Entries 101 - 200 out of 2752 [28 pages]

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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
Giovanni Paisiello (1740 - 1816):  Capriccio in C major
scoring: A (Keyboard)
 3
Traditional:  Oh Happy Day
Edited and/or arranged by Andrea Bornstein
scoring: SATTB or SAATT (Harmonic Instrument ad libitum)
  3
Vincenzo Ruffo (c. 1508 - 1587):  El Travagliato
source: Capricci in musica a tre voci (Milan 1564), No. 12
scoring: ATB

A tricky three-part composition, on purpose entitled «The Troubled One».

 2
Jan Jaap Langereis (1962 - ):  Flauto Ostinato
scoring: AAT
3
Vincenzo Ruffo (c. 1508 - 1587):  La Gamba in Basso e Soprano
source: Capricci in musica a tre voci (Milan 1564), No. 13
scoring: ATB
 5
Paolo Fonghetti (1572 - post 1628):  Lo Spaventoso
source: Capricii et madrigali a due voci (Verona 1598), No. 2
scoring: AT or AA
  4
Vincenzo Ruffo (c. 1508 - 1587):  La Gamba in Tenor
source: Capricci in musica a tre voci (Milan 1564), No. 5
scoring: ATB
 4
Jan Jaap Langereis (1962 - ):  Raindance
scoring: AATTBF

The idea for this piece first started while hearing the song The Space played live by the prog-rock band Marillion. I imagined the strings at the beginning of the song played on a recorder (probably professional deformation wink) and after a while the melody simply flew in my head. Call it luck, call it magic, but the melody was very suitable to make it into a canon.

The title came while recording it (the piece was finished already); it was raining outside – a very common thing in autumn in the Netherlands – and I heard the drops of tones falling on the floor, more and more, on which the melody starts dancing: Raindance.

The piece is written especially for my Recorder Orchestra in Castricum (Holland) of which I am the director. It is easy to play, so very suitable to do with a wide range of skills. It is written for low recorders (from alto to great bass) because of the warm and beautiful sound of greater recorders. There is an extra seventh part to be played on a bass recorder in C, especially if the great bass recorder is not able to reach the highest notes.

Please, do not play it on a sopranino and have fun!

Jan Jaap Langereis
Heiloo, 8.11.2012

  37
August Heinrich von Weyrauch (1788 - 1865):  Adieu!
scoring: SATB
Very little, if anything, is known about Weyrauch apart from his authorship of this song. It was published as Adieu! in Paris, circa 1835. The title page mentioned ‘Mr. F Schubert’ as the composer with ‘paroles françaises’ by Mr. Bélanger, and there is a dedication to Mr. A Nourrit (the famous tenor who did so much to advocate Schubert’s lieder in France). The song actually dates from 1824, and it was privately published by its composer, Weyrauch, with the title «Nach Osten», and a poem by Wetzel. We do not know whether Weyrauch played any part in the original falsification, or its eventual discovery. The music was re-imported to Germany in 1843 under Schubert’s name as a solo piano piece. Even Schumann seems to have believed the song was by Schubert himself. No doubt on account of its popularity the song was reprinted in Volume 6 of Max Friedländer’s Schubert Edition for Peters (1873) together with a warning that the song had been incorrectly attributed to Schubert. As the only song in French by even a phoney ‘Schubert’, and a lyrical manner that suited the contemporary taste for the cavatina, it received many performances – and Schubert’s name was usually given, willy-nilly, as the composer. In this music one can hear a prophecy of the long-breathed melodies of Gounod (said to be influenced by Schubert); songs like Fauré’s Après un rêve were the final flowering of a particularly French genre initiated by Adieu!.
Graham Johnson ©2006
 
Divisions of the upper part are editorial.
  15
Paolo Fonghetti (1572 - post 1628):  Il Conforme
source: Capricii et madrigali a due voci (Verona 1598), No. 1
scoring: AA or CC

The original key does not fit recorders very well; so we also included two transposed versions of the duo: one for two treble recorders and the other one for two recorders in C.

 2
Michael Praetorius (1571 - 1621):  Nun komm, der Heiden Heiland, for double choir
source: Musae Sioniae. Ander Theil (Jena 1607), No. 2
scoring: SSAATTBB

Also editorially transposed a tone above.

   2
Girolamo Frescobaldi (1583 - 1643):  Capriccio sopra la Bassa Fiamenga
source: Il primo libro di capricci fatti sopra diversi soggetti et arie (Luca Antonio Soldi, Rome 1624)
scoring: SATB
 6
Leonardo Leo (1694 - 1744):  Sonata a Flauto solo e Basso in G minor
scoring: A or H (Bc)
  4
Traditional:  Wild Mountain Thyme
Edited and/or arranged by Andrea Bornstein
scoring: ATB
  8
Giorgio Mainerio (c. 1535 - 1582):  Ungaresca
source: Recueil de danseries, contenant presque toutes sortes de danses (Antwerp 1583), No. 46
scoring: SATB

This dance was first published in Mainerio's Il primo libro de balli a quattro voci (Venice 1578).

 5
Jacob Arcadelt (c. 1504 - 1568):  Chi potrà dir quanta dolcezza provo, madrigal a 4
source: Il primo libro de madrigali a quattro voci (Venice 1539)
scoring: ATTB
 5
John Dowland (1563 - 1626):  Can she excuse my wrongs
source: The first booke of songes (London 1597), No. 5
scoring: SATB
 8
Franz Tunder (1614 - 1667):  Wachet auf! Ruft uns die Stimme
scoring: SSATB
   3
Giorgio Mainerio (c. 1535 - 1582):  Arboscello Ballo Furlano
source: Recueil de danseries, contenant presque toutes sortes de danses (Antwerp 1583), No. 44
scoring: SATB

This dance was first published in Mainerio's Il primo libro de balli a quattro voci (Venice 1578).

 4
Alexander N. Scriabin (1871 - 1915):  Canon in D minor
scoring: SATB

Arranged from the original score for solo piano.

 2
Francesco Magini (c. 1668 - 1714):  Solfeggiamento Decimoottavo
source: Solfeggiamenti a due voci (Rome 1703), No. 18
scoring: C (Bc)
 6
Giorgio Mainerio (c. 1535 - 1582):  Ballo Milanese
source: Recueil de danseries, contenant presque toutes sortes de danses (Antwerp 1583), No. 27
scoring: ATTB

This dance was first published in Mainerio's Il primo libro de balli a quattro voci (Venice 1578).

 5
Georg Melchior Hoffmann (c. 1679 - 1715):  Air: Deine Güte, dein Erbarmen
source: Cantata «Meine Seele rühmt und preist» - BWV 189
scoring: AATTB

Arranged from the original score in Bb major for recorder, oboe, violin, tenor and continuo.

 2
Georg Melchior Hoffmann (c. 1679 - 1715):  Air: Meine Seele rühmt und preist
source: Cantata «Meine Seele rühmt und preist» - BWV 189
scoring: SATTB

Arranged from the original score in Bb major for recorder, oboe, violin, tenor and continuo.

  1
Michael Arne (1740 - 1786):  Lass with the delicate air
Edited and/or arranged by Andrea Bornstein
scoring: SATB

Arrangement and divisions by Andrea Bornstein.

  3
Georg Melchior Hoffmann (c. 1679 - 1715):  Air: Deine Güte, dein Erbarmen, Cantata «Meine Seele rühmt und preist» - BWV 189
source: Recorder Parts in Bach’s Sacred Music
scoring: A

In all likelihood, this cantata has to be attributed to Hoffmann, even if it has been credited to Bach throughout the 19th century. I decided to include it in this series for completeness’ sake.

Bach's sacred music is a plentiful source of music for recorders in any kind of combinations. So, I decided to transcribe parts meant for recorders found in Bach's cantatas in a series titled Recorder Parts in Bach’s Sacred Music.

This series has a twofold aim: providing parts for professional performances and giving everyone eager to practice recorder a fundamental collection of exercises.

2
Georg Melchior Hoffmann (c. 1679 - 1715):  Air: Meine Seele rühmt und preist, Cantata «Meine Seele rühmt und preist» - BWV 189
source: Recorder Parts in Bach’s Sacred Music
scoring: A

In all likelihood, this cantata has to be attributed to Hoffmann, even if it has been credited to Bach throughout the 19th century. I decided to include it in this series for completeness’ sake.

Bach's sacred music is a plentiful source of music for recorders in any kind of combinations. So, I decided to transcribe parts meant for recorders found in Bach's cantatas in a series titled Recorder Parts in Bach’s Sacred Music.

This series has a twofold aim: providing parts for professional performances and giving everyone eager to practice recorder a fundamental collection of exercises.

3
Francesco Magini (c. 1668 - 1714):  Solfeggiamento Vigesimosecondo
source: Solfeggiamenti a due voci (Rome 1703), No. 22
scoring: C (Bc)
  5
Johann Christoph Friedrich Bach (1732 - 1795):  A Choice of Variations on «Ah vous dirais-je Maman» - BR A 45
scoring: SAB

Arranged from the original score for harpsichord.

 3
Johann Christoph Friedrich Bach (1732 - 1795):  Variations on «Ah vous dirais-je Maman» - BR A 45
scoring: S (Harpsichord)

Arranged from the original score for harpsichord.

3
Jacob van Eyck (c. 1589 - 1657):  Courant, of Ach treurt myn bedroefde
source: Der Fluyten Lust-hof (1649-54), No. 11
scoring: C

In this piece, van Eyck scrambles plain melody and divisions. The whole can be easily sorted as showed in my edition. This is done to reach a better comprehension of the piece’s structure.

5
Jacques-Christophe Naudot (c. 1690 - 1762):  Quatriéme Babiole in C major - Op. 10, No. 4
source: VI Babioles. Op. 10 (Paris [1737])
scoring: AA
5
Francesco Magini (c. 1668 - 1714):  Solfeggiamento Primo
source: Solfeggiamenti a due voci (Rome 1703), No. 1
scoring: A (Bc)
  5
Joseph Bodin de Boismortier (1689 - 1755):  Troisiéme Sonate in E minor (G minor) - Op. 1, No. 3
source: Sonates a deux flûtes-traversieres sans basse. Op. 1 (Paris 1724)
scoring: AA
6
Francesco Magini (c. 1668 - 1714):  La Stravaganza
source: Solfeggiamenti a due voci (Rome 1703), No. 24
scoring: A (Bc)

Adapted and transposed for a treble recorder from the original solfeggio for canto and basso.

The continuo figures are original.

7
Xavier Lefèvre (1763 - 1829):  Esercizio 8
source: Méthode de Clarinette (Paris 1802)
scoring: AB
1
Anne Danican Philidor (1681 - 1728):  Les Forgerons
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 6
scoring: A (Bc)
4
Traditional:  Na Ostland wil ik varen, Old Netherland Song
Edited and/or arranged by Andrea Bornstein
scoring: SATB
 5
Jean Baptiste Loeillet de Gant (1688 - c. 1720):  Sonata IV in G major - Op. 3, No. 4
source: XII Sonates a une Flute & Basse Continue. Op. 3 (Amsterdam [1715])
scoring: G or A (Bc)
7
Andrea Bornstein (1956 - ):  Variazioni su una Passacaglia di W. Topham (1701)
scoring: AAAB or TTTB (Harpsichord)
  2
William Topham (flourished 1701-09):  Sonata I in G major - Op. 1, No. 1
source: XII sonate a flauto solo col basso continuo. Op. 1 and 2 (Amsterdam XVIII cent.)
scoring: G or A (Bc)

The recorder part suits both a treble recorder in F and one in G. Our edition also contains a transposed part to read the recorder in G with fingering in F.

4
Frédéric Chopin (1810 - 1849):  Valse - KK IVb No. 11
scoring: ATTB
  7
Jacob van Eyck (c. 1589 - 1657):  Rosemont
source: Der Fluyten Lust-hof (1649-54), No. 10
scoring: C

Version 2.00: our edition now includes both the faithful transcription of the original 1649 and 1654 sources and a scored version, useful to understand how van Eyck worked out his variations.

 6
Floriano Canale (c. 1550 - post 1603):  La Durante a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 12
scoring: SAAT or SATB
 4
Xavier Lefèvre (1763 - 1829):  Esercizio 7
source: Méthode de Clarinette (Paris 1802)
scoring: AB
5
Tommaso Giordani (c. 1730 - ante 1806):  Caro mio ben, Arietta
Edited and/or arranged by Andrea Bornstein
scoring: A (Harpsichord)

Divisions and arrangement are editorial.

  7
Anne Danican Philidor (1681 - 1728):  Gavote
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 5
scoring: A (Bc)
4
Giacomo Rampin (XVIII cent.):  Concerto V in F major
source: Concerti a cinque. Libro 1 (Amsterdam [1716]), No. 5
scoring: SSTB (Bc ad libitum)

Transposed and arranged for recorders from the original score for strings.

The transcription of the original score is also included in our edition.

3
Anne Danican Philidor (1681 - 1728):  Sonate pour la Flute à bec in D minor
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712)
scoring: A (Bc)
Version 1.10 (2015-09-22): Petty mistakes have been corrected.
  24
Giuseppe Valentini (1681 - 1753):  Concerto III in C major
source: Concerti a cinque. Libro 1 (Amsterdam [1716]), No. 3
scoring: C (Strings, Bc)

The oboe part can conveniently be played on a recorder in C.

4
Antonio Caldara (c. 1671 - 1736):  Sonata Terza in F major - Op. 2, No. 3
source: Suonate da camera a due violini, con il basso continuo. Op. 2 (Venice 1699)
scoring: AA (Bc)

Transposed and arranged for recorders from the original score in D major.

 5
Andreas Heinrich Schultzen (1681 - 1741):  Sonata I in D minor
source: VI Sonate a Flauto solo con Cimbalo o vero Fagotto (Amsterdam [1703]), No. 1
scoring: A (Bc)
7
Michel de la Barre (c. 1675 - 1745):  Première Suitte
source: Deuxieme livre de pieces pour la flûte traversiere, avec la basse continuë (Paris 1710)
scoring: A (Bc)
8
Orlando di Lasso (c. 1532 - 1594):  Olà! O che bon Eccho
source: Libro de villanelle, moresche et altre canzoni a 4. 5. 6 et 8 voci (Antwerp 1582)
scoring: SSAATTBB or AAAATTBB
 7
Traditional:  Jackaroe, English ballad
Edited and/or arranged by Andrea Bornstein
scoring: STB
  5
Giuseppe Valentini (1681 - 1753):  Largo
source: Concerto IV in C major (Amsterdam 1716)
scoring: AATB (Bc)

Arranged from the original score for oboe and strings.

  6
Andrea Bornstein (1956 - ):  Back To the Grind
scoring: SATB
  1
Anne Danican Philidor (1681 - 1728):  Sarabande
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 4
scoring: A (Bc)
4
Gottfried Finger (c. 1660 - 1730):  Sonata V in C major - Op. 3, No. 5
source: Dix Sonates à 1 flute & 1 basse continue. Op. 3 (Amsterdam 1701)
scoring: A (Bc)
9
Orfeo Vecchi (c. 1551 - 1603):  Gloria in excelsis Deo, Motet a 6
source: Promptuarii musici. Pars prima (Strasbourg 1611)
scoring: SSATTB

This Christmassy motet suits well a large ensemble of recorders with its «tutti» and «solo» sections.

   5
Anne Danican Philidor (1681 - 1728):  Bourrée
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 3
scoring: A (Bc)
4
Anne Danican Philidor (1681 - 1728):  Ballet
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 2
scoring: A (Bc)
5
Anne Danican Philidor (1681 - 1728):  Ouverture
source: 1er Livre de pieces pour la flute traversiere, flute a bec, violons et haut-bois avec la basse continuë (Paris 1712), No. 1
scoring: A (Bc)
5
Xavier Lefèvre (1763 - 1829):  Esercizio 6
source: Méthode de Clarinette (Paris 1802)
scoring: AB
2
Xavier Lefèvre (1763 - 1829):  Esercizio 5
source: Méthode de Clarinette (Paris 1802)
scoring: AB
 2
Xavier Lefèvre (1763 - 1829):  Esercizio 4
source: Méthode de Clarinette (Paris 1802)
scoring: AB
 2
Xavier Lefèvre (1763 - 1829):  Esercizio 3
source: Méthode de Clarinette (Paris 1802)
scoring: AB
 2
Xavier Lefèvre (1763 - 1829):  Esercizio 2
source: Méthode de Clarinette (Paris 1802)
scoring: AB
  2        1
Floriano Canale (c. 1550 - post 1603):  La Nuvolina a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 11
scoring: SSAT or SATB

This canzone fits recorders well, both in its original scoring and transposed a fifth below.

The high version can be performed an octave below as well, using a TTBL consort of recorders, where the last letter stands for a bass in C.

 8
Xavier Lefèvre (1763 - 1829):  Esercizio 1
source: Méthode de Clarinette (Paris 1802)
scoring: AB
  5
Traditional:  Stewball, Irish folk song
Edited and/or arranged by Andrea Bornstein
scoring: SATB
  7
Louis-Antoine Dornel (c. 1685 - 1765):  Sonate en quatuor
source: Livre de simphonies (Paris 1709)
scoring: SSAB

Adapted and transposed from the original score in B major for three violins and continuo. The original print generically names the three treble parts «dessus» without any instrumental specification.

  8
Erik Satie (1866 - 1925):  Gymnopédie No. 1 (1888)
scoring: A (Piano)
 7
Charles Dieupart (post 1667 - c. 1740):  5e Suitte in F major / Bb major / C major
source: Six suittes de clavessin pour un violon et flûte avec une basse de viole et un archilut (Amsterdam 1701), No. 5
scoring: A or C (Bc)

Besides the violin – which seems to be the first choice – and the transverse flute, these six suites may be played on two different sizes of recorders; the first four on a «flute de voix» and the last two on a «flute de quatre». The voice flute is a recorder in D – tuned a tone above the common tenor recorder, while the fourth flute is a recorder in Bb, hence tuned a tone below the common descant (soprano) recorder. The name of the latter shows that the treble (alto) recorder was always the pivot of the recorder family, since «fourth» or «quatre» underlines that a Bb recorder was tuned four notes apart from the common treble recorder. Hence, we have a fifth recorder (the common descant in C) and also a sixth one (recorder in D), the latter very popular in England at the beginning of the 18th century.

The treble recorder also dictated the fingering of all the family; in fact, all the other sizes (descant included) were played transposing the music to fit a fingering in F. This is the reason of the rubrics that Dieupart wrote at top of his suites; for instance, the first suite in A major reads: «Cette Suitte se doit jouer en C sol ut sur une flute de voix». In fact, playing a D recorder with alto fingering and reading that suite in C major a third above renders the music in A major.

For all these reasons, we provide a transposed part of the recorder, useful to read the music on a recorder in D (or in Bb when applied) as it were a treble in F; furthermore, the suites are also transposed in different keys to make them convenient to more common sizes of recorders.

 8
Traditional:  Henry Martin, Scottish folk song
Edited and/or arranged by Andrea Bornstein
scoring: SATB
   4
Samuel Alman (1877 - 1947):  Adônoi Moloch
scoring: SATB
  7
Alessandro Marcello (1673 - 1747):  Concerto II in D minor
source: Concerti a cinque. Libro 1 (Amsterdam [1716]), No. 2
scoring: C (Strings, Bc)

The oboe part can conveniently be played on a recorder in C.

7
Carl Philipp Emanuel Bach (1714 - 1788):  Trio H.578
source: Balthasar Schmid (Nuremberg [1751])
scoring: ATB

Transposed and adapted for three recorders ATB from the original score for flute, violin and bass in Bb major already published in the EtCetera section.

  12
Giovanni Battista Stefanini (1574 - 1630):  Christus resurgens mortuis, Motet a 5
source: Promptuarii musici. Pars altera (Strasbourg 1612)
scoring: SATTB

Transposed a note above for recorders’ sake.

 2
Alessandro Marcello (1673 - 1747):  Adagio
source: Concerto in D minor (Amsterdam 1716)
scoring: ATTBF

Adapted from the original score for oboe and strings. The double bass recorder may be substituted by a bass instrument such as cello, bass viol or bassoon.

 

  5
Robert Valentine (1674 - c. 1735):  Sonata XI in Bb major - Op. 2, No. 11
source: Sonate di flauto a solo col basso per il cimbalo o violone. Op. 2 (Rome 1708)
scoring: A (Bc)
7
Alessandro Marcello (1673 - 1747):  Concerto di Flauti
scoring: SGTB or SATB

This is not an arrangement, but a concerto specifically composed for four recorders. In its genre, a unicum.

 26
Michel Blavet (1700 - 1768):  Sonata prima in G major (Bb major) - Op. 3, No. 1
source: Troisieme livre de sonates pour la Flûte traversiere avec la Basse. Op. 3 (Paris 1740)
scoring: A (Bc)
7
Jean Baptiste [John] Loeillet of London (1680 - 1730):  Sonata VI a 3 con Flauto e Hautboy in C minor - Op. 2, No. 6
source: XII sonatas in three parts. Op. 2 (London c. 1725)
scoring: A or AT (Oboe, Bc)

The oboe part can be played by a tenor recorder player with average skills.

7
Joseph Bodin de Boismortier (1689 - 1755):  Deuxiéme Sonate in G minor (A minor) - Op. 1, No. 2
source: Sonates a deux flûtes-traversieres sans basse. Op. 1 (Paris 1724)
scoring: AA

This sonata does not fit two recorders when transposed a third minor up; so I decided to transpose it just a note up and to adapt the passages that descend below the low F.

10
John Dowland (1563 - 1626):  If my complaints could passions move
source: The first booke of songes (London 1597), No. 4
scoring: SATB

Editorial divisions has been added to the top line.

 10
Jacques Hotteterre «le Romain» (1673 - 1763):  Sonate III en Trio in B minor (D minor) - Op. 3, No. 3
source: Sonates en trio pour les flûtes traversieres, flûtes a bec […]. Livre premier. Op. 3 (Paris 1712)
scoring: AA or VV (Bc)
 13
Andrea Bornstein (1956 - ):  Ciaccona on Pachelbel’s Ground
scoring: TTB (Keyboard)
  2
Johannes Brahms (1833 - 1897):  «Sitzt a schöns Vögerl auf’m Dannabaum», Canon a 4 - Op. 113, No. 3
scoring: CCCC or AAAA
 4
Jean Baptiste Loeillet de Gant (1688 - c. 1720):  Sonata III in G minor - Op. 3, No. 3
source: XII Sonates a une Flute & Basse Continue. Op. 3 (Amsterdam [1715])
scoring: A (Bc)
7
Traditional Klezmer:  Shnirele Perele
Edited and/or arranged by Andrea Bornstein
scoring: ATB (Harmonic Instrument ad libitum)
  9
Anonymous:  La Brosse. Basse dance
source: Neuf basses dances deux branles vingt et cinq pavennes avec quinze gaillardes en musique a quatre parties (Pierre Attaingnant, Paris 1530)
scoring: SATB or ATTB
   7
Maurizio Cazzati (1616 - 1678):  Capriccio sopra sette note
source: Correnti, balletti, galiarde a 3 e 4 (Venice 1659), No. 25
scoring: AAB (Bc)

Adapted from the original score for two violins, cello and continuo.

  8
Biagio Marini (1594 - 1663):  Sonata a 4 - Op. 22, No. 24
source: Diversi generi di sonate da chiesa e da camera (Venice 1655)
scoring: SSTB (Bc)

Adapted from the original score for string quartet and continuo.

 4
Giorgio Mainerio (c. 1535 - 1582):  Caro Ortolano
source: Recueil de danseries, contenant presque toutes sortes de danses (Antwerp 1583), No. 1
scoring: SATB or AAAB

This dance was first published in Mainerio's Il primo libro de balli a quattro voci (Venice 1578).

 4
Francesco Maria Veracini (1690 - 1768):  Sonata Decima in D minor
source: Sonate a violino, o flauto solo, e basso (1716), No. 10
scoring: A (Bc)
Version 1.50 (2015-04-06): I implemented the correction suggested by Simon and took the occasion to add the facsimile of the source and revamp the layout of my edition.
 11
Andrés Sas (1900 - 1967):  Ronda de Urubamba
source: Aires y Danzas Indios del Peru (Paris 1934)
scoring: STT or SAT
 2
Charles Dieupart (post 1667 - c. 1740):  3e Suitte in B minor (D minor)
source: Six suittes de clavessin pour un violon et flûte avec une basse de viole et un archilut (Amsterdam 1701), No. 3
scoring: V or A (Bc)
8