Corelli Opus 5 Embellishments
I am looking for an edition of Corelli's Opus 5 that includes the embellishments (i.e. seconda volta) for the twelve sonata.
In for example an article here, Stanley Ritchie indicates he'd been using "the 1713 edition's embellishments, which may or may not have been Corelli's." Although I've stumbled across various publications in JSTOR detailing the pro et contra of various apparently well documented embellishments, nowhere am I finding them in a well organized way in order to play.
Has anyone got an edition they'd recommend? There are a few "+ embellishments" on IMSLP, but in many cases the embellishments are both indistinguishable from the urtext and of unknown origin.
Have you checked out the Wiener Urtext edition or the Barenreiter edition? Seems like some of what you're looking for is only otherwise available in articles, dissertations, or facsimiles, which in the case of unpublished ones probably circulate among academics and might be fairly easy to get hold of if you reach out to an interested university professor.
I have Schott. It has those maybe-by-Corelli embellishments in small print above the "naked" music (i.e. in the first 6 sonatas). I have to admit that I don't like the embellishments at all because too often they seem to go opposite to the phrasing Corelli's original line seems to suggest. Which to me suggests: probably not by Corelli.
I'm probably not understanding correctly...if you're not satisfied with the Amsterdam edition with "Corelli's ornaments" free on IMLSP, probably the place to spend your money would be the Barenreiter edition, which I would assume if you have gotten to already if you went through the trouble of looking up stuff on JSTOR?
These ornaments are on imslp. The Amsterdam Edition by Estienne Roger (ca.1723) contains them.
Just to react, Dorian: I bought the Schott edition (where I grew up it was the one generally available in the music stores--that was long before the internet was a thing). It is a good edition, Urtext quality*. That I don't like the embellishments does not mean I don't find them interesting. I just see them so often going against the natural phrasing which makes me think the composer himself could not have done that.
"Apollonian logic" is very well put. But how do you play it so that that logic comes across?
Um, maybe I take Corelli's super clear-cut tonality for granted.