Felice Giardini Un italien à Londres concertos pour violon Carmignola Doni - MV118

For this recording made by Maestro Carmignola and the Orchestra Accademia dell’Annunciata, it was used the London edition of 1772 by publishers Longman & Broderip (reprinted by them in 1780) stored in the National Library in Madrid. The complete and easy-to-read copies are the ones published by Longman & Broderip, while the others are incomplete either because they do not include all Six concertos or because some instruments’ parts are missing. In the Library of the Conservatory G.Verdi in Milan- Noseda Fund are stored four of the “Six Concerts” op. XV, by Felice Giardini: n°1 in B flat, n°2 in D, n°3 in C, n°6 in E flat. These concertos, as specified in the Catalogue by Eugenio Guarinoni “General Index of the Noseda musical Archive”, Milan, 1897, are from the private library of Count Giuseppe Visconti Borromeo and then merged into Noseda Fund of the Milan Conservatory. The concerto n°6 in E flat, in particular, later merged into Count Giulio Ottolini Visconti library. The four Concertos were then finally acquired by Gustavo Adolfo Noseda. The Noseda Fund, donated to the City of Milan in 1876 has been deposited at the Library of the Conservatory in 1889. These 4 Concertos are manuscripts and undated. Thes parts may have been written by copists and meant to be for the instruments as a ripieno in the orchestra and therefore not autographs of Giardini. If we compare music notes and markings with an authentic document autofraphed by Giardini, preserved in the library, we can assume that the handwriting is not the same. The four manuscript Concertos are identical to the Longman & Broderip printed editions ones. However, the Concerto n°6 in E flat exists in two copies: one without the oboes (with mark L.26.6) as in the Longman edition and the other with the two oboes (with mark L.26.6.A). The added oboes’ parts seemed to have been written on a paper with different watermark compared to the rest of the work. Therefore, it seems that the original Concerto was without the two oboe parts that were added only later, in one of the two versions, we do not know by whom and why. It is left to been seen whether these manuscripts are precedent to the printed edition of 1771/72 or if they were later copied by a printed edition which circulated around the areas connected to the Visconti Borromeo Arese.