Entries 201 - 300 out of 5030 [51 pages]
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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 | |
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The original score for six voices is a tone below. The best performance would be achieved with low recorders; that is TTTBBF. | |
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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 | |
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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. | |
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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 | |
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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. | |
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 | |
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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) | |
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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 | |
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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) | |
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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) | |
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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) | |
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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 | |
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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». | |
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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. | |
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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. | |
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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. | |
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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 | |
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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 | |
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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) | |
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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 | |
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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. | |
| 9 | |
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The Beatles (flourished 1960-70): Dear Prudence
scoring:
SATTL | |
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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. | |
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. | |
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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 | |
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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 | |
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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?
7
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Giovanni Battista Pergolesi (1710 - 1736): A Serpina penserete, Aria di Serpina source: La serva padrona (1733)
scoring:
A (Harpsichord) | |
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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. | |
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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 | |
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What is the meaning of these icons?
6
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Carlos Santana (1947 - ): El Farol
scoring:
ATTTTB | |
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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) | |
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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?
9
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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. | |
| 7 | |
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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?
11
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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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Jean-Philippe Rameau (1683 - 1764): Les Niais de Sologne source: Pièces de Clavessin (Paris 1724)
scoring:
ATB | |
| Extensively arranged for recorders from the original score for solo harpsichord. | |
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What is the meaning of these icons?
7
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Robert Woodcock (1690 - 1728): Largo in D minor source: Concerto XII (London 1727)
scoring:
A (Harpsichord) | |
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This Largo is taken from Woodcock’s Concerto XII in C minor for oboe, strings and continuo. The divisions are editorial. | |
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What is the meaning of these icons?
5
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Henry Purcell (1659 - 1695): Crown the Year and Crown the Day source: Orpheus Britannicus. A collection of the choicest songs for one, two, and three voices. Book 2 (London 1702)
scoring:
A (Bc) | |
| The original score, for treble voice and continuo is in G minor. | |
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What is the meaning of these icons?
5
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Anonymous (XVI cent.): The Short Measure Of My Lady Wynkfylds Rownde, early English dance
scoring:
SBB | |
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What is the meaning of these icons?
5
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Salamone Rossi (1570 - c. 1630): Sinfonia XXXI a 5 et a 3 si placet source: Il secondo libro delle sinfonie e gagliarde a tre voci (Venice 1608), No. 31
scoring:
AAAAL | |
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Actually, No. 31 is the same piece as No. 2, plus the two middle parts ad libitum. Our edition presents this piece transposed from F to C to suit four treble recorders and a bass in C. | |
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What is the meaning of these icons?
4
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August Heinrich von Weyrauch (1788 - 1865): Sehnsucht source: Zehn deutsche Lieder in Musik gesetz. Sammlung 2 (Dorpat (Tartu) 1820)
scoring:
A (Keyboard) | |
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What is the meaning of these icons?
4
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Joseph Bodin de Boismortier (1689 - 1755): Sonata I in C major - Op. 37, No. 1 source: V Sonates en Trio pour un Dessus & deux Basses; suivies d’un Concerto a Cinq Parties pour une Flute, un Violon, un Haubois, un Basson, & la Basse. Op. 37 (Paris 1732)
scoring:
ATB | |
| The original score is in G major. | |
| 6 | |
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Johann Crüger (1598 - 1662): Exercitatio 62 source: Musicae practicae. Praecepta brevia et exercitia pro tyronibus varia (Berlin 1660), No. 62
scoring:
TTB or SSA | |
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What is the meaning of these icons?
3
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Andrea Bornstein (1956 - ): Hélas mon cueur n’est pas à moy source: Fantasies on Norman Songs from the Bayeux Manuscript, No. 2
scoring:
A (Harpsichord) | |
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What is the meaning of these icons?
4
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Jacob van Eyck (c. 1589 - 1657): Bravade with an editorial continuo source: Der Fluyten Lust-hof (Amsterdam 1649-54)
scoring:
A (Bc) | |
| These are the theme and variations of a piece published in van Eyck’s collection. I transposed van Eyck’s work to fit it to a treble recorder and added at it a continuo part of mine. | |
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What is the meaning of these icons?
8
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Joseph Bodin de Boismortier (1689 - 1755): Concerto in D minor - Op. 37, No. 6 source: V Sonates en Trio pour un Dessus & deux Basses; suivies d’un Concerto a Cinq Parties pour une Flute, un Violon, un Haubois, un Basson, & la Basse. Op. 37 (Paris 1732)
scoring:
ATTB (Bc) | |
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I have already published this concerto – see the related entry – which could be performed on recorders in its original key E minor with just minor adjustments. And yet in my opinion it works better transposed a tone below to D minor as it is showed in this new arrangement of mine. | |
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What is the meaning of these icons?
8
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A single line of this dance is taken from the collection Recueil des meilleurs contredanses arrangées pour le flageolet edited in Paris by P.J. Chaxelle at end of the eighteenth century. The print attributes the pieces just with surnames; in this case «Joly». So far, I cannot find any information about this composer. | |
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What is the meaning of these icons?
4
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Paul Simon (1941 - ): American Tune
scoring:
ATB | |
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What is the meaning of these icons?
5
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Hans Leo Hassler (1564 - 1612): Mein G’müt ist mir verwirret source: Lustgarten. Neuer Teutscher Gesäng (Nuremberg 1601)
scoring:
SATTB or SSAAB | |
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As I extensively explain in the «Prius factus» page (see the link above) this is the first occurrence of the melody we traditionally call Mein G’müt ist mir verwirret just because we cannot go back any further in its history. But we very well know how it was exploited afterwards in German sacred music. | |
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What is the meaning of these icons?
5
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Paul Simon (1941 - ): American Tune
scoring:
AB (Piano) | |
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This wonderful song is based on the melody of the hymn O sacred head, now wounded (German: O Haupt voll Blut und Wunden). The common name for this hymn tune is «Passion Chorale». The well-known hymn is itself a reworking of an earlier secular song, Mein G’müt ist mir verwirret, by Hans Leo Hassler. However, the melody of the song by Paul Simon is best known by modern listeners as a modified version of Bach’s St Matthew Passion, part 1, Nos. 21 and 23, and part 2, No. 54. The bass recorder part is ad libitum. | |
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What is the meaning of these icons?
8
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Evaristo Felice Dall'Abaco (1675 - 1742): Grave in D minor source: Concerto V, Op. 5 (c. 1722)
scoring:
A (Harpsichord) | |
| The original score in C minor is for oboe, strings and continuo. | |
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What is the meaning of these icons?
7
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Johann Crüger (1598 - 1662): Exercitatio 71, « Jubilate coelestes chori» source: Musicae practicae. Praecepta brevia et exercitia pro tyronibus varia (Berlin 1660), No. 71
scoring:
TTB (Bc) | |
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What is the meaning of these icons?
4
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Johann Crüger (1598 - 1662): Exercitatio 72, «Venite et videte» source: Musicae practicae. Praecepta brevia et exercitia pro tyronibus varia (Berlin 1660), No. 72
scoring:
AAB (Bc) | |
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What is the meaning of these icons?
3
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Giuseppe Colombi (1635 - 1694): Sinfonia Seconda source: Sinfonie da camera. Op. 1 (Bologna 1668)
scoring:
SSAB or SSTB | |
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The original score for strings is in D major. Actually, the piece may be performed on lower recorders; that is, ATBF or TTBF. | |
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What is the meaning of these icons?
4
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Frédéric Chopin (1810 - 1849): Cantabile - B. 84
scoring:
ATBBF | |
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Arranged from the original score for piano. The bass part can be played on a great bass recorder or on any bass instrument, such as cello or bassoon. | |
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What is the meaning of these icons?
3
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Maurizio Cazzati (1616 - 1678): La Malvasia source: Sonate a due, tre, quattro e cinque con alcune per tromba. Op. 35 (Bologna 1665)
scoring:
ATBF | |
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Arranged from the original score for strings. The bass part can be played on a great bass recorder or on any bass instrument, such as cello or bassoon. The tempo marking “Presto presto” was often used in this period and has the same meaning as the modern “Presto assai”. | |
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What is the meaning of these icons?
4
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Ludwig van Beethoven (1770 - 1827): Adagio sostenuto source: Piano Sonata No. 14, Op. 27. Moonlight Sonata
scoring:
ATBBFF | |
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Arranged from the original score for piano. The bass parts can be played on great bass recorders or on any bass instrument, such as cello or bassoon. | |
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What is the meaning of these icons?
4
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Domenico Cimarosa (1749 - 1801): Sonata in G minor
scoring:
ATB | |
| Arranged from the original score for keyboard. | |
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What is the meaning of these icons?
6
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Tommaso Albinoni (1671 - c. 1750): Adagio and Allegro from Concerto V, Op. 2 source: Sinfonie e concerti a 5. Op. 2 (Venice 1700)
scoring:
ATBF | |
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Arranged from the original score for strings. The bass part can be played on a great bass recorder or on any bass instrument, such as cello or bassoon. | |
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What is the meaning of these icons?
4
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Adriano Banchieri (1568 - 1634): Concerto bellico «Quare fremuerunt gentes» - Op. 48 source: Dialoghi concerti sinfonie canzoni (Venice 1625)
scoring:
TB (Bc) | |
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The title «Concerto bellico» means ‘warlike concerto’: it refers to its musical structure that echoes the battle, a well-known musical form in use from the Renaissance until the eighteenth century. According to Banchieri’s indications, the first voice can be either a tenor or a soprano singer; therefore a soprano recorder can also be used. | |
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What is the meaning of these icons?
6
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Antonio Vivaldi (1678 - 1741): Concerto in G major - RV 442 source: Giordano 31, Manuscript preserved in Turin National University Library
scoring:
AABF | |
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Arranged from the original score for treble recorder, strings and continuo in F major. The bass part can be played on a great bass recorder or on any bass instrument, such as cello or bassoon. | |
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What is the meaning of these icons?
5
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Antonio Vivaldi (1678 - 1741): Largo in F major source: Concerto in G minor RV 439 La Notte for flute, strings and continuo
scoring:
ATBF | |
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This is a fusion of two movements – both referred to as ‘Largo’ – from Vivaldi’s concerto RV 439. The keys have been left unchanged: the first part starts in C minor and ends on a G major chord, which perfectly ties in with the second part, which starts in C major and ends in F major. The bass part can be played on a great bass recorder or on any bass instrument, such as cello or bassoon. | |
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What is the meaning of these icons?
4
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Antonio Vivaldi (1678 - 1741): Largo in G major source: Concerto RV 97 for viola d’amore, 2 oboes, bassoon, 2 horns and continuo in F major
scoring:
AAB | |
| The original instrumentation of this third movement is viola d’amore, oboe and bassoon. | |
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What is the meaning of these icons?
4
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Giovanni Battista Riccio (flourished 1609-21): Ave Regina coelorum, Motet source: Il terzo libro delle divine lodi musicali (Venice 1620), No. 1
scoring:
A (Bc) | |
| The original motet is in F. I transposed it to C to suit a treble recorder and added divisions. | |
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What is the meaning of these icons?
7
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Giovanni Paisiello (1740 - 1816): Amplius lava me ab iniquitate mea source: Miserere - RobP 6.29
scoring:
AAATB | |
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What is the meaning of these icons?
4
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Giovanni Battista Riccio (flourished 1609-21): In Spiritu humilitatis, Motet source: Il terzo libro delle divine lodi musicali (Venice 1620)
scoring:
SATB (Bc) | |
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Riccio’s compositions always are recorder friendly. In fact, it is no coincidence that he was the most prolific 17th century composer of music for «flautino»; that is, soprano recorder. That said, even if the four vocal parts perfectly fit a SATB group of recorder in the original key, I preferred to transpose the motet a note above to G. The continuo part can be omitted throughout, but in this case the bass recorder must play the small-size notes at the very beginning of the composition. | |
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What is the meaning of these icons?
5
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Thomas Ravenscroft (c. 1588 - 1635): Ut Re Me Fa Sol La, Canon at the unison a 4 source: Pammelia. Musicks Miscellanie (London 1609), No. 31
scoring:
TTTT or AAAA | |
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This peculiar composition begins with the ascending and descending hexachord; a classic didactic requirement concerning the solmisation. Its performance it is not easy because of the presence of two different kinds of triplets that clash with the binary flowing of the other parts. Since the four parts are equal and perfectly fit the range of a recorder in C, they can be played on any kind of recorder in C or in F. I warmly suggest to play this composition with four basses. In addition to the texted score and parts I added a textless version useful if we just want to play the canon. | |
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What is the meaning of these icons?
3
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Domenico Natale Sarri [Sarro] (1679 - 1744): Adagio from Concerto in D minor source: JOG 72-29 (vol. 31). Manuscript preserved in New York: Music Division of the New York Public Library for the Performing Arts
scoring:
AATB | |
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What is the meaning of these icons?
4
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Domenico Natale Sarri [Sarro] (1679 - 1744): Concerto con violini e flauto e basso in D minor source: JOG 72-29 (vol. 31). Manuscript preserved in New York: Music Division of the New York Public Library for the Performing Arts
scoring:
A (2 Violins, Bc) | |
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This concerto has a serious problem; that is, the first Allegro as second movement is missing. There are good reasons for surmising that: all the similar compositions contained in the famous Neapolitan collection Concerti di Flauto […] have at least four movements; but more obvious is that there are two successive slow movements: «Amoroso» and «Adagio». The loss seems to predate the writing of the manuscript JOG 72-29 (vol. 31), because in it the three movements follow each other seamlessly in all the four parts. It is worth noticing that the second violin exactly follows the first one except in the second movement. | |
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What is the meaning of these icons?
8
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Giovanni Battista Vitali (1632 - 1692): Balletto Settimo source: Correnti e balletti da camera a due violini. Op. 1 (Bologna 1666)
scoring:
AAB or ATB | |
| The original score is in A major. | |
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What is the meaning of these icons?
3
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Christoph Graupner (1683 - 1760): Selve amiche, ombrose piante, Air source: Pastoral opera La costanza vince l’inganno (1711)
scoring:
AATB (Bc) | |
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The original score of this aria – in F major – is for a soprano singer, two treble recorders and continuo. Our arrangement includes editorial divisions of the ripresa. The bass recorder is ad libitum: it doubles the continuo line an octave above as a viola would do in an Eighteenth-century string score. | |
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What is the meaning of these icons?
7
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Salamone Rossi (1570 - c. 1630): Passeggio d’un balletto a 5 source: Il primo libro delle sinfonie et gagliarde (Venice 1607), No. 27
scoring:
SSATB | |
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In conclusion of his collection of instrumental dances, Rossi placed a short piece – just eight measures – meant to link choreographically different dances. Here we present it in its plain version and with editorial divisions. | |
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What is the meaning of these icons?
4
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Andrea Bornstein (1956 - ): Primo vere (At the beginning of spring)
scoring:
SATB | |
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What is the meaning of these icons?
6
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Henry Purcell (1659 - 1695): Hence with your trifling deity source: The History of Timon of Athens, the Man-Hater (1695) - Z 632, No. 5
scoring:
ATB | |
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What is the meaning of these icons?
4
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Salamone Rossi (1570 - c. 1630): Gagliarda a 5 detta La Massara source: Il primo libro delle sinfonie et gagliarde (Venice 1607), No. 26
scoring:
SSATB | |
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What is the meaning of these icons?
6
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George Frideric Handel (1685 - 1759): Laß das Schicksal blitzen, wittern, Air source: Almira, Königin von Castilien (1705) - HWV 1
scoring:
SSATB | |
| The original score in Eb major is for tenor singer, oboes, strings and continuo. | |
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What is the meaning of these icons?
5
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George Frideric Handel (1685 - 1759): Chi più mi piace io voglio, Air source: Almira, Königin von Castilien (1705) - HWV 1
scoring:
A (Harpsichord) | |
| The original score in C minor is for soprano singer, oboe and continuo. | |
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What is the meaning of these icons?
11
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George Frideric Handel (1685 - 1759): Liebliche Wälder, schattige Felder, Air source: Almira, Königin von Castilien (1705) - HWV 1
scoring:
AATTBB (Bass instrument) | |
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The original score is for tenor singer, two treble recorders and strings. The «Basso» part may be played on a great bass recorder. | |
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What is the meaning of these icons?
7
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George Frideric Handel (1685 - 1759): Courante source: Almira, Königin von Castilien (1705) - HWV 1
scoring:
ATB | |
| The original score in G minor consists of the bass and the treble parts only. | |
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What is the meaning of these icons?
3
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Domenico Natale Sarri [Sarro] (1679 - 1744): Larghetto from Concerto XI source: Concerti di Flauto, Violini, Violetta, e Basso di Diversi Autori (Naples 1725). Manuscript preserved in the Music conservatories of Naples
scoring:
ATB (Bass instrument) | |
| The «Basso» part may be played on a great bass recorder. | |
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What is the meaning of these icons?
6
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