Paolo Benedetto Bellinzani, Sonate a flauto solo con cembalo o violoncello. Op. 3 (Antonio Bortoli, Venice 1720).
In the 18th century, only two collections of sonatas for recorder were published in Italy: Marcello's (1712) and Bellinzani's (1720). Both opera were printed in Venice, contain 12 sonatas and end with sets of variations: on the Chaconne the one by Marcello, on the Follia the one by Bellinzani.
In his foreword to the reader, Bellinzani gives interesting information about playing the recorder, demonstrating that he was a recorder player as well as a composer.
To the kind reader.
Even if I know by my own experience how it is possible to play these sonatas as they appear on the score, nevertheless, who is not able to play long passages without breathing, could omit to play the first note every first or third quarter in the common time (C), or the first note of some bars (measures) in triple time. The player, though, should be cautious to do that only when the basso continuo is playing, since, resting the continuo as well, it would be wrong. And I say that for your better easiness and satisfaction, my kind reader. Be merciful and live happily.
Unfortunately, the unicum of the collection is imperfect, since it lacks the folio 4 that contained the third and the fourth movement of the Sonata Seconda.
Our transcription thoroughly follows the source; we simply transcribed the music that originally was already printed in score. It is worth noticing that Bellinzani put slurs on the recorder part, when necessary, only on the first few bars of a movement. It will be care of the performer to apply them in similar situations throughout the same movement. Another problem arises about the relationship between repeats and incomplete bars. Let us see for instance the first movement of the first sonata: the original print does not care to match the value preceding the first repeat to that of the first bar. This constantly happens throughout the entire opus and has to be taken in that way without trying to normalize it.
All accidentals in the source are reproduced in the edition, even when they may seem redundant under modern conventions. Editorial accidentals are smaller. In both cases, accidentals remain in force throughout the bar unless specifically cancelled.