[TT TARE A CARL FISCHER'S MUSIC LIBRARY NO 675 J.B. VIOTTI Concerto NO 22 in A minor for VIOLIN AND PLANO Revised by OVIDE MUSIN se Eset Fischer Inc. joopur Square ‘eos CU Sema te EMSS aeConcerta No. 22 By J. B. VIOTTI Ber at Fontan da Pa, Ver hy, May 2,188 edie toetons Mark O12) ee 10 one could botst of a greater and more thorough artistic “filia- ion” than Viet, one’ of the most famous of classic composers for the violin, He was a pupil of Pugnani, whose teacher was the celebrated Somis, who in turn was a pupil of Corelli, the founder of the early’ Italian violin school. ‘The invention of the violin concerte. is attributed to Corelli, but to Viott ic owes its actual form, Viows was a mest prolific writer, and there is record of his hasing written twenty-nine violin concertos; all of these are of nquestionable superiority as compared with the dry and formal productions of i redecorate amp of amu vignaty 40d aie ih In form they are well-rounded and clear, their inner characteristics aglow with buorant, youthful energy and ‘prighiliness, the thematic de- relopmeat and connection, a well as their orchestration feady betaving symphonic tend tacies, influenced, without = dovbs, by the spiritof Hayd, The technical advanrages of these concertos, on the one slurred passages and. melodies, bowing anda fullgone;and onthe characteristics of the passa which are derived from the eisai gh ge playing and which impart se- curity and technical dexterity fo the let hand. In this respect all of his concertot are of great benefit for instructive purposes. ‘Among all these concertos, however, the present one, No. 22, is of greatest importance’ is cope is of « much greater and more ambitious nature than all the sth snd the worth, cxcladiinn thre, original Sarentioa; es els! once Caprosivenen with which itis imbued, hive placed it in the repertoire of our gretiet solo. players. and catabluhed ie at a representative among the clase frasterpieces for the violin. In. preenting a newly revised edition of this concerto, T have done «0 wih cl end appropiate comets ue toa li maser, a well to the demands off modern concert performances, Guided by my own pertonal fucceses in public with thie concert, I have shortened the Tutt, added. Coders ty eid and Aland read Dad's ebraton of be Adagio Ta ition, [have added the most careful indications as to bowing and fingering i exact accordance with my own style of interpretation. i so Eapering ia side, consist in the weighty, necesitating long-érawn, broad other, inthe practical, violinstic OVIDE MUSIN. New York, July 1909.Explanation of the signs: dow bow, tp bow. ‘se by Ove Hein Dt at the point of the bow ‘mb.in the middle of the bow. VIOLIN. nt at the aut of the bow. Rae Moderato. - with Fall bow. Tet R EP, erie a> ft / P 2910-49 Copyriant MCMCX by Cart Fischer, Netw York, Ge fam Concerto NO 22. -sheqxitentistct Latif Tee, .B. VIOTTI. apeeps AF remain ia the position reite dena la potion. s2n0-40 aad he Aeos = NAF NE RS a "Bp 22 he linger board. Sie tate CN a OTe ‘ oo 2910-66soLo.= Becee £5 sheet inert fie ger Pesuta tastiora sen0 40‘motto dimin. "yy 2 eT a Caden by Das it ont fs eaca VIOLIN. 7 Se eee ant cadenza 7 RT a SA nit ex 2) (Rie a Beef te tet Efe> ¢Adagio. As Viot treqaertlyolaborated his pubic performances in a great variety of ways, the revisor has added ouch enlaborstion tn om ‘ove the original, for ase in his own concert performances,VIOLIN. ° f Sete fa Cadena40 VIOLIN. Raton pa AePe >>sTn 2910 = a9VIOLIN. Pn Presto. SRT atte PRET ae £ rita. Agitato assai. oY aa € 8 2010 = 482910-40 oeereey VIOLIN. a 13 zt wll ore x S OC rerrr, eats Biot LeoO a VIOLIN. = Stet Besse ygses Fysee s2010-49VIOLIN. 6 sn010-49 Roce16 HE sovo. , f' 0 gra ad 10. sin ’ TOUIN. ak