Product Description
Keyboard part and solo violin part
Artaria Editions AE430
Edited by Allan Badley
36 + 13 pages
By the standards of the period Saint-Georges was not a prolific composer but this is perhaps hardly surprising given the exceptional range of his activities.
The majority of his instrumental works were published in Paris between 1772-1779 and include string quartets, violin concertos and symphonies concertantes. The Three Sonatas for Fortepiano & Violin were published by Le Duc in 1781 as 'Ier OEuvre de Clavecin': TROIS SONATES / Pour le Clavecin Ou Fort Piano / avec accompagnement de Violon Oblig/ Composes Par / MR DE ST GEORGE / ier OEuvre de Clavecin / Prix 6ll / A PARIS / Chez Mr Le Duc rue Traversiere St honor cd L'Hotel de Byonne / A.P.D.R. / Ecrit par Melle Ollivier.
The Op.1 designation is misleading since a set of six string quartets by Saint-Georges had appeared as Op.1 under Sieber's imprint some eight years earlier. In addition to these works and the Six sonates pour le violon issued posthumously [as Op.post.1] in two sets of three by Pleyel in 1799, Saint-Georges composed at least another seven works for fortepiano and violin. Four of these are described by Guede [Alain Guede, 'Catalogue des oeuvres de Joseph [Boullogne] de Saint-George', La Gazette de Saint-George, Paris, Association "Le Concert de Monsieur de Saint-George", n.d.] as belonging to a set of ten works written for or dedicated to Mme le comtesse de Vaubon which were engraved in 1782 (he does not identify the engraver or publisher). The remaining three works includes Les Caquets - rondo en staccato pour violon et piano harmonis par Marius Casadesus (G.187) and a lost three-movement Sonata pour violon "Les amours et la mort du pauvre oisseau" (G.207) issued in 1783 and 1789 respectively.
This edition is based on a copy of the Le Duc print formerly in the possession of the Bibliothque Royale and now preserved in the Bibliothque Nationale in Paris under the shelf mark Vm7 5601. The engraving of the edition is credited to Mademoiselle Ollivier who also engraved Le Duc's edition of Violin Concerto No.9 in G, Op.8 and the reissue of the two Symphonies Concertantes, Op.9.
Like most eighteenth-century sources, the Le Duc print is inconsistent at times in its notation of appoggiature; these too have been standardised to minimise confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets.
Allan Badley
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