Moeck Fontana G.B. - Sonata Ottava
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Moeck
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Summary of This Score
"Full score and parts - Gerhard Braun edition" offers a practical reading of a work by Giovanni Battista Fontana, designed for a chamber music ensemble with two voices notated 2 Vn (Flb) and basso continuo (Bc). The full score enables the ensemble leader, teacher, or continuo player to maintain an overall view of the polyphony and entrances, while the separate parts facilitate each musician's work at their stand. The indicated instrumentation reveals two melodic lines (marked "Vn (Flb)") supported by a basso continuo, a typical configuration for approaching the style, articulation, and balance characteristic of the Baroque repertoire. This score is suitable for an early music workshop, a conservatory student ensemble, or instrumentalists wishing to work on intonation, phrase shaping, and dialogue between voices, with a solid foundation for performing the continuo accompaniment.
Technical specifications
| Musical Genre | Classical | Publication | Sheet music |
| Composer | Giovanni Battista Fontana | Instrumentation | 2 Vn (Flb), Bc |
| Edition | Gerhard Braun | ||
Questions frequently asked
What instrumentation is planned for Fontana's Sonata Ottava?
The edition is written for two voices indicated as 2 Vn (Flb) and basso continuo (Bc). The two melodic lines engage in dialogue over a continuo accompaniment.
Are the full score and individual parts included?
The publication includes a full score and parts. The full score provides an overview of the polyphony and entrances. The individual parts allow for sectional practice.
Which edition is used for this Giovanni Battista Fontana score?
This score is offered in the Gerhard Braun edition.
Is the basso continuo notated in this edition?
The indication Bc in the instrumentation confirms the presence of a basso continuo, integrated in the lineup with the two voices 2 Vn (Flb).
Is the Moeck Fontana G.B. Sonata Ottava suitable for a student ensemble?
Thanks to its setup of two voices and basso continuo, this score can be used in an early music workshop or a conservatory ensemble. The work focuses notably on intonation, phrase shaping, and balance between the voices.



