Sonate da Camera a Tre, Op. 1, Vol. 2 (Nos. 7 - 12; 12 Trio Sonatas) Cover Image

Sonate da Camera a Tre, Op. 1, Vol. 2 (Nos. 7 - 12; 12 Trio Sonatas): String Duo & Ensemble, Trio, Conductor Score & Parts

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Sonate da Camera a Tre, Op. 1, Vol. 2 (Nos. 7 - 12; 12 Trio Sonatas) Cover Image
Sonate da Camera a Tre, Op. 1, Vol. 2 (Nos. 7 - 12; 12 Trio Sonatas): String Duo & Ensemble, Trio, Conductor Score & Parts

Sonate da Camera a Tre, Op. 1, Vol. 2 (Nos. 7 - 12; 12 Trio Sonatas): String Duo & Ensemble, Trio, Conductor Score & Parts

By Antonio Vivaldi, ed./arr. by Walter Upmeyer

Item: 36-M117091
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Description
This collection of SONATE DA CAMERA A TRE, Op. 1 (12 TRIO SONATAS) is edited by Walter Upmeyer for two violins and realized continuo (violoncello and optional keyboard) and offered in two volumes. Volume II includes the following: 7. Trio Sonata in E-flat major, RV 65; 8. Trio Sonata in D minor, RV 64; 9. Trio Sonata in A major, RV 75; 10. Trio Sonata in B-flat major, RV 78; 11. Trio Sonata in B minor, RV 79; 12. Trio Sonata in D minor, RV 63 'La Follia'.

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563569-8
ISBN13: 979-889-563-5698
UPC: 612735675868
SKU: 36-M117091
Instrumentation: 2 Violins and Realized Continuo (Violoncello and opt. Keyboard)

More about this title

About the Composer: Antonio Vivaldi

Antonio Vivaldi (1678-1741) stands as one of the most prolific composers of the Baroque era, with over 500 published works spanning concertos, operas, sacred music, and chamber works. A virtuoso violinist and ordained priest, he spent much of his career in Venice, where he directed the Ospedale della Pietà, an institution for orphaned girls where many of his compositions were first performed. His influence on instrumental music was profound; he essentially codified the three-movement concerto form and elevated the violin to unprecedented prominence.

Vivaldi's trio sonatas occupy a central place in his chamber music output. These works balance the demands of virtuosic solo writing with the intimate, conversational textures that define the genre. The Op. 1 collection, published early in his career, showcases the compositional maturity and harmonic sophistication that would define his reputation for centuries. Teachers and performers value these sonatas for their musical substance: they demand serious musicianship while remaining accessible to accomplished amateurs and pre-professional students.

Why we love this

Vivaldi's Op. 1 trio sonatas provide serious chamber repertoire without the technical extremes that can limit performance opportunities. Upmeyer's realization of the continuo makes these works immediately playable by student ensembles, and the variety across the six sonatas in this volume gives you programming flexibility. The balance between structural clarity and expressive depth makes these ideal for string trios ready to move beyond early-Baroque writing into more sophisticated harmonic language.

What to expect

These sonatas balance intimacy with formal elegance. You'll find moments of gentle dance-like grace alongside passages of genuine harmonic exploration that hint at the expressive depths Vivaldi could achieve. The writing feels conversational and immediate, as if three skilled musicians are having a musical dialogue in a Venetian palazzo.

Who it's for

String trios with solid intonation and rhythmic coordination who are ready for Baroque chamber music with real harmonic substance. This collection works well for advanced high school ensembles, college non-majors, and community amateur groups seeking repertoire that rewards careful rehearsal without demanding virtuosic fireworks.

How to get the most out of it

  • Shape the opening themes with clear articulation in the first violin; Vivaldi expects these melodies to announce themselves, not whisper beneath polite accompaniment.
  • Treat the realized continuo as a true voice rather than accompaniment. The cello line often carries important harmonic and melodic content that shapes the sonata's structure.
  • In movements marked for dance rhythms (especially in the later sonatas), maintain rhythmic precision without sacrificing the dance's natural lilt; mechanical tempo ruins the character.
  • Balance the two violin parts carefully in dialogue passages. The second violin is not subordinate; it completes harmonic progressions and occasionally carries thematic material.

How to use it

Program individual sonatas alongside later trio repertoire (Schubert, Ravel) to trace the evolution of the chamber form. Alternatively, pair a single sonata from this volume with one from Vol. 1 to create a balanced recital of Vivaldi chamber music that highlights both structural variety and compositional growth.

Skills your students will build

  • Reading Baroque harmonic language and figured bass realization
  • Ensemble balance and dialogue between equal instrumental parts
  • Stylistically appropriate articulation and phrasing in Baroque idiom
  • Sustained intonation over long continuo passages
  • Recognizing formal structures (sonata da camera dance movements) by ear

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