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A Corelli Forgery?

Published online by Cambridge University Press:  01 January 2020

F. T. Arnold
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Extract

In the British Museum (G. 40) are three part-books (bound together), containing six sonatas or suites, entitled: Suonate da camera a tre, doi Violini, Violoncello, e Cembalo, da Arcangelo Corelli da Fusignano, detto il Bolognese. Opera Quarta. Prima Parte. Nuovamente Ristampata. In Anversa, da Henrico Aertssens, Stampatore di Musica, all'Insegna del Monte Parnasso, 1692 Con Privilegio. The Cembalo part, with the figured Bass, is missing.

Type
Research Article
Information
Proceedings of the Musical Association , Volume 47 , 1920 , pp. 93 - 99
Copyright
Copyright © Royal Musical Association, 1920

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References

∗ It is tempting to suppose, as Mr. Barclay Squire has suggested, that “Brando” and “Borea” are Italianized forms of “Brawl” (“Branle,” “Bransle”) and “Bourée.”Google Scholar

The “Brando” occurs in Sonata III, immediately after the Prelude, as a sedate Allegro in square time, beginning on the fourth quaver of the bar: also in Sonata IV (following a Saraband) as a Largo, the parts entering in canon. The “Borea” which occurs in Sonatas IV (immediately before the Chiusa) and V (between the “Pira” and “Arcicorrente”), is a fiery prestissimo movement in square time, with dotted rhythm, beginning on the last semiquaver of the bar. The “Pira” which occurs in all the sonatas except Sonata IV, is a solemn Adagio in square time. The “Arcicorrente” occurs in Sonata III as a Grave in 3/2 time, and in Sonata V as an Affctuoso in 6/4 time.Google Scholar

∗ It seems almost incredible that Aertssens should have acknowledged the fraud, to which he almost certainly must have been a party, by printing the genuine work three years later.Google Scholar