1754 · Padova
by TARTINI, Giuseppe 1692-1770
Padova: Nella stamperia del Seminario, apresso Giovanni Manfrè, 1754. Quarto. Contemporary multicolored Baroque decorative boards. 1f. (recto title, verso blank), 3ff. .(preface and dedication), 175, [i] pp. + 2 engraved plates of diagrams and music (one being p. 161). With numerous musical examples within text. Fine decorative head- and tailpieces and initials.
Binding slightly worn and bumped; spine slightly chipped with minor loss. Some light staining to margins; minor worming to blank margins of first and last leaves.
An attractive fresh, wide-margined, untrimmed copy in original state. First Edition. Cortot p. 188. Hirsch I, 571. Wolffheim I, 1055. RISM Écrits p. 820.
"In addition to being a virtuoso and pedagogue of high rank, Tartini was a theorist of considerable consequence. The Trattato di musica, the first of his musical treatises to be printed, consists of six sections, dealing with harmonic phenomena, the harmonic circle (i.e., the circle of fifths), musical systems, the diatonic scale, old and modern tonalities, and the intervals and modulations of modern music. The treatise is significant as the source of one of the first scientific explanations of what Tartini calls the "third" tone. .. Tartini recognizes a natural opposition between major and minor, and his Trattata di musica ... occupies a prominent position in the history of the theory - at one time widely credited - that minor harmony derives from an 'undertone' series as major harmony is by many believed to derive from an overtone series. ... Besides its importance as an exposition of theoretical opinion during the middle of the 18th century, it is valuable because of the material it contains on Dalmatian folk music of the period." Reese: Fourscore Classics of Music Literature, p. 73.
"In the 'Die Natur der Harmonik' (1882) Riemann calls Tartini the first truly great thinker since Zarlino, for it was he who revived Zarlino's idea of the dual nature of harmony 'after two hundred years of oblivion.' " Mickelson: Hugo Riemann's Theory of Harmony ... and History of Music Theory Book III, p. 10. (Inventory #: 39992)
Binding slightly worn and bumped; spine slightly chipped with minor loss. Some light staining to margins; minor worming to blank margins of first and last leaves.
An attractive fresh, wide-margined, untrimmed copy in original state. First Edition. Cortot p. 188. Hirsch I, 571. Wolffheim I, 1055. RISM Écrits p. 820.
"In addition to being a virtuoso and pedagogue of high rank, Tartini was a theorist of considerable consequence. The Trattato di musica, the first of his musical treatises to be printed, consists of six sections, dealing with harmonic phenomena, the harmonic circle (i.e., the circle of fifths), musical systems, the diatonic scale, old and modern tonalities, and the intervals and modulations of modern music. The treatise is significant as the source of one of the first scientific explanations of what Tartini calls the "third" tone. .. Tartini recognizes a natural opposition between major and minor, and his Trattata di musica ... occupies a prominent position in the history of the theory - at one time widely credited - that minor harmony derives from an 'undertone' series as major harmony is by many believed to derive from an overtone series. ... Besides its importance as an exposition of theoretical opinion during the middle of the 18th century, it is valuable because of the material it contains on Dalmatian folk music of the period." Reese: Fourscore Classics of Music Literature, p. 73.
"In the 'Die Natur der Harmonik' (1882) Riemann calls Tartini the first truly great thinker since Zarlino, for it was he who revived Zarlino's idea of the dual nature of harmony 'after two hundred years of oblivion.' " Mickelson: Hugo Riemann's Theory of Harmony ... and History of Music Theory Book III, p. 10. (Inventory #: 39992)