&dCArcangelo Corelli, Sonate da Chiesa a tre\8, Op. 1
&dA(Due Violini, e Violone, o Arcileuto, col Basso per l'Organo)
&dAIn Roma, 1683

This CCARH electronic edition of Corelli's Op. 1 is a strict 
transcription of the edition of J. Joachim and F. Chrysander, 
published 1888-1891 by Augener, Ltd., London, England.

In his editorial preface, Chrysander states:
   "The figuring of the bass in the first Italian editions is 
rather less copious than in the present one, because I have availed 
myself of the additions made in the Dutch and English editions up 
to the year 1730, which give the chords fuller, without introducing 
any foreign elements into Corelli's harmony.
   "About the year 1725 an edition of these works was brought out 
by John Walsh in London, edited by Dr. Pepusch. However, it cannot 
be regarded as superior to the incorrect and careless English 
musical publications of that age, nor be treated as in any respect 
reliable."

The only alterations I have made in transcribing this edition have 
been to omit changes to C-clef in the bass parts (almost all of 
which were not really necessary; I retained changes to G-clef, 
however), and to modernize note beaming on the rare occasions when 
this was called for. In a number of movements Chrysander 
(presumably following the 1683 edition) gives an apparently 
"proportional" time signature, a sign of imperfection (the 
so-called common-time symbol) next to a 3/2, 3/4, 3/8, or 6/8 
signature (as, "C 3/2"). The meaning of this is uncertain. I was 
not able fully to reproduce this type of signature in the 
transcription, but I have added an editorial footnote in the first 
track (Violino 1) of each movement in which it occurs. These are:
No. 2, mvt. 4; No. 5, mvts. 1 and 3 (the latter an especially 
interesting example); No. 6, mvt. 4; No. 9, mvt. 4; No. 10, mvt. 5.




         &dEListing of Footnotes
&dE
&dE
&dAOp. 1, Sonata IV, Mvt. 4&d@ 
It is hard to believe that Corelli intended the Phrygian cadence 
of mm. 37-39 to be the final conclusion of this work. Probably 
this "forte" passage was intended to be played only as the first 
ending of this section; the repetition should probably conclude 
with the A minor cadence of m. 36, and the Violino 1 should close 
with an A5 half-note in the second half of that measure.