Nicolas Chédeville
Il pastor fido
Six sonatas for musette, hurdy-gurdy, flute, oboe or violin and basso continuo - attributed to Antonio Vivaldi
Nicolas Chédeville
Il pastor fido
Six sonatas for musette, hurdy-gurdy, flute, oboe or violin and basso continuo - attributed to Antonio Vivaldi
- Instrumentation Flute and Continuo
- Optional Instrumentation Violin and Continuo
- Edition Piano Score and Part(s) Download (Urtext)
-
Difficulty Level
- Composer Nicolas Chédeville
- Publisher Bärenreiter Verlag
- Series Bärenreiter Urtext
- Editor Federico Maria Sardelli
- Order no. BA8735-DL
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Description:
It was not until 1990 - more than 250 years after the publication of the Pastor fido - that the masterful forgery was discovered: It was not Antonio Vivaldi, but the French composer Nicolas Chédeville (1705-1782) who was the author of this sonata collection, which was cleverly foisted on the unsuspecting Parisian public in the mid-18th century at the height of Vivaldi's popularity in France. Vivaldi himself never found out about the misuse of his name and his musical ideas.
Il Pastor fido offers a 'mélange' of very simple movements and gallantries in the French style as well as some thoroughly original movements with exceptionally fine music and powerful compositional ideas. About ninety percent of Il Pastor Fido is Chédeville's own work; for the rest he used themes from Vivaldi (or those he considered to be) and their continuation, demonstrating a thorough knowledge of the style he was trying to imitate.
As with all of Chédeville's other works and numerous other collections from the period, the original title names a number of instruments, all of which are suitable for performing these sonatas: Musette, hurdy-gurdy, flute, oboe and violin. While the first two have long since gone out of fashion as popular instruments at the time, adapted to the Arcadian sensibilities of the Age of Enlightenment, today the flute is particularly suitable for realizing the pastoral character of the music noted in the title of the collection (Il Pastor fido - The Faithful Shepherd).
The BÄRENREITER Urtext edition was presented by the renowned Vivaldi researcher and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German/English) which tells the exciting story of the forgery and illustrates the compositional ingredients, as well as inspiring notes on performance practice and a Critical Report with notes on the source readings and editorial decisions.
> Bärenreiter Urtext edition by Federico Maria Sardelli
> Preface and Critical Report (German/English)
>> Inspiring notes on performance practice
Il Pastor fido offers a 'mélange' of very simple movements and gallantries in the French style as well as some thoroughly original movements with exceptionally fine music and powerful compositional ideas. About ninety percent of Il Pastor Fido is Chédeville's own work; for the rest he used themes from Vivaldi (or those he considered to be) and their continuation, demonstrating a thorough knowledge of the style he was trying to imitate.
As with all of Chédeville's other works and numerous other collections from the period, the original title names a number of instruments, all of which are suitable for performing these sonatas: Musette, hurdy-gurdy, flute, oboe and violin. While the first two have long since gone out of fashion as popular instruments at the time, adapted to the Arcadian sensibilities of the Age of Enlightenment, today the flute is particularly suitable for realizing the pastoral character of the music noted in the title of the collection (Il Pastor fido - The Faithful Shepherd).
The BÄRENREITER Urtext edition was presented by the renowned Vivaldi researcher and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German/English) which tells the exciting story of the forgery and illustrates the compositional ingredients, as well as inspiring notes on performance practice and a Critical Report with notes on the source readings and editorial decisions.
> Bärenreiter Urtext edition by Federico Maria Sardelli
> Preface and Critical Report (German/English)
>> Inspiring notes on performance practice
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