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The study analyzes textual and non-textual features to distinguish six repertories, reconstruct provenance, and clarify compilation, binding order, and non-original markings. It highlights Venetian repertories I and II focused on Vivaldi, the Roman core with major and rare works, and demonstrates an evidence-based method for studying other composite sources.",{"@graph":63,"@context":119},[64,80,102],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":51,"@type":70,"position":76},"https://docshare.wps.com/template/general/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/the-manchester-concerto-partbooks-thesis-submitted-for-the-degree-of-doctor-in-philosophy/290043/",4,{"url":78,"name":59,"@type":81,"image":82,"author":87,"headline":59,"publisher":90,"fileFormat":93,"inLanguage":57,"description":61,"dateModified":94,"datePublished":95,"encodingFormat":93,"isAccessibleForFree":96,"interactionStatistic":97},"DigitalDocument",{"url":83,"@type":84,"width":85,"height":86},"https://docshare.wps.com/thumbnails/the-manchester-concerto-partbooks-thesis-submitted-for-the-degree-of-doctor-in-philosophy/290043.png","ImageObject",442,249,{"name":88,"@type":89},"Franzy","Person",{"url":68,"name":91,"@type":92},"DocShare","Organization","application/pdf","2026-09-22","2026-09-17",true,{"@type":98,"interactionType":99,"userInteractionCount":101},"InteractionCounter",{"@type":100},"ViewAction",6,{"@type":103,"mainEntity":104},"FAQPage",[105,111,115],{"name":106,"@type":107,"acceptedAnswer":108},"What is the scope of the Manchester Concerto Partbooks studied in the thesis?","Question",{"text":109,"@type":110},"The dissertation focuses on early eighteenth-century Italian manuscript sources preserved in Manchester and London. It covers concertos, sonatas, a sinfonia, and instrumental parts for intermezzi and arias, totaling 95 items.","Answer",{"name":112,"@type":107,"acceptedAnswer":113},"How does the thesis distinguish different repertories within the collection?",{"text":114,"@type":110},"A tripartite investigation of non-textual features—paper types, stave rulings, and handwriting—allows the author to distinguish six repertories grouped by similar regional provenance and associated copyists.",{"name":116,"@type":107,"acceptedAnswer":117},"What does the thesis aim to demonstrate beyond describing the collection?",{"text":118,"@type":110},"It demonstrates a comprehensive method for investigating composite sources using combined textual and non-textual evidence, showing how context within a collection can shape conclusions about the musical text.","https://schema.org",{"og:url":78,"og:type":121,"og:title":59,"og:site_name":91,"og:description":61},"article",{"robots":123,"canonical":78},"index,follow",{"doc_id":125,"site_id":56},290043,1789640105,{"code":4,"msg":5,"data":128},{"doc_id":125,"user_id":129,"nickname":88,"user_avatar":130,"doc_module":9,"category_id":50,"category_name":51,"doc_title":59,"doc_description":61,"doc_content":131,"file_id":132,"file_url":133,"file_type":134,"file_size":135,"view_count":101,"is_deleted":4,"is_public":9,"is_downloadable":9,"audit_status":9,"page_count":136,"language":137,"language_code":57,"site_id":56,"html_lang":57,"table_of_contents":138,"faqs":139,"seo_title":140,"seo_description":61,"update_tm":126,"read_time":141},2336478945519,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","## THE MANCHESTER CONCERTO PARTBOOKS\n\nThesis submitted in accordance with therequirements of the University of Liverpoolfor the degree of Doctor in Philosophy  \nby  \nPaul Joseph Everett  \n# May 1984\n\nThe subject of this dissertation is a collection of early eighteenth-century Italian manuscripts preserved in Manchester(Central Library,MS 580 ct51,13 volumes)and London(British Library,RM.22.c.28,onevolume),comprising 95 items -80 concertos,nine sonatas,one sinfoniaand the instrumental parts for three intermezzi and two arias -by 23conmposers and others who remain anonymous.The present writer seeks toexamine the collection from all points of view,and,in doing so,todemonstrate a method of analysis relevant to the study of other,similarlycomposite,sources.  \nOwnership of these volumes,and others now at Manchester,is tracedback from Newman Flower to the Earls of Aylesford and Charles Jennens.Documentary evidence establishes that the majority of manuscript itemsin the former Jennens Collection were Italian acquisitions comprising asubstantial part of the music library of Pietro Ottoboni,and there canbe little doubt,in view of the weight of circumstantial factors,thatthe manuscripts later bound as the Manchester Concerto Partbooks firstcame together at the Cardinal's court in Rome.  \nA tripartite investigation of non-textual features(paper-types,stave-rulings and handwritings)yields ample evidence by which six ¹repertories'may be distinguished -each a group of approximately contemporaneousmanuscripts of similar regional provenance compiled by associated copyists.The significance of the collection's musical contents is then fully  \nrealized when the textual and the non-textual data for each manuscript arecombined.Further examination,of the order of binding and certain non-original markings,reveals that the present state of the manuscriptsprobably corresponds quite closely with the states in which the corpusexisted in Italy and arrived in England.  \nVenetian repertories I and II,exclusively the music of Vivaldi,are ofgreat interest.The former,the product of the composer and copyistsworking under his supervision in the mid-1720s,includes newly-discoveredmusic and hitherto unknown versions,and provides much evidence of Vivaldi'scompositional methods and the relative chronology of his concertos.Thelatter comprises the only extant Venetian copies of Le quattro stagioni,whose texts are more authoritative than those of the Le Cene print.  \nThe large Roman repertory,the core of the collection,is rich inpreviously unknown music,and includes more works by Vivaldi,the mostmature of surviving compositions by Giuseppe Valentini,and such raritiesas concertos by Carlo Marino.  The smaller repertories also present muchof interest,not least the seven concertos by G.M.Alberti,those of theSomis brothers and two sonatas by Quantz related,no doubt,to his visitto Italy.  As a whole,the collection considerably broadens our view of theheyday of the Italian concerto;having been compiled in the mid-to late1720s it exemplifies the divergent,localised,trends in composition anddocuments the contemporary synthesis of baroque style and modern,galant,elements.  \nPart One of the dissertation is the thesis itself,while Part Twocontains a General Catalogue of the collection,thematic index,cataloguesof paper-types,stave-rulings and hands,transcriptions of selected itemsand supporting publications.  \nPREFACE  \nA collection of miscellaneous manuscript sources preservedtoday in much the same state that it was in at the time of itscreation and use is a rare discovery.The existence of the  \n'Manchester Concerto Partbooks'has presented an ideal opportunityto investigate a source from all possible points of vlew-asmusic,as a concerto repertory,as documents which reveal theirprovenance,and as volumes contained within a larger collectiondating from the early eighteenth century.The two principal aimsof this dissertation are,therefore,firstly to discuss thecontents,provenance,comp","cbCaicx5xMnorOI0","https://ap.wps.com/l/cbCaicx5xMnorOI0","pdf",45489594,351,"English","# THE MANCHESTER CONCERTO PARTBOOKS\n## Preface\n## Thesis Overview\n## Part One and Part Two","[{\"question\":\"What is the scope of the Manchester Concerto Partbooks studied in the thesis?\",\"answer\":\"The dissertation focuses on early eighteenth-century Italian manuscript sources preserved in Manchester and London. It covers concertos, sonatas, a sinfonia, and instrumental parts for intermezzi and arias, totaling 95 items.\"},{\"question\":\"How does the thesis distinguish different repertories within the collection?\",\"answer\":\"A tripartite investigation of non-textual features—paper types, stave rulings, and handwriting—allows the author to distinguish six repertories grouped by similar regional provenance and associated copyists.\"},{\"question\":\"What does the thesis aim to demonstrate beyond describing the collection?\",\"answer\":\"It demonstrates a comprehensive method for investigating composite sources using combined textual and non-textual evidence, showing how context within a collection can shape conclusions about the musical text.\"}]","THE MANCHESTER CONCERTO PARTBOOKS - Thesis submitted for the degree of Doctor in Philosophy | PDF",123]