Gardane
 Entries listed in chronological order (most recent first)

Entries 1 - 100 out of 2769 [28 pages]

[1] [2] [3] [4] [5] [6]

Johann Heinrich Schmelzer (c. 1620 - 1680):  Sonata IV
source: Sonate unarum fidium, seu a violino solo (Nuremberg 1664), No. 4
scoring: A (Bc)

This demanding sonata has been transposed and adapted for a recorder in F from the original score for violin.

 6
Johann Sebastian Bach (1685 - 1750):  Bereite dich, Zion
source: Christmas Oratorio - BWV 248 (1734), No. 4
scoring: A (Harpsichord)
   9
Mykola Leontovych (1877 - 1921):  Carol of the Bells - Щедрик
scoring: SATB
  5
Johann David Heinichen (1683 - 1729):  Concerto in A minor - Seibel 237
scoring: A (3 Violins, Bc)

This is an arrangement of the Concerto in G minor for oboe, strings and continuo

  2
Johann Sebastian Bach (1685 - 1750):  Sinfonia
source: Christmas Oratorio - BWV 248 (1734), No. 10
scoring: SAATTTB (Bass instrument)
  3
Floriano Canale (c. 1550 - post 1603):  La Averolda a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 15
scoring: SATB
3
Anonymous:  Andante in D minor
source: Mus.2-N-13,2, Manuscript preserved in Dresden: Sächsische Landesbibliothek – Staats– und Universitätbibliothek, No. 1
scoring: ATB (Bc)
 7
Andrea Bornstein (1956 - ):  Variations on «O Tannenbaum»
scoring: ATB (Harmonic Instrument ad libitum)
   3
Andrea Bornstein (1956 - ):  Variations on «The Holly and the Ivy» (vers. 2)
scoring: ATB (Harmonic Instrument ad libitum)
   2
Andrea Bornstein (1956 - ):  Variations on «The Holly and the Ivy»
scoring: ATB
  3
Anonymous:  Pavane 2
source: Mus.ms. 1516. Teutsche, Französische und Lateinische Lieder mit 4 Stimmen (c. 1540), Manuscript preserved in Munich: Bayerische Staatsbibliothek, Musiksammlung, No. 186
scoring: SATB
 5
Francesco Geminiani (1687 - 1762):  Sonata III in D major (C major)
source: Three solos containing twelve easy movements for the German flute or violin (London s.d.), No. 3
scoring: G or A (Bc)

In version 2 added transposed score and parts to C major, useful to play this sonata with an alto recorder. The recorder part in C major can be used to play the D major version with an alto in G using F fingering.

 4
Francisque Darcieux (1880 - 1951):  Noël, Noël est venu
scoring: SATB
  7
Anonymous:  Andante in G minor transposed to D minor for the recorders
source: Mus.2-N-13,2, Manuscript preserved in Dresden: Sächsische Landesbibliothek – Staats– und Universitätbibliothek, No. 16
scoring: AA (Bc)
  6
Andrea Bornstein (1956 - ):  Variations on «Away in a Manger»
scoring: ATB (Harmonic Instrument ad libitum)
  4
Andrea Bornstein (1956 - ):  Variations on «Ding Dong Merrily on High»
scoring: ABB (Harmonic Instrument ad libitum)
  3
Andrea Bornstein (1956 - ):  Variations on «Hark! The Herald Angels Sing»
scoring: ATB (Harmonic Instrument ad libitum)
  3
Traditional:  Tu scendi dalle stelle
Edited and/or arranged by Andrea Bornstein
scoring: AAB (Harmonic Instrument ad libitum)
 3
Andrea Bornstein (1956 - ):  Variations on «Auld Lang Syne»
scoring: ATB (Harmonic Instrument ad libitum)
  4
Andrea Bornstein (1956 - ):  Variations on «Angels We Have Heard On High»
scoring: ATB (Harmonic Instrument ad libitum)
  4
Andrea Bornstein (1956 - ):  Variations on «Adeste Fideles»
scoring: ATB (Harmonic Instrument ad libitum)
  5
Andrea Bornstein (1956 - ):  Variations on «God Rest You Merry, Gentlemen»
scoring: ATB (Harmonic Instrument ad libitum)
  5
Anonymous:  Bouree
source: Deusiesme recueil des dances et contre-dances avec la basse continue (Amsterdam 1688), No. 4
scoring: C or A (Bc)

The narrow range of the upper line allows to play this piece with any size of recorder.

1
Camille Saint-Saëns (1835 - 1921):  Tristesse
scoring: A (Piano)
   3
Francesco Mancini (1672 - 1737):  Fuga in D minor
scoring: AAAB
  2
Johann Hermann Schein (1586 - 1630):  Suite 5
source: Banchetto Musicale (Leipzig 1617)
scoring: SATTB
  2
Francesco Bendusi (flourished 1553):  Pietoso
source: Opera nova de balli a quattro. Accomodati da cantare et sonare d’ogni sorte de stromenti (Venice 1553), No. 4
scoring: ATBB or TTBB

This piece belongs to collection of ensemble dance pieces that has an important place in the history of instrumental music of the 16th century, since it is not only the first but also one of the rare Italian publications of its kind.

The narrow range of all the parts makes them suitable for any kind of instruments, not least the crumhorn.

 1
Fernando de las Infantas (1534 - c. 1610):  Contrappunto 16
source: Plura modulationum genera quae vulgo contrapuncta appellantur super excelso gregoriano cantu (Venice 1579)
scoring: ATT
Atys (1715 - 1784):  Sonata I in Bb major - Op. 1, No. 1
source: Six sonates en duo en forme de conversation pour deux flûtes traversieres. Op. 1 (Paris [1754])
Edited and/or arranged by Robert Paul Block
scoring: AA

FOREWORD

This edition of the Atys sonata was begun many decades ago in Iowa City, Iowa by Robert Paul Block (1942-2001). Bob Block was passionate about early music, the recorder and sharing his love of music with our small Iowa community and with his editing work far beyond Iowa City. Bob died many years ago and left an unfinished, handwritten edition of the Atys sonata as well as other in-progress transcriptions of duos. After his death, as much as I can tell, the work  passed from one set of hands to another’s with no one knowing how to best honor the work that Bob had begun.

Many years have passed… Andrea Bornstein has very generously helped with finishing the editing of the Atys sonata. I am sure that Bob would be very happy to see his work included on www.gardane.info, and to see that the edition of the Atys sonata he had begun so long ago, is no longer hidden away, and can now be enjoyed and played by many recorder players.

Thank you Andrea!

Nona France

Sept. 2016

PREFACE

A lot of estimable minor composers wrote music for flute duet or matched pairs of other melody instruments. The present edition draws upon works of both types, some of it transposed to fit treble recorders and some not.

Since some of the most important treble recorder duets today (by Telemann, in particular) are transpositions of flute music, and since 18th-century recorder players applied a system of clef transposition to flute music (a practice specifically mentioned in prefaces to early publications by Telemann, Schickhardt and others), it seems like a reasonable idea to write out some transpositions from flute music that recorder players may find enjoyable to play.

ATYS (no first name known) (1715 - 1784). French creole flutist, composer and teacher. Born in St. Domingue in what is now Haiti, died in Paris.

Published several sets of flute duets and quartets, and two methods for flute; an op. 2 set of sonatas is lost. Atys was well known as one of the first flutist to use crescendo and diminuendo instead of terraced dynamics. His op. 1, the Six sonates en duo en forme de conversation (Paris [1754]) is the source for the work included here.

Editorial procedure

Aside from supplying transposition for the pieces that need it, the editions presented here are Urtext. All editorial accretions are clearly marked, except for the omission of a few accidentals to bring the notation into line with current practice.

Performance

The only real problem, once the use of notes inegales is decided, is the interpretation of appoggiaturas. While I have in some instance offered suggestions in the text, nothing will substitute for reading Hotteterre and Quantz on the subject.

R.P. Block

Iowa City, Iowa USA

Sept. 1982

5
Heinrich Isaac (c. 1450 - 1517):  Innsbruck, ich muss dich lassen
scoring: TTBB or TTTB

As many compositions of early Renaissance, this one has a quite complex story. Certainly, the theme of a well-known popular song (Innsbruck Ich muss dich lassen) was set by Isaac in the Christe secundum of his Missa Carminum. This piece is set for four male parts in a late print published by the German publisher Rhau: Opus Decem Missarum (Wittenberg 1540); the same piece is set for three voices, and with its original title, in an earlier manuscript –  MSS 328-331 (compiled around 1523) – found at the University of Munich. The manuscript set of the same song contains at least a mistake and lacks the second voice.

It is possible that Isaac conceived the Christe secundum for three voices and the four part had been added later by other musicians. These additions were common practice in the first years of the 16th century, when the «modern» style preferred four-part setting to the ancient three-part setting.

 4
Anonymous:  Pavane 1
source: Mus.ms. 1516. Teutsche, Französische und Lateinische Lieder mit 4 Stimmen (c. 1540), Manuscript preserved in Munich: Bayerische Staatsbibliothek, Musiksammlung, No. 185
scoring: ATTB or SATB

Also transposed a tone above to fit an SATB recorder ensemble.

  4
Floriano Canale (c. 1550 - post 1603):  La Solda a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 14
scoring: SATB
4
Fernando de las Infantas (1534 - c. 1610):  Contrappunto 15
source: Plura modulationum genera quae vulgo contrapuncta appellantur super excelso gregoriano cantu (Venice 1579)
scoring: TTT or TTB
2
Lodovico Zacconi (1555 - 1627):  Contrappunto I sopra Ave maris stella
source: Prattica di Musica (Venice 1592/1619)
scoring: SATB or ATBB

The original score does not fit recorders. Our edition contains – besides the transcription of the original score – a slighty adapted version that fits recorders.

5
Antonio Brunelli (1577 - 1630):  Aria di Ruggiero per sonare
source: Varii esercitii (Florence 1614)
scoring: CC or AA (Bc)

The original score has been also editorially transposed for two treble recorders.

3
Anonymous:  El Marchese di Saluzzo
source: Mus.ms. 1503 h (c. 1550), Manuscript preserved in Munich: Bayerische Staatsbibliothek, Musiksammlung
scoring: ATBB
  9
Giovanni Carlo Maria Clari (1677 - 1754):  Io sarò sempre costante
source: Ms. Add. 14206 (18th cent.), British Library, London
scoring: AT (Harpsichord)

Arranged from the original duet for soprano and alto singers.

Divisions for the recorders are editorial.

  6
Matthew Locke (c. 1622 - 1677):  Suite 8 (Nos. 29-32)
source: Little consort of three parts (London 1656), No. 8
scoring: STB (Bc ad libitum)

In the original score the bass part does not fit a bass recorder; we added an adapted part for it.

  8
Anne Danican Philidor (1681 - 1728):  Courante
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 8
scoring: A (Bc)
5
Christian Petzold (1677 - 1733):  Trio Sonata in D major (F major, C major)
source: Musica 2354-Q-2. Sächsische Landesbibliothek, Dresden
scoring: AA or SSB (Bc)

The original score is for flute, violin and continuo. The violin part has the same range of the upper one and in all likelihood has been conceived for a flute as well.

Our edition presents the original score (playable by two voice flutes), the transposed version for two treble recorders and a version for SSB recorders.

  7
Francisque Darcieux (1880 - 1951):  Auprès de ma blonde
scoring: SATB
 4
Orlando di Lasso (c. 1532 - 1594):  Heroum soboles, amor orbis, Motet a 6
source: Magnum opus musicum (Munich 1604), No. 321
Edited and/or arranged by Lorenzo Pantanetti
scoring: SAATTB or ATTBBF

Presented in its original key and transposed a fourth below to suit low recorders.

 6
Manuel José Vidigal (XIX cent.):  6° Minuette
source: Seis Minuettes para Guitarra e Baxo (Lisboa c. 1796)
scoring: ATB
  7
Giovanni Battista Pergolesi (1710 - 1736):  Concerto a 4 in F major
source: MS. mu 9709.2965. Manuscript preserved in Copenhagen, Royal Library
scoring: TTTB

Transposed and adapted for TTTB recorders from the original score already published on this site.

  5
Giovanni Battista Pergolesi (1710 - 1736):  Concerto a 4 in G major
source: MS. mu 9709.2965. Manuscript preserved in Copenhagen, Royal Library
scoring: A (2 Violins, Bc)

This concerto is considered spurious by some musicologists.

This edition contains the transcription of the original concerto plus an adapted version for treble recorder of the flute part.

 6
Johann Christoph Pepusch (c. 1667 - 1752):  Trio in F major
source: Ms. Musica 2160-Q-2. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: ATB

Transposed and adapted from the original score in G major for recorder, violin and bassoon that we have already published.

08-06-2016: A mistake in the score has been corrected. Thanks to Jan Jaap!

  11
Andreas Heinrich Schultzen (1681 - 1741):  Sonata III in D minor
source: VI Sonate a Flauto solo con Cimbalo o vero Fagotto (Amsterdam [1703]), No. 3
scoring: A (Bc)
5
Johann Heinrich Müller (c. 1780 - 1826):  Canon No. 1 «Kurz, wie der Rosen»
source: Zwölf Canons […] für drei Singstimmen ohne Begleitung (Leipzig [XIX cent.]), No. 1
scoring: AAB or SST

The original key has been transposed a third below for AAB recorders and a third above for SST recorders.

  7
Friedrich Heinrich Himmel (1765 - 1814):  Polonoise
source: Hamburg c. 1810
scoring: ATBB

Arranged from the original piano score.

  5
Giuseppe Colombi (1635 - 1694):  Suonata 1 in C major
source: Sinfonie da camera. Op. 1 (Bologna 1668)
scoring: ATB (Bass instrument ad libitum, Bc)

Transposed for ATB recorders plus continuo instruments from the original score for two violins, viola (or third violin), cello and continuo in Bb major.

The Basso part suits a viol, a cello or a bassoon, though it may be played by a harmonic instrument only.

 9
Johann Guth (XVII cent.):  Ut Re Mi Fa Sol La a 3 Violini, canon at the unison a 3
source: Novitas musicalis. Allerhand Canones und Fugen von 2. 3. und 4 Stimmen sampt dem General Bass (Frankfurt 1675), No. 27
scoring: AAA (Bc)

Transposed a forth above from the orignal score for three violins and basso continuo.

 8
Samuel Friedrich Bockshorn [Capricornus] (1628 - 1665):  Ciaccona a 2
source: Ms. Heinemann-Nr. 2369 - Herzog August Bibliothek Wolfenbüttel
scoring: AB (Bc)

Our edition contains the transcription of the original score for violin, viola da gamba and continuo and my arrangement for AB recorders and continuo.

  3
Giuseppe Tartini (1692 - 1770):  Concerto in G major
source: Ms. Gimo 294 - Uppsala Universitetsbiblioteket
scoring: A (Strings, Bc)

This edition contains the transcription of the original concerto plus an adapted version for treble recorder of the flute part.

5
Heinrich Schütz (1585 - 1672):  Gib unsern Fürsten und aller Obrigkeit - SWV 373
source: Geistliche Chormusik. Op.11 (Dresden 1648)
Edited and/or arranged by Alberto Dalla Turca
scoring: SSAB or AATB (Bc)
3
Antonio Cifra (1584 - 1629):  Ricercar I
source: Ricercari et canzoni franzese. Libro 2 (Rome 1619), No. 1
scoring: SATB or ATTB

Also editorially transposed a fourth below.

 8
Johann Friedrich Gräfe (1711 - 1787):  March
source: Musikalisches Vielerley. Ed. C.Ph.E. Bach (Hamburg 1770)
scoring: AAAB

Transposed and adapted from the original score in Eb major for trumpet, two oboes and bassoon.

  4
Matthew Locke (c. 1622 - 1677):  Suite 7 (Nos. 25-28)
source: Little consort of three parts (London 1656), No. 7
scoring: STB (Bc ad libitum)
  5
Giacobbe Cervetto [Basevi] (1680 - 1783):  Sonata I in D major (F major, C major)
source: Eight Solos for a German Flute. Op. 3 (London [1757]), No. 1
scoring: A or C (Bc)
 5
Joseph Bodin de Boismortier (1689 - 1755):  Deuxiéme Sonate in A minor (C minor) - Op. 2, No. 2
source: Sonates a deux flûtes-traversieres sans basse. Op. 2 (Paris 1724)
scoring: AA
 7
Matthew Locke (c. 1622 - 1677):  Suite 6 (Nos. 21-24)
source: Little consort of three parts (London 1656), No. 6
scoring: STB (Bc ad libitum)
  6
Domenico Galli (1649 - 1691):  Sonata VI in F major
source: Trattenimento musicale sopra il violoncello a’ solo (Modena 1691), No. 6
scoring: A

Adapted from the original score for solo cello.

4
Michel Pignolet de Montéclair (1667 - 1737):  Premier Concert
source: Concerts à deux Flutes Traversières sans Basses (Paris s.d.), No. 1
scoring: AA
 6
Jean-Philippe Rameau (1683 - 1764):  Le Tambourin
source: Pièces de Clavessin (Paris 1724)
scoring: A (Harpsichord)

Arranged for treble recorder and harpsichord from the original score for solo harpsichord.

7
Andreas Heinrich Schultzen (1681 - 1741):  Sonata II in G minor
source: VI Sonate a Flauto solo con Cimbalo o vero Fagotto (Amsterdam [1703]), No. 2
scoring: A (Bc)
  5
Matthew Locke (c. 1622 - 1677):  Suite 5 (Nos. 17-20)
source: Little consort of three parts (London 1656), No. 5
scoring: SSB or AAB (Bc ad libitum)
 5
Henry Purcell (1659 - 1695):  Suite
source: The Fairy Queen (1692)
scoring: SSAB
10
Antonio Caldara (c. 1671 - 1736):  Il dio d’amore, Canon a 4
scoring: CCCC
  4
Carl Fasch (1736 - 1800):  Kyrie a 16
source: Missa a 16 voci in Quattro Cori (1783), No. 1
scoring: SSSSSSSSTTTTBBBB (Bc ad libitum)

Adapted to recorders from the original vocal score.

The continuo may be omitted from the performance.

 3
Jacob van Eyck (c. 1589 - 1657):  Silvester inde Morgenstont
source: Der Fluyten Lust-hof (1649-54), No. 89
scoring: C
4
Carl Fasch (1736 - 1800):  Chi vuol trovar la pace, Canzonetta
source: Musikalisches Vielerley. Ed. C.Ph.E. Bach (Hamburg 1770)
scoring: ATB (Harpsichord)

Our editon presents this canzonetta in its original score as well as arranged for ATB recorders and harpsichord.

 6
Anonymous:  Simphonia
source: 't Uitnement Kabinet. 2 vols (Amsterdam 1646-49)
scoring: CB (Bc)

The bass recorder part is an adaptation of the original bass part; hence the bass recorder is ad libitum.

 6
Giovanni Picchi (c. 1571 - 1643):  Canzon Prima a 2
source: Canzoni da sonar con ogni sorte d'istromenti (Venice 1625), No. 1
scoring: CCB or AA (Bc)
 2
Giovanni Gabrieli (c. 1555 - 1612):  Canzon per sonar a 8. Primi Toni
source: Sacrae symphoniae (Venice 1597)
scoring: SSAATTBB
  2
Anonymous:  Bouree d'Orange
source: Deusiesme recueil des dances et contre-dances avec la basse continue (Amsterdam 1688), No. 3
scoring: A or C (Bc)

The narrow range of the upper line allows to play this piece with any size of recorder.

 5
Leonardo Vinci (1690 - 1730):  Cum Dominus iratus
Edited and/or arranged by Andrea Bornstein
scoring: SATB
Arranged from the original score for soprano, two violins and continuo.
  7
Solomon Eccles (1649 - 1710):  A Division on a Ground
source: The first part of the division flute (London [1706]), No. 9
scoring: A (Bc)
  7
Robert Valentine (1674 - c. 1735):  Sonata XII in F major - Op. 2, No. 12
source: Sonate di flauto a solo col basso per il cimbalo o violone. Op. 2 (Rome 1708)
scoring: A (Bc)
6
Anonymous:  Gallarde Faraboscho
source: 't Uitnement Kabinet. 2 vols (Amsterdam 1646-49)
scoring: CB (Bc)

The bass recorder part is an adaptation of the original bass part; hence the bass recorder is ad libitum.

 7
Anonymous:  Suiet Italien
source: Deusiesme recueil des dances et contre-dances avec la basse continue (Amsterdam 1688)
scoring: C or A (Bc)

The narrow range of the upper line allows to play this piece with any size of recorder.

 13
Ferdinando Carulli (1770 - 1841):  Lezione 15 - Op. 27, No. 15
source: Metodo completo per chitarra, op. 27 (1810) - Parte terza: 24 lezioni progressive per due chitarre
scoring: TTBB or ATBB
 7
Anonymous:  Faronell's Ground
source: The first part of the division flute (London [1706]), No. 3
scoring: A (Bc)

The title refers to Farinelli (Carlo Broschi), the famous Italian castrato singer.

  10
Floriano Canale (c. 1550 - post 1603):  La Barbisona a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 13
scoring: SSAT or SATB
  3
Giovanni Bononcini (1670 - 1747):  Trattenimento Secondo
source: Trattenimenti da camera. Op. 1 (Bologna 1685)
scoring: AA or VV (Bc)

The original score fits two transverse flutes as is.

Our edition also contains a transposed version for treble recorders and bass recorder ad libitum.

  5
Eustache Du Caurroy (1549 - 1609):  Premiere Fantasie a Trois
source: Fantasies a III. IIII. V. et VI. parties (Paris 1610), No. 1
scoring: SAT or ATB

Also editorially transposed for lower recorders.

 4
Domenico Galli (1649 - 1691):  Sonata V in D minor
source: Trattenimento musicale sopra il violoncello a’ solo (Modena 1691), No. 5
scoring: A

Adapted from the original score for solo cello.

4
Anne Danican Philidor (1681 - 1728):  Allemande
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 7
scoring: A (Bc)
4
Eustache Du Caurroy (1549 - 1609):  Trentehuictiesme Fantasie a l’imitation de six monosyllabes, en laquelle sont contenuës les six especes de Diapason, divisees en la division harmonique et arithmetique
source: Fantasies a III. IIII. V. et VI. parties (Paris 1610), No. 38
scoring: ATTBB or AATBB
 5
John Reading (1645 - 1692):  Reading's Ground
source: The first part of the division flute (London [1706]), No. 1
scoring: A (Bc)
  12
Giovanni Bononcini (1670 - 1747):  Trattenimento Primo
source: Trattenimenti da camera. Op. 1 (Bologna 1685)
scoring: AA or VV (Bc)

The original score fits two transverse flutes as is.

Our edition also contains a transposed version for treble recorders and bass recorder ad libitum.

7
Adriano Banchieri (1568 - 1634):  Canzon Prima. La Rovattina
source: Canzoni alla francese a 4 voci per sonare. Libro 2 (Venice 1596), No. 1
scoring: SATB or SAAB
  3
Michel Pignolet de Montéclair (1667 - 1737):  Sixiéme Concert
source: Concerts à deux Flutes Traversières sans Basses (Paris s.d.), No. 6
scoring: AA

These «Concerts» by Montéclair are indeed suites; that is, collections of dances and preludes. Actually, this «Sixiéme Concert» contains two suites, since the sixth movement is a prelude and both suites contains ostinato movements: the first one a passacaille, the second a chaconne.

The original score is for two transverse flutes;  as usual, we transposed it for two treble recorders as well.

 9
Michel Blavet (1700 - 1768):  Sonata Seconda in A minor (C minor) - Op. 1, No. 2
source: Six Sonates Pour deux Flutes-traversieres sans Basse. Op. 1 (Paris 1728)
scoring: AA
2
John Adson (1587 - 1640):  Ayre 9 of 5 Parts
source: Courtly masquing ayres (London 1621), No. 9
scoring: ATBLF or NSATB
  3
Robert Woodcock (1690 - 1728):  Siciliana
source: Concerto I (London 1727)
Edited and/or arranged by Andrea Bornstein
scoring: A (Harpsichord)

Transposed and adapted from the original score for sixth flute and two violins in unison. Divisions are editorial.

 6
Paolo Fonghetti (1572 - post 1628):  Il Penseroso
source: Capricii et madrigali a due voci (Verona 1598), No. 3
scoring: AT
2
Franz Schubert (1797 - 1828):  Andante con moto
source: Piano Trio in E-flat major - D.929
scoring: SAATB

This is an abridged version of the second movement – in C minor – of the Trio D.929, Op. 100, by Schubert.

 2
Traditional:  Bella Ciao
Edited and/or arranged by Andrea Bornstein
scoring: AATB (Harmonic Instrument ad libitum)
  4
Andrea Bornstein (1956 - ):  4 Chord Progression a 3
scoring: ATB (Harmonic Instrument)
  5
Traditional:  The House of the Rising Sun
Edited and/or arranged by Andrea Bornstein
scoring: ATB (Harmonic Instrument ad libitum)
 55
Johann Christian Schickhardt (c. 1681 - 1762):  Ciaccona (from Sonata VI) - Op. 14
source: VI Sonates. Op. 14 (Amsterdam c. 1710)
Edited and/or arranged by Andrea Bornstein
scoring: ATB or AAB (Bc)

Adapted from the original score for treble recorder, oboe, viol and continuo.

 3