Entries 901 - 1000 out of 2770 [28 pages]

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Giovanni Antonio Pandolfi Mealli (flourished 1660-69):  Sonata Quarta. La Biancuccia - Op. 4, No. 4
source: [6] Sonate a violino solo, per chiesa e camera. Op. 4 (Innsbruck 1660)
scoring: C (Bc)

This sonata was conceived for a violin, and you may find our edition of the original score in the Etcetera site.

Here we present its adaptation for recorder in C.

Listen to the glorious rendition of it by Giulia Breschi on YouTube: the link is under the «LINKS» menu.

Version 1.10: corrected an accidental in the upper line, bar 2.

  11
Traditional:  Udiamo fra gli abeti
Edited and/or arranged by Andrea Bornstein
scoring: SSB (Harmonic Instrument ad libitum)
  5
Jacob Arcadelt (c. 1504 - 1568):  Il bianco e dolce cigno, madrigal a 4
source: Il primo libro de madrigali a quattro voci (Venice 1539)
scoring: ATTB
   36
Johann Melchior Molter (1696 - 1765):  Duetto No. 2 in F major
source: Mus. Hs. 404-409. 6 Duets (1745). Manuscript preserved in Karlsruhe: Badische Landesbibliothek, No. 2
scoring: AA or SA

Double edition of this duet, originally for two flutes:

  1. Transposed a third above, as usual;
  2. Transposed a third above and slightly adapted for a descant and a treble recorder.
 6
Jacob Arcadelt (c. 1504 - 1568):  Quand'io penso al martire, madrigal a 4
source: Il primo libro de madrigali a quattro voci (Venice 1539)
scoring: SATB

Version 2.00: revamped layout and added all the wanting files.

6
Johann Melchior Molter (1696 - 1765):  Duetto No. 1 in Bb major / G major
source: Mus. Hs. 404-409. 6 Duets (1745). Manuscript preserved in Karlsruhe: Badische Landesbibliothek, No. 1
scoring: AA

Double edition of this duet, originally for two flutes:

  1. Transposed a third above, as usual;
  2. Left in the same key and slightly adapted.

The second version, with its narrower range, is easier to perform.

 9
Andrea Bornstein (1956 - ):  Variations on «Geordie»
scoring: STB (Harmonic Instrument ad libitum)
  32
Giovanni Giacomo Gastoldi (c. 1554 - 1609):  Gloria d'Amore
source: Balletti a cinque voci (Antwerp 1596), No. 7
scoring: SSATB
 11
Giovanni Giacomo Gastoldi (c. 1554 - 1609):  Lo Schernito
source: Balletti a cinque voci (Antwerp 1596), No. 6
scoring: SSSAT or SSATB

Our edition contains three different scoring:

  1. The original one in C, suitable for SSSAT recorders.
  2. Transposed a fifth below in F, suitable for SSATB recorders.
  3. Transposed a fourth below in G also suitable for SSATB or – even better – SSGTB recorders.

I personally find the third one the most suitable for Renaissance recorders, mainly using a treble recorder in G for the third line. 

  14
Floriano Canale (c. 1550 - post 1603):  La Avogadra a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 5
scoring: SATB
10
Nicolas Chédeville (1705 - 1782):  Sonata II in C major - Op. 13, No. 2
source: Il pastor fido (Paris 1737)
scoring: A (Bc)
 9
Giovanni Maria Bononcini (1642 - 1678):  Brando e Corrente in stil francese a tre da ballo - Op. 2, No. 27
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: ATB

The original score, for two violins and cello, has been transposed and slightly adapted in order to fit an ATB recorder group.

This suite is divided in four parts:

  1. Brando
  2. [Corrente]
  3. [Corrente]
  4. Gavotta
7
Giovanni Maria Bononcini (1642 - 1678):  Corrente - Op. 2, No. 35
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: ATTB

The original score, for three violins and violone (cello), has been transposed and slightly adapted in order to fit an ATTB recorder group.


Version 2.00: revamped layout and added all the wanting files.

5
Giovanni Maria Bononcini (1642 - 1678):  Corrente - Op. 2, No. 34
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: SATB

The original score, for three violins and violone (cello), has been transposed and slightly adapted in order to fit an SATB recorder group.


Version 2.00: revamped layout and added all the wanting files.

 5
Giovanni Maria Bononcini (1642 - 1678):  Corrente - Op. 2, No. 33
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: AATB

The original score, for three violins and violone (cello), has been transposed and slightly adapted in order to fit an AATB recorder group.


Version 2.00: revamped layout and added all the wanting files.

 6
Giovanni Maria Bononcini (1642 - 1678):  Corrente - Op. 2, No. 32
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: AATB

The original score, for three violins and violone (cello), has been transposed and slightly adapted in order to fit an AATB recorder group.


Version 2.00: revamped layout and added all the wanting files.

4
Giovanni Maria Bononcini (1642 - 1678):  Corrente - Op. 2, No. 31
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: AATB

The original score, for three violins and violone (cello), has been transposed and slightly adapted in order to fit an AATB recorder group.


Version 2.00: revamped layout and added all the wanting files.

6
Leonardo Leo (1694 - 1744):  Solfeggio 5
source: Ms. Musica 2460-K-500. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: SB (Bc ad libitum)

This solfeggio by the Neapolitan composer Leonardo Leo belongs to a group of 129 solfeggi found in three manuscripts preserved in the Sächsische Landesbibliothek in Dresden.

Solfeggi are vocal exercises, in Leo's case almost always aimed at a soprano singer. Nevertheless, their outstanding style and beautiful melody make them useful for instruments as well, mainly if one is interested in learning and practising the Italian style of the late Baroque.

Considering the great amount of solfeggi available, I have decided to publish randomly those that better suit recorders in any combination; hence the progressive numbers are just editorial.

 7
Leonardo Leo (1694 - 1744):  Solfeggio 4
source: Ms. Musica 2460-K-500. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: SB (Bc ad libitum)

This solfeggio by the Neapolitan composer Leonardo Leo belongs to a group of 129 solfeggi found in three manuscripts preserved in the Sächsische Landesbibliothek in Dresden. The original score is in Bb major: I transposed it a tone up and slightly adapted it in order to fit a descant and a bass recorders.

Solfeggi are vocal exercises, in Leo's case almost always aimed at a soprano singer. Nevertheless, their outstanding style and beautiful melody make them useful for instruments as well, mainly if one is interested in learning and practising the Italian style of the late Baroque.

Considering the great amount of solfeggi available, I have decided to publish randomly those that better suit recorders in any combination; hence the progressive numbers are just editorial.

5
Giovanni Maria Bononcini (1642 - 1678):  Brando e Corrente in stil francese a quattro da ballo - Op. 2, No. 30
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: SAAB

The original score, for string quartet, has been transposed and slightly adapted in order to fit an SAAB recorder group.

This suite is divided in four parts:

  1. Brando
  2. [Corrente]
  3. [Corrente]
  4. Gavotta

Version 2.00: revamped layout and added all the wanting files.

5
Giovanni Maria Bononcini (1642 - 1678):  Corrente - Op. 2, No. 36
source: Sonate da camera e da ballo a 1, 2, 3 e 4 (Venice 1667)
scoring: SATB

The original score, for three violins and violone (cello), has been transposed and slightly adapted in order to fit an SATB recorder group.


Version 2.00: revamped layout and added all the wanting files.

5
Leonardo Leo (1694 - 1744):  Solfeggio 3
source: Ms. Musica 2460-K-500. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: SB (Bc ad libitum)

This solfeggio by the Neapolitan composer Leonardo Leo belongs to a group of 129 solfeggi found in three manuscripts preserved in the Sächsische Landesbibliothek in Dresden.

Solfeggi are vocal exercises, in Leo's case almost always aimed at a soprano singer. Nevertheless, their outstanding style and beautiful melody make them useful for instruments as well, mainly if one is interested in learning and practising the Italian style of the late Baroque.

Considering the great amount of solfeggi available, I have decided to publish randomly those that better suit recorders in any combination; hence the progressive numbers are just editorial.

 9
Leonardo Leo (1694 - 1744):  Solfeggio 2
source: Ms. Musica 2460-K-500. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: SB (Bc ad libitum)

This solfeggio by the Neapolitan composer Leonardo Leo belongs to a group of 129 solfeggi found in three manuscripts preserved in the Sächsische Landesbibliothek in Dresden. The original score is in Bb major: I transposed it a tone up and slightly adapted it in order to fit a descant and a bass recorders.

Solfeggi are vocal exercises, in Leo's case almost always aimed at a soprano singer. Nevertheless, their outstanding style and beautiful melody make them useful for instruments as well, mainly if one is interested in learning and practising the Italian style of the late Baroque.

Considering the great amount of solfeggi available, I have decided to publish randomly those that better suit recorders in any combination; hence the progressive numbers are just editorial.

 5
Leonardo Leo (1694 - 1744):  Solfeggio 1
source: Ms. Musica 2460-K-500. Manuscript preserved in Dresden: Sächsische Landesbibliothek
scoring: SB (Bc ad libitum)

This solfeggio by the Neapolitan composer Leonardo Leo belongs to a group of 129 solfeggi found in three manuscripts preserved in the Sächsische Landesbibliothek in Dresden.

Solfeggi are vocal exercises, in Leo's case almost always aimed at a soprano singer. Nevertheless, their outstanding style and beautiful melody make them useful for instruments as well, mainly if one is interested in learning and practising the Italian style of the late Baroque.

Considering the great amount of solfeggi available, I have decided to publish randomly those that better suit recorders in any combination; hence the progressive numbers are just editorial.

 12
Karl Friedrich Abel (1723 - 1787):  Sonata III in C major - WK 100 - Op. 16, No. 3
source: Four Trios. Op. 16 (London c. 1785)
scoring: ATB

This is an arrangement of mine of the original score for transverse flute, violin and cello.

Our edition of the original score is available at the Etcetera site.

 5
Giovanni Gabrieli (c. 1555 - 1612):  «Lieto godea» per cantar e sonar a 8
source: Concerti: Libro primo et secondo (Venice 1587)
scoring: SSAATTBB

Version 1.50: corrected a minor error, revamped the layout and all the related files.

 26
Karl Friedrich Abel (1723 - 1787):  Sonata IV in Bb major - WK 101 - Op. 16, No. 4
source: Four Trios. Op. 16 (London c. 1785)
scoring: AAB

This is our arrangement of the original score for two transverse flutes and cello. Our edition of the original score is available in the EtCetera section of the site.

 9
Nicola Fiorenza (? - 1764):  Concerto in A minor
source: Ms. 2210-17 (1726). Manuscript preserved in Naples: Conservatorio S. Pietro a Majella
scoring: G or A (2 Violins, Bc)

Version 2.00: the concerto has been reassigned to the treble recorder in G; nonetheless, it is possible to play it with a common treble recorder in F. All the files have been revamped.

  43
Jean Baptiste [John] Loeillet of London (1680 - 1730):  Sonata in D minor - Op. 1, No. 3
source: Sonatas for variety of instruments. Op. 1 (London 1722)
scoring: SAB

Adapted and transposed from the original trio sonata for treble recorder, oboe and continuo in G minor. Our edition of the original score may be found here.

 23
Andrea Bornstein (1956 - ):  Variations on «Scarborough Fair»
scoring: ATB (Harmonic Instrument ad libitum)

The melody of this ballad is fascinating, since it uses a pure Dorian scale in D with no accidentals and no leading note at all.

  20
Johann Crüger (1598 - 1662):  Exercitatio 36
source: Musicae practicae. Praecepta brevia et exercitia pro tyronibus varia (Berlin 1660), No. 36
scoring: SST
Based on the Luteran choral «Vater unser im Himmelreich». See this page for further information.
  9
Giorgio Pacchioni (1947 - ):  Passacaglia - Op. 63
scoring: SS or AA (Bc)
  8
Cipriano de Rore (c. 1515 - 1565):  Regina coeli
source: Fantasie Recercari Contrapunti a tre voci. Libro primo (Venice 1559), No. 2
scoring: TTB or AAT

Our edition includes – besides the transcription of the original score – two transposed versions: one a tone up for TTB recorders and one a fourth up for AAT recorders.

   8
Adrian Willaert (c. 1490 - 1562):  Regina coeli
source: Fantasie Recercari Contrapunti a tre voci. Libro primo (Venice 1559), No. 1
scoring: TTB or AAT

The original score does not fit recorders very well; hence, our edition includes – besides the transcription of the original score – two transposed versions: one a tone up for TTB recorders and one a fourth up for AAT recorders.

  12
Adrian Willaert (c. 1490 - 1562):  Recercar Primo
source: Fantasie Recercari Contrapunti a tre voci. Libro primo (Venice 1559), No. 3
scoring: ATB
 6
Karl Friedrich Abel (1723 - 1787):  Sonata II in F major - WK 99 - Op. 16, No. 2
source: Four Trios. Op. 16 (London c. 1785)
scoring: AAB

This is our arrangement of the original score for transverse flute, violin and cello in D Major.

Our edition of the original score is available here in the Etcetera site.

 9
Karl Friedrich Abel (1723 - 1787):  Sonata I in G major - WK 98 - Op. 16, No. 1
source: Four Trios. Op. 16 (London c. 1785)
scoring: ATB

Dies ist unser Arrangement der Original-Partitur für zwei Traversflöten und Cello. Für die beiden ersten Stimmen war keine Anpassung notwendig.

Unsere Ausgabe der Original-Partitur ist verfügbar hier auf der Etcetera Seite.

 18
Wolfgang Amadeus Mozart (1756 - 1791):  Menuetto
source: 12 Duets for two horns - K 487, No. 9
scoring: ST
4
Wolfgang Amadeus Mozart (1756 - 1791):  Duo
source: 12 Duets for two horns - K 487, No. 8
scoring: ST
7
Wolfgang Amadeus Mozart (1756 - 1791):  Duo
source: 12 Duets for two horns - K 487, No. 7
scoring: ST
 7
Johann Friedrich Fasch (1688 - 1758):  Concerto in C major - FaWV L:B1
source: 2423-O-12, Manuscript preserved in Dresden: Sächsische Landesbibliothek – Staats- und Universitätbibliothek
scoring: A (Strings, Bc)

Transposed from the original concerto for chalumeau and orchestra in Bb major Fwv L:B1.

15
Pëtr Ilič Čajkovskij (1840 - 1893):  Polka - Op. 39, No. 10
source: Album for the young, Op. 39 (1878)
scoring: SATB or NATB
4
Karl Friedrich Abel (1723 - 1787):  Sonata II in C major - WK 142
source: Six easy sonattas for the harpsichord or for a viola da gamba, violin or German flute (Amsterdam [1771]), No. 2
scoring: SB (Harpsichord)
12
Traditional:  Tune to the Lord's Day Hymn
source: A New Edition of the Hymns, Anthems & Tunes used at the Magdalen Chapel (London s.d.), No. 5
scoring: SB (Harpsichord or Piano)
 4
Traditional:  Evening Hymn, «Glory to thee my God this Night»
source: A New Edition of the Hymns, Anthems & Tunes used at the Magdalen Chapel (London s.d.), No. 4
scoring: SB (Harpsichord or Piano)
5
Traditional:  Morning Hymn, «Awake my Soul»
source: A New Edition of the Hymns, Anthems & Tunes used at the Magdalen Chapel (London s.d.), No. 3
scoring: SB (Harpsichord or Piano)
6
Traditional:  Tune to the 23rd Psalm
source: A New Edition of the Hymns, Anthems & Tunes used at the Magdalen Chapel (London s.d.), No. 2
scoring: SB (Harpsichord or Piano)
5
Traditional:  Tune to the 1st Psalm
source: A New Edition of the Hymns, Anthems & Tunes used at the Magdalen Chapel (London s.d.), No. 1
scoring: SB (Harpsichord or Piano)
5
Christoph Graupner (1683 - 1760):  Ouverture a 3 Flauti, GWV 443
source: Mus. Hs. 183 (1737-46). Manuscript preserved in Karlsruhe: Badische Landesbibliothek
scoring: ATB

Transposed a fourth above from the autograph manuscript scored for three chalumeaux. Our transcription of the original score is available at the EtCetera site.

 8
Traditional:  Waltzing Matilda
Edited and/or arranged by Andrea Bornstein
scoring: SAB
  9
Andrea Bornstein (1956 - ):  Four chord progression
scoring: AB (Harmonic Instrument)
  52
Edward B. Bohuszewicz (1810 - 1848):  Boswell's Waltz
source: The Boston collection of instrumental music (1840), No. 14
scoring: SATB
6
Gioachino Rossini (1792 - 1868):  Waltz from Semiramis [Semiramide]
source: The Boston collection of instrumental music (1840), No. 13
Edited and/or arranged by A.F. Knight
scoring: SATB
4
Jacob van Eyck (c. 1589 - 1657):  Psalm 140. ofte tien Geboden
source: Der Fluyten Lust-hof (1649-54), No. 6
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
Girolamo Frescobaldi (1583 - 1643):  Recercar Cromatico post il Credo [Messa degli Apostoli]
source: Fiori musicali di diverse compositioni (Venice 1635), No. 29
scoring: SATB
8
Anonymous:  Fantasia
source: 't Uitnement Kabinet. 2 vols (Amsterdam 1646-49)
scoring: C (Bc)

Version 2.00: revamped the layout, added all the wanting files and the karaoke ones.

  6
Matthew Locke (c. 1622 - 1677):  Pavan
source: Little consort of three parts (London 1656), No. 29
scoring: STB

The bass line of these trios seldom fits a bass recorder. It would be better played by a bass instrument, such as a viol or a bassoon, with or without the accompaniment of a harmonic instrument. Despite these considerations, I have tried anyway to adapt the bass line to a bass recorder.

   17
Joseph Haydn (1732 - 1809):  Trio Sonata II in C major - Op. 11, No. 2
source: Six sonates a flute, violon et violoncello. Op. 11 (Amsterdam c. 1771)
scoring: A or ATB (Violin, Bc)

This trio sonata was conceived for a flute, but it seamlessly fits a treble recorder as well. Our edition also contains an editorial adaptation for an ATB group of recorders.

  13
Christoph Graupner (1683 - 1760):  Concerto a Flute a bec, 2 Violini, Viola e Cembalo in F major, GWV 323
scoring: A (Strings, Bc)

For information on this piece see this page.

The original manuscript is less than perfect. G. Pacchioni carefully mended a few passages.

 6
Girolamo Frescobaldi (1583 - 1643):  Toccata per spinettina e violino
source: Il primo libro delle canzoni a una, due, tre e quattro voci per sonare con ogni sorte di stromenti (Paolo Masotti, Rome 1628), No. 38
scoring: C (Harpsichord, Bc)

Version 2.00: revamped layout and added all the wanting files.

  5
George Frideric Handel (1685 - 1759):  Concerto in F major, HWV 315 - Op. 3, No. 4
scoring: SSAB
  4
Pieter de Vois (flourished 1644-46):  Passomeso d'Italij
source: 't Uitnement Kabinet. 2 vols (Amsterdam 1646-49)
scoring: C (Bc)

Version 2.00: revamped layout and added all the wanting files.

  1
Giacomo Fogliano (1468 - 1548):  L'amor, donna, ch'io ti porto, frottola a 4
source: Ms. Rés. Vm7 676 (1502). Manuscript preserved in Paris: Bibliothèque nationale
scoring: ATTB or STTB

With editorial divisions of the upper part.


Version 1.50: added the MIDI file, the Finale file and a live performance by the Ensemble Oswald von Wolkenstein.

Thanks to Ulla for that.


Version 2.00: the layout has been revamped.


28 January 2012: Added karaoke files.

   23
Anonymous:  Brande Yrlandt
source: 't Uitnement Kabinet. 2 vols (Amsterdam 1646-49)
scoring: C (Bc)

Version 2.00: revamped the layout, added all the wanting files and the karaoke ones.

  3
Anonymous:  Fantasia
source: 't Uitnement Kabinet. 2 vols (Amsterdam 1646-49)
scoring: C (Bc)

Version 2.00: revamped the layout, added all the wanting files and the karaoke ones.

  9
Robert Schumann (1810 - 1856):  Kleine Romanze - Op. 68, No. 19
source: Album für die Jugend (1848)
scoring: ST (Guitar)
  4
Robert Schumann (1810 - 1856):  Frühlingsgesang - Op. 68, No. 15
source: Album für die Jugend (1848)
scoring: SATB
   11
Ferdinando Carulli (1770 - 1841):  Solfège 41 - Op. 195, No. 41
source: Solfèges et vocalises, op. 195 (Paris 1826) - Trosième Partie: Solfège progressif dans tous les tons, et dans toutes les mesures
scoring: C (Guitar)
 5
Cipriano de Rore (c. 1515 - 1565):  Signor mio caro, madrigal a 4 with divisions of the upper line by G. Bassano (1585)
source: Ricercate, passaggi et cadentie (Venice 1585)
scoring: GTTB or ATTB

Bassano's divisions on this madrigal perfectly suit treble instruments like cornet, violin and treble recorder in G.


Version 1.50: added MIDI and Finale files, and an audio rendition of the score.

 3
Francesco Nicola Fago (1677 - 1745):  Agitata freme l'onda, Air
source: La Cassandra indovina (Naples 1711)
scoring: A (Strings)

Version 2.00: revamped all the files. Added karaoke files.

   31
Daniel Purcell (c. 1664 - 1717):  Sonata Prima in F major
source: Six sonata's or solos, three for a violin and three for the flute (London 1698), No. 1
scoring: A (Bc)
5
Michael Talbot (1943 - ):  Sonata 2 in C major for Descant Recorder and Obbligato Harpsichord - Op. 12, No. 2
scoring: S (Harpsichord)

28 January 2012: Added karaoke files.

 6
Wolfgang Amadeus Mozart (1756 - 1791):  Menuet
source: 12 Duets for two horns - K 487, No. 6
scoring: ST
 8
Alfredo Barattoni (1882 - 1948):  Non guardarmi così, mazurka (Maggio 1943)
scoring: NSATTBL
 5
Anonymous:  La paduana del re
source: Ms. Royal Appendix 59-62. Manuscript preserved in London: British Library
scoring: ATTB
  32
E.W. Link (XX cent.):  Marche des joyeux fêtards
scoring: NNSATBL
 5
Andrea Bornstein (1956 - ):  Chord progression in C
To a German friend of mine
scoring: AB (Ukulele ad libitum)
  55
Wolfgang Amadeus Mozart (1756 - 1791):  Duo
source: 12 Duets for two horns - K 487, No. 5
scoring: ST
5
Wolfgang Amadeus Mozart (1756 - 1791):  Polonaise
source: 12 Duets for two horns - K 487, No. 4
scoring: ST
 6
Wolfgang Amadeus Mozart (1756 - 1791):  Duo
source: 12 Duets for two horns - K 487, No. 3
scoring: ST

Version 1.50: revised against the original edition for two horns.

 7
Wolfgang Amadeus Mozart (1756 - 1791):  Menuetto
source: 12 Duets for two horns - K 487, No. 2
scoring: ST

Version 1.50: revised against the original edition for two horns.

7
Wolfgang Amadeus Mozart (1756 - 1791):  Duo
source: 12 Duets for two horns - K 487, No. 1
scoring: ST

Version 1.50: revised against the original edition for two horns.

7
Andrea Bornstein (1956 - ):  Variations on «Aura Lee»
scoring: AB (Ukulele ad libitum)
  24
Andrea Bornstein (1956 - ):  Variations on «Michael Row the Boat Ashore»
scoring: AB (Harmonic Instrument)
  25
Andrea Bornstein (1956 - ):  Variations on «Go Tell Aunt Rhody»
scoring: AB (Ukulele ad libitum)
  14
Andrea Bornstein (1956 - ):  Variations on «Polly Wolly Doodle»
scoring: AAB (Ukulele ad libitum)
  8
Andrea Bornstein (1956 - ):  Variations on «Ah! Vous dirai-je Maman»
scoring: AB (Ukulele ad libitum)
  18
Wolfgang Amadeus Mozart (1756 - 1791):  Ballettmusik - Larghetto - K Anh. 10, No. 11
scoring: A (Guitar)
  5
Wolfgang Amadeus Mozart (1756 - 1791):  Ballettmusik - Vivo - K Anh. 10, No. 8
scoring: SATB or SAAB
 7
Wolfgang Amadeus Mozart (1756 - 1791):  Ballettmusik - Gavotte - K Anh. 10, No. 18
scoring: NAATTBB
 5
Johannes Martini (c. 1430 - 1497):  Fortuna desperata
source: Cod. 2856 (1480-90). Manuscript preserved in Rome: Biblioteca Casanatense
scoring: ATBB or STTB
 12
Adam Gumpelzhaimer (1559 - 1625):  Da pacem Domine, Motet a 4
source: Compendium musicae (Augsburg 1611)
scoring: SATB

Version 2.00: all the files have been either added or revamped.

  15
Heinrich Isaac (c. 1450 - 1517):  A la battaglia
source: Ms. Panciatichi 27 (XVI cent.). Manuscript preserved in Florence: Biblioteca Nazionale Centrale
scoring: ATTB or GTTB
 15
Johann Guth (XVII cent.):  Canon
source: Novitas musicalis. Allerhand Canones und Fugen von 2. 3. und 4 Stimmen sampt dem General Bass (Frankfurt 1675), No. 11
scoring: SATB (Bc ad libitum)

In this foreword to the reader, Guth gives some information about the kinds of canons used in his work. In particular the Canon No. 11 is explained at point 1: the three instruments read the same line according to the clef assigned to each and starting a bar after the previous one. That creates a canon in which the Violino II («Viola») plays a fifth higher than the Viola («Braccio») and the Violino I a fifth higher than the Violino II; that is, a ninth higher than the Viola. The continuo part does not follow the canonic rules.

Despite these strict composition rules, the music flows pleasantly, making its composer one of the greatest among the unknown artists of the 17th century.

 5
Johann Guth (XVII cent.):  Canon
source: Novitas musicalis. Allerhand Canones und Fugen von 2. 3. und 4 Stimmen sampt dem General Bass (Frankfurt 1675), No. 8
scoring: ATB (Bc ad libitum)

In his foreword to the reader, Guth gives some information about the kinds of canons used in his work. In particular the Canon No. 8 is explained at point 1: the three instruments read the same line according to the clef assigned to each and starting a bar after the previous one. That creates a canon in which the viola plays a fifth higher than the cello and the violin a fifth higher than the viola; that is, a ninth higher than the cello.

Despite these strict composition rules, the music flows pleasantly, making its composer one of the greatest among the unknown artists of the 17th century.

 4
Matteo Bevilacqua (1772 - 1849):  Walzer XII - Op. 15, No. 12
source: XII Walzes pour la flute et la guitarre, op. 15 (Vienna [1805])
scoring: A (Guitar)
  4
Matteo Bevilacqua (1772 - 1849):  Walzer XI - Op. 15, No. 11
source: XII Walzes pour la flute et la guitarre, op. 15 (Vienna [1805])
scoring: A (Guitar)
 3
Matteo Bevilacqua (1772 - 1849):  Walzer IX - Op. 15, No. 9
source: XII Walzes pour la flute et la guitarre, op. 15 (Vienna [1805])
scoring: A (Guitar)
 4
Matteo Bevilacqua (1772 - 1849):  Walzer VIII - Op. 15, No. 8
source: XII Walzes pour la flute et la guitarre, op. 15 (Vienna [1805])
scoring: C (Guitar)
  3
Matteo Bevilacqua (1772 - 1849):  Walzer VII - Op. 15, No. 7
source: XII Walzes pour la flute et la guitarre, op. 15 (Vienna [1805])
scoring: A (Guitar)
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