinctive tempo arran-
gement in themselves: slow, fast, slow" (cf. D.D. Boyden, The History of
Violin Playing from its Origins to 1761 and its Relationship to the Violin and
Violin Music, London 1965, p. 342).

22) Calmeyer (op. cit., p. 310) suggests the exact opposite when he maintains:
"When a slower Andante is intended, (. . .), the term Largo Andante is
used." Wrongly so, since Andante is a further modification of the "prin-
cipal" word Largo. See also I. Hermann-Bengen, Tenipobezeichnungen.
Ursprung, Wandel im 17. und 18. Jahrhundert, Tutzing 1959, pp. 82-83.

23) Calmeyer, op. cit., pp. 300-329. Koole, op. cit., pp. 168-177.

24) The "Cadenza" is missing in III/3 and VI/1, and in particular in the last
four Concert!, i.e. IX/3, X/1, XI/ 1 and 3, and XII/1. In the Capricci of IX
and XI there is a certain thematic relationship with the movement itself -
For the paired terms "cadenza"-"capriccio" see Boyden (op. cit., pp. 464-
466) and D. Themelis, Etude ou Caprice. Die Entslehungsgeschichte der Vio-
linetude, Miinchen 1976, pp. 51-69 [= "IV. Caprice und Etude"], esp.
p. 64.

25) Calmeyer, op. cit., pp. 332-333.

26) Boyden, op. cit., p. 340.

27) B.G.Jackson, "Some Suggestions for the Performance of Grouped Stac-
cato Bowings in the Music of Locatelli", The Consort, No. 29(1973), pp. 23-
31, esp. p. 30.

28) Boyden, op. cit., p. 424.

29) Jackson, op. cit., p. 23.

30) Jackson, op. cit., p. 23.

31) Music examples in Calmeyer, op. cit., pp. 338-339.

32) Boyden, op. cit., p. 338.

33) Koole, op. cil., p. 170.

34) Calmeyer, op. cit., p. 339.

35) J. Luce, The Virtuosity and Unujue Role oflhe Capncesfor Solo Violin in Pietro
Locatelli's "L' Arte del Violino". Diss, (typescript) University of Michigan
1975, Ann Arbor 1979, p. 34.

36) Calmeyer, op. cit., p. 341.

37) See the examples in Calmeyer, op. cit., p. 342.

38) Luce, op. cit., p. 88.

39) This opinion is also shared by Calmeyer who writes: "The 'segno' at
which the movement could be finished is placed at the beginning of the
capriccio, which is then followed by a short orchestral tutti. The final
chord before the capriccio is frequently [sometimes - v. R.] a dominant
chord and the beginning of the final /«//; sections does not always pro-
vide a logical continuation, so that in the absence of the capriccio some
kind of bridge passage would have to be inserted. This would not present
any great difficulty" (cf Calmeyer, op. cil., p. 302).

40) Calmeyer, op. cit., p. 328.

41) Koole, op. cit., p. 130.

42) Koole, op. cit., p. 136. See especially |. W. Niemeiier, Cornells I roost 1696--
1750, Assen 1973, pp. 15-16.

43) Calmeyer, vp. cit., p. 159.

44) Niemeiier, op. cit., p. 178.

45) MGG VIII, Kassel I960, Table 53/1.

46) Calmeyer, op. cit., p. 404 (footnote).

IX

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P

MUZIEKUITGEVERIJ SAUL B. GROEN

PUBLISHED

T UITNEMENT KABINET 10 VOLUMES ed. R. A. Rasch

CONSTANTIJN HUYGENS

PATHODIA SACRA ET PROFANA ed. F. Noske

KEES ROSENHART

THE AMSTERDAM HARPSICHORD TUTOR 2 VOLUMES
SYBRANT VAN NOORDT

2 SONATA'S FOR 1 MELODY INSTRUMENT WITH CONTINUO,
1 SONATA FOR 2 VIOLINS

AND 1 SONATA FOR SOLO HARPSICHORD, FACSIMILE
ed. R. Verhagen

SYBRANT VAN NOORDT

SONATA FOR ALTO RECORDER WITH CONTINUO, ed. R. Verhagen
JR. JACOB VAN EYCK

DER FLUYTEN LUST-HOF, FACSIMILE ed. K. Otten

LEONHARDT/HARNONCOURT
AUSSAGEN ERASMUSPREIS 1980

BV.MUZIEKHANDEL SAUL B. GROEN

Ferdinand Bolstraat 6 - UITGEVERIJ - Amsterdam-z. Holland