Entries 101 - 200 out of 4977 [50 pages]
What is the meaning of these icons?
8
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Antonio Vivaldi (1678 - 1741): Trio Sonata in F major - RV 62 - Op. 1, No. 6 source: Suonate da Camera a tre. Op. 1 (Amsterdam c. 1712)
scoring:
AA (Bc) | |
What is the meaning of these icons?
5
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Alessandro Scarlatti (1660 - 1725): Follia source: A manuscript of music for keyboard in the British Library
scoring:
STB | |
What is the meaning of these icons?
9
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Michel Richard Delalande (1657 - 1726): Air de Diane source: Ballet de Flore dansé a [Grand] Trianon (1689)
scoring:
ATB (Bc) | |
| The bass recorder doubles the continuo line an octave above: hence it is ad libitum. | |
|
What is the meaning of these icons?
5
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Francesco Nicola Fago (1677 - 1745): Toccata in C major source: Ms. Add. 1424 (XVIII cent.), Manuscript preserved in London: British Library
scoring:
A (Harpsichord) | |
| The original score for keyboard is in A major | |
|
What is the meaning of these icons?
5
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Lucio Battisti (1943 - 1998): Non è Francesca
scoring:
ATB (Harmonic Instrument ad libitum) | |
What is the meaning of these icons?
4
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Francesco Nicola Fago (1677 - 1745): Non v’è pena maggior, Air source: Secular cantata «Non credo che vi sia pena maggior». Manuscript preserved in Naples: Conservatorio S. Pietro a Majella
scoring:
A (Bc) | |
| Air with editorial divisions of the A Capo. | |
|
What is the meaning of these icons?
4
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Francesco Nicola Fago (1677 - 1745): Potessi dire almeno la fiamma del mio seno, Air source: Secular cantata «Non credo che vi sia pena maggior». Manuscript preserved in Naples: Conservatorio S. Pietro a Majella
scoring:
A (Bc) | |
| Air with editorial divisions of the A Capo. | |
|
What is the meaning of these icons?
5
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Anonymous (XVIII cent.): Anonymous fugue from the late 18th century in A minor source: Ms. Add. 14335 (XVIII cent.), Manuscript preserved in London: British Library
scoring:
SATB | |
| Heavily arranged from an anonymous score for keyboard. | |
|
What is the meaning of these icons?
6
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Josep Gallés i Salabert (1758 - 1836): Sonata in D minor
scoring:
A (Harpsichord) | |
| Arranged from the keyboard sonata in C minor | |
| 5 | |
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Henry Purcell (1659 - 1695): Hark! my Damilcar source: Tyrannic Love or The Royal Martyr (1694) - Z 613
scoring:
ST or STB (Bc) | |
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The original score in C major is for two singers soprano and bass with continuo. In my arrangement, the bass recorder double the continuo line an octave above, hence it can be omitted from the performance. | |
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What is the meaning of these icons?
8
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Giovanni Battista Vitali (1632 - 1692): Trio Sonata 1 in C major source: Sonate da camera a tre. Due violini e violone. Op. 14 (Modena 1692)
scoring:
ATB | |
| Players should be aware that the bass recorder actually sounds an octave higher than it should for the part it plays. The result, however, is not unpleasant, but the use of an authentic bass instrument - cello, viola da gamba or bassoon - is still recommended. | |
|
What is the meaning of these icons?
4
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What is the meaning of these icons?
6
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Giovanni Battista Vitali (1632 - 1692): Trio Sonata 9 in G minor source: Sonate da camera a tre. Due violini e violone. Op. 14 (Modena 1692)
scoring:
ATB | |
| Players should be aware that the bass recorder actually sounds an octave higher than it should for the part it plays. The result, however, is not unpleasant, but the use of an authentic bass instrument - cello, viola da gamba or bassoon - is still recommended. | |
|
What is the meaning of these icons?
7
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The original score is in D major. The bass line splits in two just in the penultimate strain. | |
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What is the meaning of these icons?
6
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Evaristo Felice Dall'Abaco (1675 - 1742): Largo in G major source: Concerto II, Op. 5 (c. 1722)
scoring:
A (Harpsichord) | |
| The original score is for strings and continuo. | |
|
What is the meaning of these icons?
4
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What is the meaning of these icons?
6
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Anonymous (XVIII cent.): Minuet source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 27
scoring:
GG or AA | |
| The original score is suitable for two treble recorders in G. I have also transposed it down a tone for two common treble recorders. Either way, both versions can easily be played on two treble recorders in F. | |
|
What is the meaning of these icons?
3
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Anonymous (XVIII cent.): Air source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 26
scoring:
GG or AA | |
| The original score is suitable for two treble recorders in G. I have also transposed it down a tone for two common treble recorders. Either way, both versions can easily be played on two treble recorders in F. | |
|
What is the meaning of these icons?
3
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Anonymous (XVIII cent.): Rondo source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 25
scoring:
GG or AA | |
| The original score fits two treble recorders in G very well. I also transposed it a tone below for two common treble recorders. Anyway, both versions can easily be played on two treble recorders in F. | |
|
What is the meaning of these icons?
3
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Nicola Matteis (? - post 1713): Air source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 36
scoring:
AB (Bc) | |
| This is a quite interesting piece by Nicola Matteis, who devised variations in both the upper and the lower part. I have arranged it reconstructing the basic bass and assigning the bass variations to a bass recorder. For a better understanding of how Bingham presents the piece and how I rearranged it, see the facsimile of his original print. | |
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What is the meaning of these icons?
8
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Bernardo Pasquini (1637 - 1710): Passagagli source: Ms. Add. 31501, II-III (1708), Manuscript preserved in London: British Library
scoring:
A (Harpsichord) | |
| Like every instrumental composition by Pasquini, this work originally was thought for a keyboard instrument. | |
|
What is the meaning of these icons?
7
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Michel Richard Delalande (1657 - 1726): Deuxième Air source: Première Suite pour le Souper du Roy
scoring:
AAB | |
| Originally this air is a «Trio de hautbois» in G major. | |
|
What is the meaning of these icons?
4
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Bernardo Pasquini (1637 - 1710): Variazioni sopra la follia source: Ms. Add. 31501, II-III (1708), Manuscript preserved in London: British Library
scoring:
SATB | |
| Like every instrumental composition by Pasquini, this work originally was thought for a keyboard instrument. Nevertheless it nicely fits a recorder SATB ensemble. | |
|
What is the meaning of these icons?
8
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Michel Richard Delalande (1657 - 1726): Chaconne légère source: Suite pour Les Folies de Cardenio
scoring:
A (Bc) | |
|
What is the meaning of these icons?
8
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Lucio Battisti (1943 - 1998): Nel cuore, nell’anima
scoring:
AAT | |
|
What is the meaning of these icons?
5
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Burt Bacharach (1928 - ): I Say a Little Prayer
scoring:
A (Piano) | |
|
What is the meaning of these icons?
6
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Alberto Fortis (1955 - ): La Sedia di Lillà
scoring:
A (Piano) | |
|
What is the meaning of these icons?
3
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Bernardo Pasquini (1637 - 1710): Partite diverse di follia
scoring:
A (Bc) | |
|
What is the meaning of these icons?
9
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Giovanni Battista Vitali (1632 - 1692): Gagliarda Prima source: Balletti, correnti e sinfonie da camera a quattro stromenti. Op. 3 (Bologna 1667)
scoring:
AAB (Bc) | |
|
This is a galliard, despite its tempo mark «Largo». The bass line may be played on a great bass recorder as well as on any bass instrument. | |
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What is the meaning of these icons?
5
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Giovanni Battista Vitali (1632 - 1692): Balletto Primo - Op. 4, No. 1 source: Balletti, correnti, gighe, allemande e sarabande. Op. 4 (Bologna 1673)
scoring:
A (Bc) | |
|
What is the meaning of these icons?
8
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Paul de Senneville (1933 - ): Mariage d’amour
scoring:
AB | |
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What is the meaning of these icons?
6
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Imagine Dragons (XXI cent.): Believer
scoring:
A (Piano) | |
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What is the meaning of these icons?
8
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Giacomo Antonio Perti (1661 - 1756): Fugue for two voices. First example source: G.B. Martini, Esemplare. Part 2 (Bologna 1775)
scoring:
ST | |
|
What is the meaning of these icons?
5
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Giacomo Antonio Perti (1661 - 1756): Fugue for two voices. Second example source: G.B. Martini, Esemplare. Part 2 (Bologna 1775)
scoring:
SA | |
|
What is the meaning of these icons?
5
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Antonio Vivaldi (1678 - 1741): Sonata in F major - RV 52
scoring:
A (Bc) | |
|
What is the meaning of these icons?
13
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Antonio Lotti (c. 1667 - 1740): Incostanza della Sorte source: Duetti e terzetti, e madrigali a più voci (Venice 1705)
scoring:
SAB (Bc) | |
| A wonderful composition that perfectly fits recorders as is. It cannot get any better. | |
|
What is the meaning of these icons?
9
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Anonymous (XVIII cent.): Air source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 34
scoring:
A (Bc) | |
|
What is the meaning of these icons?
4
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Giacomo Antonio Perti (1661 - 1756): Et vitam venturi saeculi - Fuga a quattro voci source: G.B. Martini, Esemplare. Part 2 (Bologna 1775)
scoring:
SATB (Bc) | |
|
What is the meaning of these icons?
6
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Giacomo Antonio Perti (1661 - 1756): Begli occhi, io non mi pento
scoring:
C (Bc) | |
| Air with editorial divisions of the A Capo. | |
|
What is the meaning of these icons?
8
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Jean-Baptiste Lully (1632 - 1687): Entrée des Songes Funestes source: Atys. Tragédie mise en musique - LWV 53 (1689) - Act 3, Scene 4
scoring:
ATBB (Bass instrument) | |
|
What is the meaning of these icons?
4
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Anonymous (XVII cent.): Iustorum animae in manu Dei sunt - Fuga a due voci source: G.B. Martini, Esemplare. Part 2 (Bologna 1775)
scoring:
AB (Bc) | |
|
What is the meaning of these icons?
7
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Anonymous (XVIII cent.): Air source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 33
scoring:
A (Bc) | |
| All the repeats bear editorial divisions. | |
|
What is the meaning of these icons?
6
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Alessandro Besozzi (1702 - 1793): Sonata I in F major source: VIII Sonatas for two German flutes (London n.d.)
scoring:
ATB | |
| 7 | |
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Andrea Bornstein (1956 - ): Fantasia on The Beatles song I Want You
scoring:
ATTB | |
|
What is the meaning of these icons?
6
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Benedetto Marcello (1686 - 1739): Canzone Sesta. «Colpo de bei vostr’occhi è la mia piaga» source: Canzoni madrigalesche et arie per camera a due, tre, e quattro voci. Opera quarta (1717)
scoring:
SATB | |
|
What is the meaning of these icons?
5
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Carlo Gesualdo da Venosa (c. 1561 - 1613): Donna se m’ancidete, madrigal for 6 voices source: Madrigali a cinque. Book 3 (Genoa 1613)
scoring:
SSSAAB | |
|
The original score for six voices is a tone below. The best performance would be achieved with low recorders; that is TTTBBF. | |
|
What is the meaning of these icons?
5
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Jean-Baptiste Lully (1632 - 1687): Choeur des Songes Funestes source: Atys. Tragédie mise en musique - LWV 53 (1689) - Act 3, Scene 4
scoring:
ATTB or AAAB | |
|
What is the meaning of these icons?
5
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Benedetto Marcello (1686 - 1739): Canzone Prima. «Porto negl’occhi il mare» source: Canzoni madrigalesche et arie per camera a due, tre, e quattro voci. Opera quarta (1717)
scoring:
SAB | |
| A quite complicated and beautiful piece of music that challenges any recorder player. | |
|
What is the meaning of these icons?
5
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Claudio Monteverdi (1567 - 1643): Coro: «Vanne, Orfeo, felice a pieno» at end of the opera source: L’Orfeo (Venice 1609)
scoring:
SSATB | |
|
What is the meaning of these icons?
5
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Alessandro Scarlatti (1660 - 1725): Cor mio, deh non languire, madrigal for 5 voices source: G.B. Martini, Esemplare. Part 2 (Bologna 1775)
scoring:
SSSSA or TTTTB | |
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A difficult and beautiful composition, which Giovanni Battista Martini found worthy of publication as an outstanding example of a five-voice madrigal in his famous treatise on counterpoint and composition. We present it here transposed one tone above, suitable to be performed by four soprano recorders and an alto, or rather by four tenors and a bass. | |
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What is the meaning of these icons?
5
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Girolamo Galavotti (XVIII cent.): In Amor vi vuol Costanza. Cantata a Voce sola - Composed on 8 November 1705 source: Ms. Add. 14165 (XVIII cent.), Manuscript preserved in London: British Library
scoring:
S (Bc) | |
| All the repeats bear editorial divisions. | |
|
What is the meaning of these icons?
7
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Claudio Monteverdi (1567 - 1643): Sinfonia at end of Act 2 source: L’Orfeo (Venice 1609)
scoring:
SSTTTBBB | |
|
What is the meaning of these icons?
5
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Anonymous (XVIII cent.): Rondo source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 32
scoring:
A (Bc) | |
|
What is the meaning of these icons?
4
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Anonymous (XVIII cent.): Bourrée source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 24
scoring:
AA | |
|
What is the meaning of these icons?
4
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Jean-Baptiste Lully (1632 - 1687): Le Sommeil - prelude source: Atys. Tragédie mise en musique - LWV 53 (1689) - Act 3, Scene 4
scoring:
AATTBB (Bass instrument) | |
|
What is the meaning of these icons?
4
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Anonymous (XVIII cent.): Allamanda source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 31
scoring:
A (Bc) | |
|
What is the meaning of these icons?
4
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Jean-Baptiste Lully (1632 - 1687): Ritornelli for recorders from Act 4 - Scene 5 source: Atys. Tragédie mise en musique - LWV 53 (1689)
scoring:
ATB (Bc) | |
|
These two short instrumental interludes are quite useful for understanding the usage of recorders in early French music. Both top parts are noted in French clef; that is, a violin clef placed on the first line of the staff: this was the usual way to notate recorder parts in France and sometimes in Germany. Most interesting is the continuo line that uses an alto clef instead of the usual bass. So, the range of the continuo is an octave above the usual and perfectly fits a bass recorder. For this reason, the realization of the continuo must sound an octave higher than a usual right-hand part. Lully does not give any indication about which recorders are supposed to play the two upper parts. His recorder parts are always quite low in all his works; so, the only way to understand the requested recorder is looking at the lowest note they must play. The higher recorder never descends below G, so it should be a treble recorder, while the lower one reaches the low E, hence a tenor recorder is required. Nothing prevents us to use a tenor recorder for the higher part as well, but in that case we would wonder why Lully limited its low extension to G. | |
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What is the meaning of these icons?
5
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Jean-Baptiste Lully (1632 - 1687): Nous devons nous animer - Chorus praising the goddess Cybele
source: Atys. Tragédie mise en musique - LWV 53 (1689)
scoring:
SATB (Bc) | |
| This is the mother of all the cibell compositions that fluorished for a few years in France and especially in England between the end of the 17th century and the beginning of the following one. | |
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What is the meaning of these icons?
5
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Andrea Bornstein (1956 - ): Variations on «Eventide» by W.H. Monk (1823 - 1889)
scoring:
STTB or SAAB | |
|
What is the meaning of these icons?
16
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Henry Purcell (1659 - 1695): Cibell - ZT 678 source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 35
scoring:
A (Bc) | |
| This piece has been published several times in the 18th century: sometimes as «Cibell» others as «Trumpet Tune». | |
|
What is the meaning of these icons?
5
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Thomas Williams (flourished 1682-1729): A Ground in D minor source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 45
scoring:
A or C (Bc) | |
| The narrow and well-centered range of the recorder part allows to play it with any kind of recorder, either in F or in C. | |
|
What is the meaning of these icons?
14
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Anonymous (XVIII cent.): Air en Rondeau source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 23
scoring:
AAB (Bc) | |
| The original score is for two treble recorders. We added just for fun a bass part and its continuo realization. | |
|
What is the meaning of these icons?
4
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Paolo Benedetto Bellinzani (c. 1690 - 1757): Confessio et pulchritudo in conspectu eius - Op. 4, No. 28 source: Offertorj a due voci per tutte le feste solenni dell’anno. Op. 4 (Pesaro 1726)
scoring:
ATB | |
| Original score in Bb major for two sopranos and continuo. | |
|
What is the meaning of these icons?
6
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Johann Christoph Friedrich Bach (1732 - 1795): Schön ist mein Mädchen - BR-JCFB G 47 source: Die Amerikanerin. Ein lyrisches Gemälde (Riga 1776) - BR-JCFB G 47
scoring:
SSSAB | |
|
From a cantata for soprano, strings (2 violins, viola) and continuo. I transposed this movement from F Bb major and arranged for recorders. | |
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What is the meaning of these icons?
3
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Johann Christoph Friedrich Bach (1732 - 1795): Wie Ambraduft will ich dich, Tod! source: Die Amerikanerin. Ein lyrisches Gemälde (Riga 1776) - BR-JCFB G 47
scoring:
SSSAB | |
|
This is the last section of a cantata for soprano, strings (2 violins, viola) and continuo in C major. I transposed it to F major and arranged for recorders. | |
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What is the meaning of these icons?
3
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Johann Christian Bach (1735 - 1782): Trio Sonata in C major - W.B 51
scoring:
AA (Harpsichord) | |
| Originally Quartet for flute, violin, viola, cello and continuo. | |
| 6 | |
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Henry Purcell (1659 - 1695): Celia has a thousand charms source: The Rival Sisters or The Violence of Love (1695) - Z 609
scoring:
A (Bc) | |
|
What is the meaning of these icons?
5
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What is the meaning of these icons?
4
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What is the meaning of these icons?
4
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What is the meaning of these icons?
5
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Daniel Demoivre (flourished 1687-1731): Suite in D minor
scoring:
A | |
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What is the meaning of these icons?
6
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Giuseppe Sammartini (1695 - 1750): Sonata IV in Bb major source: Six sonatas or duets for two German flutes (London n.d.), No. 4
scoring:
AA | |
| Transposed from the original score for two flutes in G major | |
| 5 | |
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Johan Peter Emilius Hartmann (1805 - 1900): Mindesang source: Ni Fleerstemmige Mandssange (København 1866)
scoring:
TTBB or AABB | |
|
What is the meaning of these icons?
4
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Ferdinando Carulli (1770 - 1841): Solfège 60 - Op. 195, No. 60 source: Solféges et vocalises, op. 195 (Paris 1826) - Trosiéme Partie: Solfége progressif dans tous les tons, et dans toutes les mesures
scoring:
STB | |
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What is the meaning of these icons?
3
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Georg Philipp Telemann (1681 - 1767): Trio Sonata in F major - TWV 43:G6
scoring:
AA (Harpsichord) | |
| Arranged from a concerto a 4 in G major for treble recorder, oboe, violin and continuo. See the related entry. | |
| 8 | |
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The Beatles (flourished 1960-70): Dear Prudence
scoring:
SATTL | |
|
This is one of the masterpieces of John Lennon. The use of a pedal note (D) and hints of Oriental scales make it quite a contemporary and complex piece of music. | |
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What is the meaning of these icons?
4
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Tommaso Albinoni (1671 - c. 1750): Grave from Concerto VI, Op. 2 source: Sinfonie e concerti a 5. Op. 2 (Venice 1700)
scoring:
SSATB | |
| The original score for strings fits recorders as is. | |
|
What is the meaning of these icons?
4
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Domenico Alberti (c. 1710 - 1746): Allegro in C major source: 8 Sonates pour clavecin. Op. 1 (London 1745)
scoring:
A (Harpsichord) | |
| Arranged from the original score for harpsichord in G major. | |
| 3 | |
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Alexander Agricola (c. 1445 - 1506): Ave maris stella
scoring:
TBBB | |
|
What is the meaning of these icons?
6
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Johann Sebastian Bach (1685 - 1750): Three-part Invention No. 12 - BWV 798
scoring:
C (Harpsichord) | |
| Original score for harpsichord in A major | |
|
What is the meaning of these icons?
5
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Pompeo Natali (XVII cent.): Galatea source: Libro secondo de’ solfeggiamenti a due e tre voci, per cantare, suonare con diversi stromenti, violino, violone, e flauto, ecc. (Rome 1681)
scoring:
STT or ABB | |
| We present this solfeggio in two versions: one fits recorders in C and one recorders in F. | |
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What is the meaning of these icons?
5
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Domenico Gallo [Pergolesi] (1730 - c. 1768): Allegro in G minor, from Trio Sonata VII source: Twelve sonatas for two violins and a bass (London 1780)
scoring:
AA (Bc) | |
| The original score is for two violins and continuo and has been attributed to Pergolesi for a very long time. | |
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What is the meaning of these icons?
6
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Giovanni Battista Pergolesi (1710 - 1736): A Serpina penserete, Aria di Serpina source: La serva padrona (1733)
scoring:
A (Harpsichord) | |
|
What is the meaning of these icons?
6
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Pompeo Natali (XVII cent.): Solfeggiamento XXVIII a tre source: Solfeggiamenti a due e tre voci per cantare e suonare (Rome 1674), No. 9
scoring:
SST or AAB | |
| We present this solfeggio in two versions: one fits recorders in C and one recorders in F. The first version fits both two sopranos and a tenor and two tenors and a bass in C. | |
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What is the meaning of these icons?
5
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Girolamo Frescobaldi (1583 - 1643): Sopra l’Aria di Ruggiero. Ti lascio, anima mia source: Arie musicali per cantarsi nel gravicimbalo e tiorba a una, a dua, e a tre voci (Florence 1630)
scoring:
A (Bc) | |
| The original score is in G. | |
|
What is the meaning of these icons?
5
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Giovanni Paolo Cima (c. 1570 - 1630): Ornaverunt faciem templi source: Concerti ecclesiastici (Milan 1610), No. 45
scoring:
AATTB or SSATB | |
|
What is the meaning of these icons?
6
| |
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Carlos Santana (1947 - ): El Farol
scoring:
ATTTTB | |
|
What is the meaning of these icons?
8
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Domenico Alberti (c. 1710 - 1746): Minuetto in G major source: 8 Sonates pour clavecin. Op. 1 (London 1745)
scoring:
A (Harpsichord) | |
|
This is the second and last movement of the Sonata VII in F major for harpsichord. It consists of a theme and four variations: I arranged it heavily for a treble recorder and harpsichord and transposed it to G major. | |
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What is the meaning of these icons?
5
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Tomaso Antonio Vitali (1663 - 1745): Sonata Sesta in Bb major source: Concerto di sonate a violino, violoncello e cembalo. Op. 4 (Modena 1701)
scoring:
AB (Bc) | |
| This edition preserves the key of the original trio sonata and simply adapts the two main parts for a treble and a bass recorder. Indeed the cello may be used instead of the bass recorder since the original cello part is also provided. | |
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What is the meaning of these icons?
8
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Georg Philipp Telemann (1681 - 1767): Mein Heiland, Herr und Fürst! source: No. 103 of TWV 5:1 – Brockes Passion
scoring:
A (Harpsichord) | |
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The original score is for an alto singer, violins, bass and treble recorder. In my edition I assembled all the parts in the harpsichord with the exception of the recorder. The recorder part is quite interesting, first for its range, typical of Telemann, but especially for the double version from measure 34 onwards: Telemann added a simplified version, likely considering the main one too difficult for some players. | |
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Giorgio Mainerio (c. 1535 - 1582): La Fiamenga source: Recueil de danseries, contenant presque toutes sortes de danses (Antwerp 1583)
scoring:
TTBF | |
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What is the meaning of these icons?
6
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Girolamo Frescobaldi (1583 - 1643): Ciaccona. Deh, vien da me, pastorella source: Arie musicali per cantarsi nel gravicimbalo e tiorba a una, a dua, e a tre voci (Florence 1630)
scoring:
TT (Bc) | |
| All the continuo figures are editorial: skilled keyboard players may ignore them throughout the piece. | |
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What is the meaning of these icons?
5
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Girolamo Frescobaldi (1583 - 1643): Aria di Passacaglia. Così mi disprezzate source: Arie musicali per cantarsi nel gravicimbalo e tiorba a una, a dua, e a tre voci (Florence 1630)
scoring:
A (Bc) | |
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The original score is in D minor. All the continuo figures are editorial: skilled keyboard players may ignore them throughout the piece. | |
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What is the meaning of these icons?
5
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Tomaso Antonio Vitali (1663 - 1745): Allegro in F major source: Concerto di sonate a violino, violoncello e cembalo. Op. 4 (Modena 1701)
scoring:
AB (Bc) | |
| The original score for violin, cello and continuo is in G major. | |
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What is the meaning of these icons?
6
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Tomaso Antonio Vitali (1663 - 1745): Sonata Duodecima. Follia source: Concerto di sonate a violino, violoncello e cembalo. Op. 4 (Modena 1701)
scoring:
A (Cello, Bc) | |
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This is a very interesting version of the Follia. It begins in common time and the theme lasts 8 measures. Vitali does not use the Corelli melody yet; he only exploits the harmonic structure of the ground until measure 105, when suddenly the triple time and the familiar melody devised by Corelli are introduced and the ground lasts 16 measures. Both the violin and the cello have their virtuoso exploits throughout the composition; for this reason, I have decided not to transpose the sonata for the treble recorder, but just adapt it preserving the original key of D minor. In this way the cello part is exactly the original one. If we want to play this sonata without the cello, the left hand of the harpsichord could play the cello part instead of the plain continuo bass line. | |
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What is the meaning of these icons?
10
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Orazio Vecchi (1550 - 1605): Or che ’l ciel e la terr’e ’l vento tace source: Le veglie di Siena, overo i varii umori della musica moderna (Venice 1604)
scoring:
SSATTB | |
| The original madrigal is in G, a tone lower. | |
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What is the meaning of these icons?
6
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Antonio Vivaldi (1678 - 1741): Cupido, tu vedi la pena dell’alma, Air source: Cantata «Che giova il sospirar, povero core» - RV 679
scoring:
AATB | |
| This aria is originally in D minor for soprano singer and strings. | |
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What is the meaning of these icons?
7
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| This is the first movement of the Concerto in E minor for strings RV 134. | |
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What is the meaning of these icons?
6
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Filippo Prover (1727 - 1774): Cantabile from Sonata IV source: Sei sonate per l’oboe, flauto traverso o violino con basso. Op. 1 (Paris c. 1750)
scoring:
ATB | |
| Extensively arranged for ATB recorders from the original score for oboe and continuo. | |
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What is the meaning of these icons?
4
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