The original title of the piece is badly cropped, but it could be read as «Sonata a Oboe solo». In all likelihood, this work is a transcription of an original oboe sonata in D major transposed to F major for treble recorder. Evidence of that is the coherent presence of «B#» (that is, B natural notes notated with a sharp instead of a natural) in the score; that is, actual G# notes transposed a minor third above.

Arranged from the original score for flute and strings.

At end of the Sonata No. 15 of this manuscript, there are two minuets that managed to escape the attention both of the early copyist who compiled the table of contents and of modern editors. In all likelihood, that happened because the two minuets follow the sonata’s minuet with no gaps at all. Nevertheless, they clearly do not belong to the sonata because of the different key (C major against F major) and because at end of the fourth movement, the copyist wrote «Segue Minuetto» (a minuet follows) – singular.

At end of the Sonata No. 15 of this manuscript, there are two minuets that managed to escape the attention both of the early copyist who compiled the table of contents and of modern editors. In all likelihood, that happened because the two minuets follow the sonata’s minuet with no gaps at all. Nevertheless, they clearly do not belong to the sonata because of the different key (C major against F major) and because at end of the fourth movement, the copyist wrote «Segue Minuetto» (a minuet follows) – singular. But above all, because of their different scoring; that is, two recorders and continuo.

Arranged from the original score for flute, violin and bassoon.

This piece is closely related with the middle movement of L’Inverno, RV 297.

Here is what Willi Apel says about this piece (published in Historical Anthology of Music, vol. I, Harvard, 1946):
This interesting composition is contained in a manuscript in the British Museum which was written about 1525, the earliest preseved source of English keyboard music aside from the Robertsbridge Codex. «Dump» is believed to be a lamenting and sorrowful type of English or Irish song. Shakespeare, however mentions «doeful doumps» and «merry dumps» (Romeo and Juliet, IV 4). The present dance is particularly interesting because of the ostinato character of the accompaniment. In a way, it can be considered as a series of continuous variations on a tonic-dominant harmony as a «theme». Thus it belongs in the same category with the passacaglia or chaconne of the 17th century.

This is indeed the violinistic Sonata V from Op. 1 by Castrucci transposed a fifth above and adapted for recorder by an unknown contemporary editor. The original source for recorder is not quite correct in various places and we had to compare it with the original print for violin and find the best solutions for small and less small issues.

Transposed in C major and the first line slightly adapted to a treble recorder from the original score in D major

Transposed a tone above for the recorders’ sake.

Transposed from the original score for sixth flute and three violins in unison.

Arranged for recorders from the original score for piano.

Arranged from the original score for violin and harpsichord in B minor.

Third movement from the sonata for violin and concertato harpsichord in E major arranged for recorders.

Arrangement and divisions by Andrea Bornstein

Adapted from the original score for four violins and continuo. The bass recorder part is ad libitum.

Arranged for recorders with editorial divisions

Transposed and adapted from the original for violins in G major.

Arranged for recorders with editorial divisions

Transposed a tone above for the recorders’ sake. We added a modified bass part for playing it with a bass recorder.

Arranged from the original score for alto singer and strings.

This is an arrangement of the original trio sonata for treble recorder, viol and continuo.

The Alto part of the second movement can be played on a descant recorder as well.

This collection of songs published by Walsh in 6 volumes around 1734 is quite interesting because arranges popular English and Scotch tunes adding to them some new lyrics. As usual for this kind of collections, a transposed part for the «common flute» – that is, a treble recorder – is provided. Stripping the music of unnecessary texts, we have a precious collection of popular tunes with a good continuo part. The continuo realization is editorial.