Manual Score Cover Converted

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1 Eighth Note Publications Concerto in D oseh Rieel Arranged by Kevin Eisensmith The tonal structure o this movement is airly tyical: the work modulates rom the tonic (D maor) to the dominant during the irst solo section (m 24), and the relative minor o the dominant () is suggested (m 49) ust rior to the return o the tonic and the inal solo statement (m 57) The temo or the irst movement is given as Allegro non troo One need only look at the intricate rhythmic igures o the oening ritornello to understand why the comoser might recommend that the erormers lay the movement not too quickly This indication is, nevertheless, nebulous because temo markings oten relate strictly to mood, not to temo Rieel rovides dynamic indications or every instrument in this concerto other than the trumet, although these indications are limited mainly to iano and orte in the irst movement The trumet soloist was aarently ree to determine his own dynamic shadings Although there are no dynamics indicated at the beginning o the movement, it can be assumed that the oening tutti was to be erormed at the orte level Movement two, Adagio, is in ive large arts: mm 1-12 Tutti 1 (oening ritornello) 1-26 Solo Tutti 2 (ritornello) 8-5 Solo 2 (ending in cadenza) 5-59 Tutti (closing ritornello) The structure o this movement is similar to that o the irst movement in that the rincial eriods--those erormed by the soloist--are searated by ritornellos Rieel utilizes a reduced orchestra or this movement by omitting the horns The PREVIEW melodic line o the solo section, with its elaborate ornamentation, is tyical o a concerto slow ONLY movement As exected, the melody is based uon the ritornello, and the irst our measures dulicate the a hrase The second violin, viola and basso continuo arts double the trumet's dotted rhythm to rovide additional emhasis, and the viola and continuo arts are marked at a louder dynamic level Rieel selected A maor, the dominant o the key o the concerto, as the key center or this movement A customary modulation to the dominant (E maor) and a transition to the arallel minor o the dominant (E minor) occur beore the tonic returns and the movement ends in A maor A ermata, the standard indication at that time or a cadenza, is inserted near the end o the movement A written-out cadenza is rovided in the trumet art, an unusual addition in an eighteenth-century concerto The cadenza is airly short, equivalent to aroximately six measures Movement three, Presto, is in ive large arts: mm 1-27 Tutti 1 (oening ritornello) Solo Tutti 2 (ritornello) Solo Tutti (closing ritornello) Rieel utilizes Baroque ritornello orm once again, but the structure or this movement is less comlicated--almost simlistic--when comared to the revious movements This movement, however, oers a good examle o Rieel's use o an initial motive as a means o uniication The tonal structure o this movement is the least comlicated o the three: D maor modulating to the dominant (A maor) and then returning to the tonic This is in keeing with the style o the movement, which is light-hearted, and similar to the asseied That Rieel did not reare a score is not uncommon or works o this era, since either the soloist, the irst violinist or the keyboardist served as the conductor He would insert the necessary cues in his art; thereore, a comlete score would be unnecessary Manuscrit arts are available or the ollowing instruments: Clarino Princiale (Trumet), or an instrument itched in D; Violino Primo (Violin I); Violino Secundo (Violin II); Alto Viola (Viola); Flauto Traverso Primo and Flauto Traverso Secundo (Flute I and Flute II); and Basso cum Riieno Included are two searate arts or bass instruments: a Basso inuo, which lays continuously throughout the concerto, and a Basso Riieno, which contains the same itches as the inuo, but only during the tutti or orte sections The Basso inuo was erormed by the cello and harsichord The harsichordist was exected to imrovise accomanying chord structures based on the given bass line, but no chord igures are given The Basso Riieno was layed by the double bass Although they are not listed on the title age o the concerto, arts or two horns itched in D (Cornu Primo and Cornu Secundo), which erorm as art o the riieno ensemble, are included O the our extant concertos in the Fulda Collection, only Rieel's comosition has never been ublished Desite the act that Musica Rara announced more than twenty-ive years ago that it intended to ublish Rieel's concerto, this is the irst time that the work aears in rint ISBN: CATALOG NUMBER: ST2247 COST: $4500 DURATION: 9:0 DIFFICULTY RATING:Diicult Trumet and Strings wwwenmusiccom

as Allegro non troo One need only look at the intricate rhythmic igures o the oening ritornello to understand why the comoser might recommend that the erormers lay the movement not too quickly This

2 Trumet in D Flute I Flute II Horn I in D Horn II in D Violin I Violin II Viola Basso Riieno Tt Allegro non troo q ﾒﾗ c c c 1) c 2) c c c B c? c Concerto in D Clarino Princiale I ) 4) c PREVIEW inuo? c ONLY ) w w oseh Rieel ( ) Edited by Dr Kevin E Eisensmith I n I Ri B? n N n N n? n N n 2002 Eighth Note Publications wwwenmusiccom

c Concerto in D Clarino Princiale I ) 4) c PREVIEW inuo?

3 7 8 9 Tt I 6) I Ri B?? B?? Tt I I Ri CONCERTO IN D - RIEPEL g 2

4 Tt I I Ri 1 B?? Tt I I Ri B?? CONCERTO IN D - RIEPEL g

5 Tt 19 n I n I Ri B? Tt? ) I I Ri B?? CONCERTO IN D - RIEPEL g 4

6 Tt I I B Ri?? Tt I I Ri B?? w w CONCERTO IN D - RIEPEL g 5

7 1 2 Tt I 8) I Ri B?? Tt I I Ri B?? CONCERTO IN D - RIEPEL g 6

8 Tt I I Ri Tt B? F F? n 42 I n I B n n Ri?? n N CONCERTO IN D - RIEPEL g 7

9 Tt I F I Ri B? Tt? PREVIEW ONLY 48 I I Ri F B P?? P CONCERTO IN D - RIEPEL g 8

10 Tt I I Ri B?? n n Tt I n n I B n n N n Ri?? n n n 8) 8) N n N N 8) n CONCERTO IN D - RIEPEL g 9

11 Tt I I Ri Tt B?? I I Ri B? w w? CONCERTO IN D - RIEPEL g 10

12 Tt b 6 n I w w w w I Ri B? Tt I? n I Ri B?? CONCERTO IN D - RIEPEL g 11

13 Tt I I Ri B? Tt? P I I Ri B? P P P P P? P CONCERTO IN D - RIEPEL g 12

14 Tt I I Ri 7 74 n n B N n? N n n? N n PREVIEW ONLY rit Tt I I Ri B?? CONCERTO IN D - RIEPEL g 1

15 Tt I I Ri Adagio e ﾒﾗ B 2 4? ? II HORNS TACET n n n n n 8 n n n n n Tt I I Ri n F n n n n B P? P n? P CONCERTO IN D - RIEPEL g 14

2 4 2 II HORNS TACET 4 5 6 7 n n n n n 8 n n n n

16 Tt I I B? Tt I I Ri n n n B n? n? CONCERTO IN D - RIEPEL g 15

17 Tt I I Ri B?? n n n n n 4 n 5 n n n 6 7 F Tt I b n n I B? n n n n n CONCERTO IN D - RIEPEL g 16

18 Tt I I Ri 47 b n n n B n? 48 ｦ n CADENZA 5 U U U U U U U? n U U Tt I I Ri n B?? n CONCERTO IN D - RIEPEL g 17

19 Tt I 2 4 Presto q ﾗﾗ III 8 Tt 8 8 I n 8 n 8 8 F 8 I F B 8? Ri 8 F F 8? 8 PREVIEW F ONLY I Ri B?? CONCERTO IN D - RIEPEL g 18

20 Tt I I Ri Tt B?? F 29 0 I I Ri B?? CONCERTO IN D - RIEPEL g 19

21 Tt I I B Ri?? Tt I I Ri B?? 51 ｦ CONCERTO IN D - RIEPEL g 20

22 Tt I I B Ri?? Tt I I Ri B?? CONCERTO IN D - RIEPEL g 21

23 Tt I I Ri B? Tt? I I B Ri?? CONCERTO IN D - RIEPEL g 22

24 Tt I I B Ri?? Tt I I Ri B?? 112 F 11 F F 114 F CONCERTO IN D - RIEPEL g 2

26 Exclusively distributed in the United States by: ST2247 $4500 wwwalredcom

Ergieße dich reichlich, du göttliche Quelle

Ergieße dich reichlich, du göttliche Quelle Ergieｩｬe dich reichlich, du gttliche Quelle Aria or Tenor, iola, and Continuo From the Cantata: Wo soll ich liehen hin W 5 by S ach AS Publications 014 From the Cantata: Wo soll ich liehen hin W 5 This