I do not think it is possible to arrive at a definite answer to the question of my investigation, presented in Chapter 3.
However, according to the information that I managed to collect about the primary sources available, I can say that everything leads me to agree that an attribution of the concerto A.2.3.9/ RV 813 to Torelli is entirely plausible. From a stylistic point of view, the structure and the idiomatic language of the concerto in D minor are compatible with the compositional tools and characteristics that are typical of the Torelli's writing.
Although we cannot trust completely the word of Nicolò Sanguinazzo, since not all the attributions made by him turned out to be indisputable, his indications of authorship throughout the Este-Obizzi collection are usually rather reliable, so at the same time we cannot avoid to concretely evaluate his word either. After all, the Vienna copy is the oldest source available and the closest to Torelli's main area of activity.
Moreover, for what I realized during the process of this research, the definitive attribution of this composition is only partially relevant in order to fully understand the actual impact that the work of Torelli represented for his contemporaries and the following rising generation of composers. It is worth considering that Sanguinazzo, a cultured and up-to-date collector of music and amateur musician himself, took care of acquiring different compositions of the Veronese master in his collection. This certainly means that a few years after Torelli's death, his compositions were still circulating, being collected, performed, studied and taken in high consideration.
As we saw in the previous chapters that his music continued to circulate in Northern Europe even later – not only in Germany, amongst e.g. J. S. Bach, J. G. Walther, G. Pisendel, but also in England, since John Cluer still published a collection of instrumental music by different authors, the Medulla Musicae, with pieces by Torelli and amongst others Bonporti, Albinoni, Bononcini, in London in 1727, 18 years after the death of Torelli. It let us infer that an editor would have still make profit selling compositions under his name.
This shows that his innovative, although still experimental and mutable, new structuring of orchestral as well as chamber music settings and musical forms was an indisputably fertile source of inspiration.
At the end of this research process, which has the taste of a new beginning, I can definitely say that I am glad I had the chance, through this research, to discover such an inspiring musical heritage, left by my illustrious fellow Veronese citizen.
