TP123 Score and parts
Digital version with
D-TP123 Score and parts Digital
Print and download capabilities are not available. View, annotate and share with the Newzik app. Requires a Newzik account (free)
Digital sheet music
Digital versions purchased on our website will be available within 24 hours in the Newzik application.
PDF download and print capabilities are not available.
1. If you don't have a Newzik account yet (free), you can download the application here or register via their web interface.
2. Create a Newzik account (without using Apple or Facebook login) with the same address you used to place your order.
3. If you already have a Newzik account and the email address is different from the one used to place your order, please send us with the Newzik address.
4. Orders for digital products are usually available within 24 hours in your Newzik library from Monday to Friday (GMT +2). Orders placed on weekends or holidays will be available the next working day.
5. View this product with the Newzik app for iOS or their Web interface to view, annotate and share the score. Print capabilities from Newzik are not available.
No biography available
About Sinfonia a 2 Trombe
The sinfonia is preserved in the collection known as the Estensische Musikalien – the music collection of the Este family – in the Austrian National Library, Vienna. It dates from the period c. 1675-1730, when this part of the collection was gathered together by the Obizzi family, who resided in Catajo castle near Padua.
The present work, although entitled «sinfonia», is actually a sonata, a full-fledged sonata da chiesa in four movements. It is practically the only work of its kind, for trumpets and continuo without strings.
As far as a possible attribution is concerned, Venice and Bologna seem to be the most likely possibilities. Padua, where the piece first came from before becoming incorporated into the Vienna library, is very close to Venice – indeed, many of the Venetian first families had their summer residences in or near there – and Venetian opera composers such as Sartorio and Pallavicino sometimes employed one or two trumpets in their operas in the 1670’s and 1680’s. On the other hand and as opposed to the Venetians, the composers of Torelli’s circle in Bologna had more exprerience in sonata-writing involving trumpets. It is, then, on the basis of the Bolognese trumpet tradition from c. 1665 and especially after Torelli’s arrival there in 1686 until his death in 1709, that we have decided, albeit with some reserve, to assign the present work to the Torelli school.
The florid trumpet writing shows that the players for whom the unknown composer wrote already possessed considerable exprerience in solo playing. In venetian opera it was not at all common for the trumpet parts to ascend the 13th partial to the 16th, as they do here.
Edward H. Tarr
- c. 1675-1730
- The Brass Press