FOOTNOTES:[21]Pietro Locatelli, b. Bergamo, 1693; d. Amsterdam, 1764; famous violinist, pupil of Corelli. His works,Concerti, trio sonatas, etc., are important in the development of the sonata form.[22]Antonio Vivaldi, b. Venice, ca. 1680; d. 1743; completed Torelli’s and Albinoni’s work in the creation of the violin concerto.[23]Jean Benjamin de Laborde:Essai sur la musique ancienne et moderne, 1780.[24]It seems hardly worth while to add that there are well-known sonatas in which no movement is in the triplex form.Cf.the Mozart sonata in A major (K. 331) and the Beethoven sonata in A-flat major, op. 26.[25]It is worthy of note that a sonata in G minor for violin by Tartini was at one time known by the nameDidone abbandonata.Cf.Wasielewski:Die Violine und ihre Meister.[26]Opus 43, No. 2.[27]Op. cit., Vol. I, p. 65,et seq.[28]See Musical Examples (Vol. XIII).[29]The sonatas of Rust as printed by his grandson showed many extraordinary modern features which have since been proved forgeries. The fiery discussions to which they gave rise have been summarized by M. D. Calvocoressi in two articles in theMusical Times(London) for January and February, 1914.
FOOTNOTES:[21]Pietro Locatelli, b. Bergamo, 1693; d. Amsterdam, 1764; famous violinist, pupil of Corelli. His works,Concerti, trio sonatas, etc., are important in the development of the sonata form.[22]Antonio Vivaldi, b. Venice, ca. 1680; d. 1743; completed Torelli’s and Albinoni’s work in the creation of the violin concerto.[23]Jean Benjamin de Laborde:Essai sur la musique ancienne et moderne, 1780.[24]It seems hardly worth while to add that there are well-known sonatas in which no movement is in the triplex form.Cf.the Mozart sonata in A major (K. 331) and the Beethoven sonata in A-flat major, op. 26.[25]It is worthy of note that a sonata in G minor for violin by Tartini was at one time known by the nameDidone abbandonata.Cf.Wasielewski:Die Violine und ihre Meister.[26]Opus 43, No. 2.[27]Op. cit., Vol. I, p. 65,et seq.[28]See Musical Examples (Vol. XIII).[29]The sonatas of Rust as printed by his grandson showed many extraordinary modern features which have since been proved forgeries. The fiery discussions to which they gave rise have been summarized by M. D. Calvocoressi in two articles in theMusical Times(London) for January and February, 1914.
FOOTNOTES:
[21]Pietro Locatelli, b. Bergamo, 1693; d. Amsterdam, 1764; famous violinist, pupil of Corelli. His works,Concerti, trio sonatas, etc., are important in the development of the sonata form.
[21]Pietro Locatelli, b. Bergamo, 1693; d. Amsterdam, 1764; famous violinist, pupil of Corelli. His works,Concerti, trio sonatas, etc., are important in the development of the sonata form.
[22]Antonio Vivaldi, b. Venice, ca. 1680; d. 1743; completed Torelli’s and Albinoni’s work in the creation of the violin concerto.
[22]Antonio Vivaldi, b. Venice, ca. 1680; d. 1743; completed Torelli’s and Albinoni’s work in the creation of the violin concerto.
[23]Jean Benjamin de Laborde:Essai sur la musique ancienne et moderne, 1780.
[23]Jean Benjamin de Laborde:Essai sur la musique ancienne et moderne, 1780.
[24]It seems hardly worth while to add that there are well-known sonatas in which no movement is in the triplex form.Cf.the Mozart sonata in A major (K. 331) and the Beethoven sonata in A-flat major, op. 26.
[24]It seems hardly worth while to add that there are well-known sonatas in which no movement is in the triplex form.Cf.the Mozart sonata in A major (K. 331) and the Beethoven sonata in A-flat major, op. 26.
[25]It is worthy of note that a sonata in G minor for violin by Tartini was at one time known by the nameDidone abbandonata.Cf.Wasielewski:Die Violine und ihre Meister.
[25]It is worthy of note that a sonata in G minor for violin by Tartini was at one time known by the nameDidone abbandonata.Cf.Wasielewski:Die Violine und ihre Meister.
[26]Opus 43, No. 2.
[26]Opus 43, No. 2.
[27]Op. cit., Vol. I, p. 65,et seq.
[27]Op. cit., Vol. I, p. 65,et seq.
[28]See Musical Examples (Vol. XIII).
[28]See Musical Examples (Vol. XIII).
[29]The sonatas of Rust as printed by his grandson showed many extraordinary modern features which have since been proved forgeries. The fiery discussions to which they gave rise have been summarized by M. D. Calvocoressi in two articles in theMusical Times(London) for January and February, 1914.
[29]The sonatas of Rust as printed by his grandson showed many extraordinary modern features which have since been proved forgeries. The fiery discussions to which they gave rise have been summarized by M. D. Calvocoressi in two articles in theMusical Times(London) for January and February, 1914.