Entries 401 - 500 out of 2756 [28 pages]

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Giovanni Battista Fontana (c. 1589 - c. 1630):  Sonata Prima a violino solo
source: Sonate a 1, 2, 3 (Venice 1641), No. 1
scoring: A (Bc)

Transposed from the original score for violin.

 4
Johan Peter Emilius Hartmann (1805 - 1900):  Du kommer
source: Ni Fleerstemmige Mandssange (København 1866)
scoring: ATTB or AATB
  7
Carlo Gesualdo da Venosa (c. 1561 - 1613):  Gagliarda
scoring: SATB or SSAB

The missing bass part has been reconstructed using the basso continuo one.

 7
Orlando di Lasso (c. 1532 - 1594):  Ad altre le voi dare ste passate
source: Libro de villanelle, moresche et altre canzoni a 4. 5. 6 et 8 voci (Antwerp 1582)
scoring: SATB or ATTB
  3
Orlando di Lasso (c. 1532 - 1594):  Tutto lo dì mi dici: canta, canta!
source: Libro de villanelle, moresche et altre canzoni a 4. 5. 6 et 8 voci (Antwerp 1582)
scoring: SATB
  5
César Franck (1822 - 1890):  Panis Angelicus
scoring: SSATTB
   14
César Franck (1822 - 1890):  Andantino (1857)
scoring: SATB
  7
Daniel Purcell (c. 1664 - 1717):  Solo I in F major
source: Six sonatas. Three for two flutes and a bass, and three solos for a flute and a bass (London c. 1710), No. 4
scoring: A (Bc)
5
John Dowland (1563 - 1626):  My thoughts are winged with hopes
source: The first booke of songes (London 1597), No. 3
scoring: SAAB or SATB

The original scoring does not fit recorders very well; hence, we also present a second version transposed a third below. Editorial divisions has been added to the top line.

  12
Felix Mendelssohn (1809 - 1847):  Fuga based on the Lutheran chorale «Vater unser im Himmelreich» - Op. 65, No. 6
scoring: SATB
  14
Johann Caspar Ferdinand Fischer (1656 - 1746):  Suite I
source: Le journal du printemps: Ms. RES-F-529. Manuscript preserved in Paris: Bibliothèque nationale de France
scoring: ATBB (Bc)

Adapted for ATBB recorders and basso continuo from the original score for strings.

 5
Antonio Lotti (c. 1667 - 1740):  Miserere mei, Deus
source: Mus. ms. 13167. Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Musikabteilung
scoring: SATB

The manuscript was written by the Roman librarian Fortunato Santini (1778-1861) around 1800. Our transcription has been thoroughly revised by Giorgio Pacchioni. Because of the complex compositional technique of Lotti, there are two dubious places left uncorrected at bars 125 and 182. This is an instrumental version of this great (in any sense) composition, and I decided to mark the musical phrases with the respective 44 lines of the Latin text. All the breath marks are editorial. There is also included a transposed version for recorders’ sake.

   4
Morris Winchevsky [Ben Netz] (1856 - 1932):  Ale Brider
Edited and/or arranged by Andrea Bornstein
scoring: TTB or ATB (Harmonic Instrument ad libitum)
  9
Gottlieb Muffat (1690 - 1770):  Fugue (Canzona VII)
Edited and/or arranged by Alberto Bongini
scoring: SATB

The fugue here published (also known as Canzona VII) was ascribed to Frescobaldi in Clementi’s Selection of Practical Harmony, and this false attribution gained general credence among subsequent editors of keyboard anthologies.

The third performer (tenor recorder) is supposed to momentarily switch to a soprano at bars 41-43.

3
Gabriel Fauré (1845 - 1924):  Après un Rêve
scoring: ST (Piano)

The recorder player begins playing a tenor recorder and switches to a descant (soprano) at bar 16.

  2
Francesco Durante (1684 - 1755):  Salmo Laudate pueri del celebre Durante in C major
source: Ms. Musica 2397-E-2. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: SATB
 7
Antonín Dvořák (1841 - 1904):  Theme from the 2nd movement of the New World Symphony
Edited and/or arranged by Andrea Bornstein
scoring: SSAATBB
  12
Johann Friedrich Fasch (1688 - 1758):  Sonata in G major - FaWV N:G1
source: Mus. ms. 298/6. Manuscript preserved in Darmstadt: Hessische Universitäts- und Landesbibliothek
scoring: AA (Transverse Flute, Bc)
 7
Pietro Castrucci (1679 - 1752):  Sonata II in C major
source: Six sonatas or solos contriv'd & fitted for a flute and a bass (London c. 1721), No. 2
scoring: A (Bc)
 4
Alfredo Casella (1883 - 1947):  Pavana - Op. 1
scoring: C (Cello or Viol)

Arranged from the original piano score in Ab minor.

 5
John Carr (XVIII cent.):  Here draw’r, come bring us some port, A catch for three voices with thorough bass
source: The Grove or the Rural Harmony (London [1760])
scoring: AAA (Bc)

Transposed for recorders from the original score for three voices in D major. The continuo realization is editorial

 5
Anonymous:  Sonata IV à 4 Violons, Haute Contre & Basse Continue
source: VI Sonates ou Concerts à 4, 5, & 6 parties. Livre 1 (Amsterdam n.d.), No. 4
scoring: AAAAB (Bc)

Arranged for recorders and continuo. The continuo realization, the «Soli» and «Tutti» marks and the trills are all editorial.

The bass recorder plays the viola part and can be omitted from the performance.

3
Josquin des Pres (c. 1440 - 1521):  Mille regretz
source: Mus.ms. 1516. Teutsche, Französische und Lateinische Lieder mit 4 Stimmen (c. 1540), Manuscript preserved in Munich: Bayerische Staatsbibliothek, Musiksammlung, No. 22
scoring: SATB
  6
Giovanni Battista Vitali (1632 - 1692):  Canone a sei soprani all'unisono
source: Artificii musicali (Modena 1689)
scoring: CCCCCC
  7
Giovanni Battista Vitali (1632 - 1692):  Canone a otto bassi all’unisono
source: Artificii musicali (Modena 1689)
scoring: BBBBBBBB
  9
Giovanni Battista Vitali (1632 - 1692):  Capricio Primo
source: Artificii musicali (Modena 1689)
scoring: A or SB (Bc)

This capriccio is more difficult than it appears and that makes it a great musical exercise.

Our edition contains the transcription of the original score for violin and continuo, plus an arrangement for SB recorders and continuo and one for treble recorder and continuo.

Philippe Verdelot (c. 1480 - ante 1552):  Quanto sia lieto il giorno, madrigal a 4
scoring: ATTB
 14
Giovanni Battista Vitali (1632 - 1692):  Sinfonia a due violini in canone all'unisono col suo basso continuo
source: Artificii musicali (Modena 1689)
scoring: SSB (Bc)
  7
Reginald Spofforth (1769 - 1827):  Hail smiling Morn, Glee
scoring: ATTB or AATB
  7
Ludwig van Beethoven (1770 - 1827):  Menuett No. 5
source: Zwölf Menuetten - WoO 7
scoring: SSAB
  2
Samuel Scheidt (1587 - 1654):  Fantasia super Io son ferito [ahi] lasso - SSWV 103
source: Tabulatura nova (Hamburg 1624), No. 2
Edited and/or arranged by Alberto Bongini
scoring: SATB or SSAB
 4
Lucas Osiander (1534 - 1604):  Vater unser im Himmelreich
source: Fünfftzig Geistliche Lieder und Psalmen mit vier Stimmen (1586)
scoring: SATB

With editorial divisions of the soprano part.

 2
Jacob van Eyck (c. 1589 - 1657):  Lavignone
source: Der Fluyten Lust-hof (1649-54), No. 9
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.

The two versions of Lavignone (Nos. 9 and 55) have been scored together.

1
Johann Rudolph Ahle (1625 - 1673):  Vater unser im Himmelreich
scoring: ATB
 3
Dieterich Buxtehude (c. 1637 - 1707):  Vater unser im Himmelreich - BuxWv 219
scoring: SATB
  4
Johannes Ghiselin (flourished 1491-1507):  La Alfonsina
source: Harmonice Musices Odhecaton A (O. Petrucci, Venice 1501), No. 80
scoring: ATB
7
Anonymous:  Paumgartner
source: Lochamer Liederbuch (1450-60)
scoring: STB or SAT
  10
Dieterich Buxtehude (c. 1637 - 1707):  Cantate Domino canticum novum - BuxWv 12
scoring: SSB (Keyboard)

This is an abridged arrangement that retains the tutti sections only of the original motet. The three vocal parts perfectly fit three recorders – two descant and a bass – without further intervention by the editor.

  11
Traditional:  The White Joak aka Gwyngalch Morgannwg
source: The British Musical Miscellany. Vol. 5 (London [1734])
scoring: C or A (Bc)

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.

  9
John Dowland (1563 - 1626):  Whoever thinks or hopes for love
source: The first booke of songes (London 1597), No. 2
scoring: SATB
  12
Giovanni Gabrieli (c. 1555 - 1612):  Sonata XXI con tre violini overo altri strumenti
source: Canzoni et sonate per sonar con ogni sorte de instrumenti, con il basso per l'organo (Venice 1615), No. 21
scoring: AAAB (Bc)

Transposed and arranged for three treble recorders (bass recorder ad libitum) from the original score for violins or other instruments

  6
Traditional Klezmer:  Arum dem Fayer
Edited and/or arranged by Andrea Bornstein
scoring: ATB (Harmonic Instrument ad libitum)
  10
Giovanni Antonio Pandolfi Mealli (flourished 1660-69):  Sonata Seconda. La Cesta - Op. 3, No. 2
source: [6] Sonate a violino solo, per chiesa e camera. Op. 3 (Innsbruck 1660)
scoring: C (Bc)

Arranged from the original score for violin.

 2
Pëtr Ilič Čajkovskij (1840 - 1893):  Douce rêverie - Op. 39, No. 21
source: Album for the young, Op. 39 (1878)
scoring: SSAT
 2
Henry Purcell (1659 - 1695):  Golden Sonata - Z 810
source: Ten sonatas in four parts (John Heptinstall, London 1697) [posthumous collection]
scoring: AA (Bc)

Transposed and arranged for two treble recorders from the original score in F major for two violins.

  7
Antoine Busnoys (c. 1430 - c. 1492):  Le serviteur
source: Harmonice Musices Odhecaton A (O. Petrucci, Venice 1501), No. 35
scoring: ATB or ATTB

Most pieces published by Ottaviano Petrucci in his seminal collections of textless music were composed by musicians of earlier generations; among them, Busnoys is one of the earliest. According to the taste of the second half of the 15th century, his arrangement of Le serviteur originally was in 3 parts: indeed the «Altus» is an editorial and later addition, added to the piece when the change of taste asked for instrumental music in 4 parts. I warmly recommend to skip the «Altus» line in any serious performance, since it is quite out of style – and in some places even discordant with the three original parts – compared to the beautiful simplicity of the original composition.

The original time signature is the circle, as you may see in the facsimile of the original print; that is, the breve is perfect (it contains three semibreves) and the tactus contains one semibreve: it indeed corresponds to a modern 3/4 in three beats.

1
Ferdinando Carulli (1770 - 1841):  Solfège 59 - Op. 195, No. 59
source: Solfèges et vocalises, op. 195 (Paris 1826) - Trosième Partie: Solfège progressif dans tous les tons, et dans toutes les mesures
scoring: C (Guitar)

Our edition contains both the voice part as it originally is and the same part adapted for a recorder in C. In particular, all the appoggiature have been written as real notes and several articulation marks have been added, as well as tempo marks and phrases indications (beaming). Furthermore, the changes of key at bars 30 and 50 are editorial: for clarity's sake, compare our transcription with the facsimile of the original print.

  3
Floriano Canale (c. 1550 - post 1603):  La Porta a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 10
scoring: SSTT or SATB

This canzona does not fit recorders very well and even transposing it there is always a note out of range somewhere. Both the versions included needed slight adjustments to the two low parts.

 1
Giovanni Legrenzi (1626 - 1690):  Che fiero costume, Arietta
source: Echi di riverenza (1678)
scoring: A (Harpsichord)

With editorial divisions of the recorder part.

 5
Anonymous:  Air
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 22
scoring: AA

The first (out of four) book of airs edited by George Bingham contains 10 pieces for two treble recorders numbered from 21 to 30.

Guillaume Le Heurteur (flourished 1530-45):  Amour partes
source: Le parangon des chansons. Quart livre (Lion 1539), No. 6
scoring: SA
Version 1.50 (2014-02-19): the PDF file contained the wrong duo score.
 2
Anonymous:  Ouverture
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 21
scoring: AA

The first (out of four) book of airs edited by George Bingham contains 10 pieces for two treble recorders numbered from 21 to 30.

Jeremiah Clarke (1674 - 1707):  Jigg
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 20
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

Anonymous:  Trumpet Tune
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 19
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

1
John Shore (c. 1662 - 1752):  Trumpet Tune
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 18
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

Charles Dieupart (post 1667 - c. 1740):  6e Suitte in F minor
source: Six suittes de clavessin pour un violon et flûte avec une basse de viole et un archilut (Amsterdam 1701), No. 6
scoring: H 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 key to make them convenient to more common sizes of recorders.

 7
Anonymous:  Trumpet Tune
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 17
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

Anonymous:  Minuet
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 12
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

1
Adam Gumpelzhaimer (1559 - 1625):  Textless canon in unisono
source: Compendium musicae Latino - Germanicum (Augsburg 1595), No. 4
scoring: AA or CC

Presented in the original version, which fits two treble recorders, and transposed a tone above for two recorders in C.

1
Adam Gumpelzhaimer (1559 - 1625):  Textless canon in unisono
source: Compendium musicae Latino - Germanicum (Augsburg 1595), No. 3
scoring: AA or CC

Presented in the original version, which fits two treble recorders, and transposed a tone above for two recorders in C.

1
Adam Gumpelzhaimer (1559 - 1625):  Textless canon in unisono
source: Compendium musicae Latino - Germanicum (Augsburg 1595), No. 2
scoring: CC
1
Adam Gumpelzhaimer (1559 - 1625):  Textless canon in ομοφωνία
source: Compendium musicae Latino - Germanicum (Augsburg 1595), No. 1
scoring: CC
1
A. van Heerde (XVIII cent.):  Sarabanda
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 16
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

A. van Heerde (XVIII cent.):  Jigg
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 15
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

George Bingham (flourished 1702-06):  Bourrée
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 14
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

1
A. van Heerde (XVIII cent.):  Bourrée
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 13
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

Anonymous:  Air
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 11
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

Anonymous:  Air
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 10
scoring: A or C

The first (out of four) book of airs edited by George Bingham contains 20 simple pieces for solo recorder. We publish them in their original range for treble recorder and transposed a fourth below for a recorder in C.

Carl Maria von Weber (1786 - 1826):  Freischütz Waltz
source: The Boston collection of instrumental music (1840)
Edited and/or arranged by J.H. Seipp
scoring: SB (Guitar)
  2
Samuel Arnold (1740 - 1802):  Gil Morice
source: A selection of the most favourite Scots-songs (London [1790]), No. 15
scoring: C or SAB (Harpsichord)

Presented in two versions, both edited by Andrea Bornstein:

  1. For recorder in C and harpsichord (cello ad libitum) with divisions of the upper line;
  2. For SAB recorders with divisions in all the parts.
  11
Gregorio Strozzi (c. 1615 - post 1687):  Toccata de Passacagli e ciascheduno può suonarsi a solo
source: Capricci da sonare cembali et organi (Naples 1687), No. 29
scoring: A (Harpsichord)

The Toccata de Passacagli is originally notated on four staves to be played by a keyboard instrument («cembali et organi»); it consists of 50 four-bar phrases of passacaglia and bears the subtitle «e ciascheduno [passacaglio] può suonarsi a solo» (and each one [passacaglio phrase] can be played on its own). We took 42 out of the 50 original phrases and arranged them for treble recorder and harpsichord.

Our edition of the original score is also available: see the related entry under the LINKS menu.

 4
John Dowland (1563 - 1626):  Awake Sweet Love
source: The first booke of songes (London 1597), No. 19
scoring: SATB
Version 1.50 (2014-02-09): added a performance with editorial divisions and all the related files.
   24
John Dowland (1563 - 1626):  Unquiet thoughts your civil slaughter stint
source: The first booke of songes (London 1597), No. 1
scoring: SATB

Also transposed a tone up and with editorial divisions of the upper line.

  9
Tarquinio Merula (c. 1594 - 1665):  Ballo detto Gennaro a 3 - Op. 12, No. 23
source: Canzoni overo sonate concertate per chiesa e camera a due et a tre. Op. 12 (Venice 1637)
scoring: ATB (Bc)

Transposed and adapted from the original score for two violins, cello and bc.

 6
Jacob Tadinghen (flourished 1480-1500):  Le serviteur
source: Canti C. N. cento cinquanta (O. Petrucci, Venice 1503), No. 137
scoring: AT
Version 1.50 (2014-01-31): corrected a mistake in the lower part (counterpoint line): thanks to Kurt for his help.

For information about this work, see the realeted entries.

  10
Ascanio Mayone (c. 1565 - 1627):  Recercar sopra il Canto Fermo di Costantio Festa (La Spagna)
source: Secondo libro di diversi capricci per sonare (Naples 1609)
scoring: SATB
Version 2.00 (2014-01-31): the layout has been revamped and all the wanting files added.

Our edition include both the thorough transcription of the original score and its adaptation to an SATB group of recorders.

 4
Robert Schumann (1810 - 1856):  Schnitterliedchen - Op. 68, No. 18
source: Album für die Jugend (1848)
scoring: SSTT or SATB
 2
Benedetto Marcello (1686 - 1739):  Sonata XII in F major - Op. 2, No. 12
source: Suonate a flauto solo con il suo basso continuo per violoncello o cembalo (1712)
scoring: A (Bc)
 8
J.V. Burckhardt (XVIII cent.):  Ouverture a 3
source: Ms. imhs 013:020 - Uppsala Universitet
scoring: AA (Bc)
 2
Antonio Bertali (1605 - 1669):  Chiacona
source: Ms. 176 - Arcibiskupský zámek - Hudební sbírka, Kroměříž
Edited and/or arranged by David Bellugi
scoring: C (Bc)
Versione 2.00 (2014-01-28): the transcription has been thoroughly revised according to the Kroměříž manuscript.
Version 1.50 (2014-01-19): added karaoke files and corrected some minor imperfections in the score.

Arranged for recorder by David Bellugi.

  17
Antonio Bertali (1605 - 1669):  Sonata a 5 flauti
source: Ms. IV.17 (c. 1670) - Arcibiskupský zámek - Hudební sbírka, Kroměříž
scoring: SSATB or SSTTB (Bc)
  21
Charles Dieupart (post 1667 - c. 1740):  4e Suitte in E minor
source: Six suittes de clavessin pour un violon et flûte avec une basse de viole et un archilut (Amsterdam 1701), No. 4
scoring: V 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 key to make them convenient to more common sizes of recorders.

 9
Claudin de Sermisy (c. 1490 - 1562):  Aies pitié du grant mal
source: Le parangon des chansons. Quart livre (Lion 1539), No. 5
scoring: SA or AT

Also editorially transposed a fifth  below for AT recorders.

  4
Antonio Gardane (1509 - 1569):  Ces facheux sotz
source: Le parangon des chansons. Quart livre (Lion 1539), No. 4
scoring: ST or AT

Also editorially transposed a fourth  below for AT recorders.

  4
Francesco de Layolle (1492 - c. 1540):  Vaincre n'a peu
source: Le parangon des chansons. Quart livre (Lion 1539), No. 3
scoring: CC or AT

Also editorially transposed a fifth  below for AT recorders.

  2
Ernesto De Curtis (1875 - 1937):  Torna a Surriento
scoring: ATB (Harmonic Instrument ad libitum)
  14
Antonio Gardane (1509 - 1569):  Il me convient
source: Le parangon des chansons. Quart livre (Lion 1539), No. 2
scoring: ST or TB

Also editorially transposed a fifth  below for TB recorders.

  5
Francesco de Layolle (1492 - c. 1540):  Doulce memoire
source: Le parangon des chansons. Quart livre (Lion 1539), No. 1
scoring: SA or AT

Also editorially transposed a fifth  below for AT recorders.

  2
Ottorino Respighi (1879 - 1936):  L'udir talvolta
source: Cinque canti all'antica (1906), No. 1
scoring: SATB
  10
Anonymous:  Estampie «Retrové»
source: Robertsbridge Abbey Codex (XIV cent.): British Library, Add. 28550
Edited and/or arranged by David Bellugi
scoring: AT
   9
Giovanni Giacomo Gastoldi (c. 1554 - 1609):  L'Ardito
source: Balletti a cinque voci (Antwerp 1596), No. 9
scoring: SSATB
 3
Giovanni Bononcini (1670 - 1747):  Deh più a me non v’ascondete, Air
source: Eraclea, o vero Il ratto delle Sabine (Roma 1692)
scoring: A (Harpsichord)

If you'd like to see me play this aria, follow the YouTube link under the LINKS menu.

   12
Giovanni Paolo Cima (c. 1570 - 1630):  Sonata per cornetto e trombone, overo violino e violone
source: Concerti ecclesiastici (Milan 1610), No. 47
scoring: SB (Bc)
Version 2.00 (2014-01-13): the layout has been revamped and some tiny imperfections corrected. Thanks to David Bellugi for his help.

The upper part can be played by a descant (tenor) recorder as it is. Furthermore, this edition contains an adapted version for the bass recorder of the violone / trombone part.

4
Floriano Canale (c. 1550 - post 1603):  La Ugona a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 9
scoring: SATB

Also transposed a tone up, which makes the performance on recorders brighter.

  7
Anonymous:  Sonata in D major (C major)
source: Manuscrit musical 161. Manuscript preserved in Paris: Bibliothèque Municipale de Versailles, No. 6
scoring: AA

This duet is a sort of conundrum: it belongs to a group of similar duets that were probably played (and also conceived?) for treble recorders, both lines do not descend beyond G3, but there are passages which use low notes needing the usage of double-hole fingering, whether we play this piece on treble recorders in F or in G. Furthermore, the very last passage of the lower part is polyphonic; this makes me think this is a duet for violins that, for its relative easiness, may be played on recorders or flutes. A transposed version to C major is also provided in our modern edition.

 3
Andrea Bornstein (1956 - ):  Variations on «Bunessan» (Morning Has Broken)
scoring: AB (Harmonic Instrument ad libitum)
   20
Nicola Matteis (? - post 1713):  Contr'aria
source: Ayrs for the violin (1676-85)
scoring: SB (Bc)

The upper part fits a descant recorder and the lower part may be played on a bass recorder just changing two notes.

8
Nicola Matteis (? - post 1713):  Aria (1)
source: Ayrs for the violin (1676-85)
scoring: AB (Bc)

The upper part fits a treble recorder and the lower part may be played on a bass recorder.

10
Johann Christian Bach (1735 - 1782):  Sonata V in C major - Op. 16, No. 5
source: Six Sonates pour le clavecin ou piano forte, avec accompagnement d'un violon ou flute. Op. 16 (Amsterdam [1779])
scoring: A (Harpsichord or Piano)

Adapted for a treble recorder and transposed to C major from the original score in D major for flute.

3
John Dowland (1563 - 1626):  Now o now I needs must part
source: The first booke of songes (London 1597), No. 6
scoring: SATB
  12