Three cases of study were carefully selected as representative of the wider repertory: the Concert for oboe in D minor attributed to Alessandro and Benedetto Marcello, Antonio Vivaldi and Johann Sebastian Bach the collection of trio sonatas attributed to Domenico Gallo and Giovanni Battista Pergolesi the collection of Concerti a cinque op.1 libro terzo, attributed to Giuseppe Tartini and Gasparo Visconti. The aim of the research has been to investigate in depth this phenomenon in order to highlight its causes, considering in particular case studies from the repertory of instrumental music of Eighteenth century Veneto, analysed both from the historical-musicological and conceptual standpoint. This thesis takes into consideration conflicting attributions, an issue occurring when a composition is ascribed to different authors in different sources. Bach’s works for the piccolo violin demonstrate that this aspect of his oeuvre is the culmination of a long tradition that his contemporaries also maintained. 1, BWV 1046, and Wachet auf, ruft uns die Stimme, BWV 140 he also employed the instrument in two additional cantatas. The most well-known works for the instrument are Bach’s Brandenburg Concerto No. This dissertation includes annotated editions of cantatas by Knüpfer and Schelle as well as a concerto by Johann Pfeiffer, who studied in Leipzig and worked in Weimar as the Konzertmeister, a position Bach once held. The list of Thomaskantoren who wrote for it includes Sebastian Knüpfer, Johann Schelle, and Johann Sebastian Bach, as well as Bach’s successors Johann Gottlob Harrer and Johann Friedrich Doles. Surviving compositions suggests that the instrument was especially prevalent in the Leipzig orbit. The instrument became extinct by the nineteenth century new playing techniques on the standard violin resulted in an extended range that precluded the need for the smaller instrument, thus eliminating the unique timbre of the piccolo violin. They demonstrate that while thebody of the instrument is essentially quarter-sized, its neck is as thick as a standard violin. Surviving piccolo violins include one by Girolamo Amati from 1613 and another by Antonio Stradivari from 1734. Claudio Monteverdi wrote for the instrument in his L’Orfeo (1607), and Michael Praetorius mentioned it in his Syntagma musicum (1619). In the Baroque era, the violino piccolo was the highest and smallest member of the violin family.
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