The Second Collection of Pieces for the Harpsichord. Taken from different Works of F. Geminiani, And adapted by Himself to that Instrument. [Harpsichord transcriptions]

London: Printed for the Author, by Mrs. Johnson, in Cheapside, 1762. 1f. (recto title with small woodcut vignette of bird with outstretched wings, verso blank), [i] (blank), 59, [i] (blank) pp. Engraved throughout.

With "G. Matthews" and "Marrianne Shandys 1844" in early hands to upper margin of title.

Geminiani's approach to transcription varies depending on the piece. In some pieces, he substantially reworks his own music, creating astonishing transformations in the process. A piece designated "Per l'Organo" (pp. 8-9), based on C major scales and scalar patterns, is drawn from "The Art of Playing the Guitar or Cittra" (1760). Using the treatise as a starting point, Geminiani elaborates the harmony, divides parts between hands, adds division-style ornamentation, and modifies the structure to transform an etude into a piece.

In another arrangement, a "Fuga per l'organo" (pp. 46-47), based on the untitled second movement of Op. 1, Sonata 1 (a violin sonata), the composer modifies the vocal registers, reharmonizes, ornaments, omits the bass at one point to create to create a soprano-alto choir stile antico effect, and conceals fugal entrances by adding sustaining notes to what was formerly a more disjunct passage.

Some of Geminiani's pieces require very little modification to take on new life as a transcription. Such is the case for the "Allegro" (pp. 40-41), drawn from Sonata XI, Op. 4. Of this piece, Rudolf Rasch notes, in 'The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4', 1739: "Edward Smith (Verona) brought to my attention the remarkable similarity that exists between this rondeau and the harpsichord piece “Les rozeaux” by François Couperin, the second movement of the Treizième Ordre in his Livre troisième de pièces de clavecin (Paris, 1722). Indeed, the parallels are striking. Geminiani’s piece has the same key, the same metre (though written as 6/8 in Couperin's piece), similar motifs, and especially the same texture, with one voice written in crotchets and quavers and the other in continuous semiquavers." geminiani.sites.uu.nl/

First Edition, [?]first issue. Careri-Italian p. 284, 9a. BUC p. 367. RISM G1535 and GG1535 (not distinguishing between issues; one copy, however, held at the Library of Congress, is without a date or title).

"... the two collections of Pièces de clavecin (1743, 1762) from opp. 1, 2, 4, 5 and 7 and from the treatises for violin and guitar. Not counting the arrangements and transcriptions, Geminiani's sonatas number just 30: 24 for violin (opp. 1 and 4) and six for cello (op. 5). The first violin sonatas, or at any rate some of them, were probably composed in Italy and clearly show the strong influence of Corelli's op. 5 (1700). With the second collection, published a full 23 years later, Geminiani distanced himself decisively from the Corellian model and appears to have drawn inspiration from contemporary French music." Enrico Careri in Grove Music Online

Slightly worn; occasional staining and foxing, heavier to approximately 10 leaves; verso of blank final leaf soiled; final blank verso soiled.

Bound with:
GIARDINI, Felice 1716-1796 Op. 4
Sei Sonate da Camera a Violino Solo Col Basso ... Opera IVa. Prix 6tt. Paris: Chez Le Sr. Bayard ... Le Sr. Vernadé ... Mlle. Castagnery ... Mr. le Menu ... Mr. De Bretonne ... Avec Permission. [1757]. 1f. (recto title, verso blank), [i] (blank), 2-3, [i] (blank), 5-10, [i] (blank), 11-15, [i] (blank), 17-21, [i] (blank), 23-28 [i] (blank), 29-33, [i] (blank), 35-37, [i] (blank) pp.

First Edition, first issue. Lesure p. 230. Not in BUC. RISM G1911 (not distinguishing between issues).

Giardini, a composer of French descent, had a successful career in London as a solo violinist, composer, teacher, and orchestra leader, at the King's Theatre and subsequently at the Haymarket.

Provenance
The André Meyer Collection, Paris, with handstamp to rear endpaper: "Provenant de la collection musical d'André Meyer Décédé en Mai 1974 F. Meyer Octobre 84."

Folio. Modern ivory vellum with titling in red to upper, marbled endpapers.

Binding worn and slightly soiled; boards warped; joints split.

In very good condition overall. (Inventory #: 40015)