Triot[!] de Quentin 2. Dessus. [Musical manuscript]

France, 1735. Octavo (185 x 250 mm). Full dark tan mottled calf with dark red leather title label gilt to upper: "Triot de Quentin 2. Desus," marbled endpapers. 75, [v] blank ruled pages. Notated in black ink on 10-stave rastrum-ruled paper, the second treble part and basso continuo (unfigured) parts notated in grand staff.

Contains 10 sonatas in total, the first, second, and third Op. 4 nos. 2, 3, and 5; the fourth Op. 5 no. 2; and the fifth and sixth Op. 6, nos. 1 and 5; the remainder from other published works.

In order of appearance:

1. Sonata Prima [Largo, Aria, 2.e Aria, Sarabanda. Fuga], pp. 1-7
2. Sonata Seconda [Largo, Fuga, Largo, Aria 2.e Aria], pp. 9-14
3. Sonata Tertia [Largo, Corrente, Aria, 2.e Aria, Fuga]. pp. 15-21
4. Sonata Quarta [Largo, Allegro, Aria, Adagio, Allegro], pp. 22-28
5. Sonata Quinta [Largo, Aria, 2.e Aria, Adagio, Allegro], pp. 29-35
6. Sonata Sesta [Largo, Aria, 2. Aria, Adagio, Allegro], pp. 36-41
7. Sonata Septima [Allegro, Cantabile, Allegro], pp. 42-49
8. Sonata Octava [Largo, Allegro, Largo, Alllegro], pp. 50-58
9. Sonata Nona [Adagio, Aria, 2.e Aria, Adagio, Gavotta, Allegro], pp. 59-68
10. Sonata Decima [Allegro, Adagio, Tendrement, Allegro], pp. 69-75

Binding somewhat worn, rubbed, and bumped, spine mostly lacking. In very good condition internally. The inclusion of the continuo line for music usually notated as a single part is uncommon. It may have aided the player in performance, or allowed a switch to keyboard or bowed bass in a chamber ensemble should the situation so dictate.

Quentin was a noted violinist at the Paris Opéra in 1718 and also played the viola in the 'grand choeur' in 1738. His music is Italianate in style, and reflects the influence of Arcangelo Corelli (1653-1713) and other Italian musicians on French composers of his generation.

"As a composer he was prolific. His solo violin sonatas generally consist of four or five alternating slow and fast movements. The trio sonatas are mostly in three or four movements; the later ones have solo indications, suggesting the possibility of orchestral performance. Both genres are characterized by a systematic use of doubles. There are some particularly distinctive dance movements in lively triple time, labelled 'Allemande' or 'Contredanse', which appear to be the ancestors of the modern waltz." Laurel Fay in Grove Music Online

An attractively copied compilation of the second violin and continuo parts of Quentin's trios. Presented in grand staff, the somewhat atypical presence of a continuo line raises interesting questions about the present volume's usage.