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.

Transposed from the original score in C major and added editorial divisions.

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 ) 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

The bass part suits a bass recorder. Furthermore, the recorder parts could have been conceived for three recorders in G; nevertheless, they may be played on both sizes of treble recorders

This is an arrangement for recorders of the original score for strings.

In his foreword to the reader, Guth gives some information about the kinds of canons used in his work. In particular the Chiacon No. 33 is explained at point 3: it is a «canon» or «fuga contraria»; that is, a canon by inversion. The first violin reads the music in French clef (violin clef on the first line), while the second one reads the music upside down in regular violin clef. The result is a canon by inversion at the ninth below.

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

Also transposed a tone up for recorders’ sake.

Divisions of the recorder part are editorial.

The title of this traditional music sounds Italian, but does not make sense in that language; even if all the sources I have checked spell it in that way. «Battare» sounds like an Italian infinitive, but no Italian verb matches it. It could be a misspelled version of «buttare» (to get rid of) or «battere» (to beat, to strike). If I have to choose one, it should be the former: so the title would mean «to get rid of ham», a food that Jewish people are not allowed to eat.

The transposed version may be performed by three treble recorders instead of the three recorders in G, or even two descant and one treble.

The sigla «L» stands for bass recorder in C. For more information, see this FAQ.

Despite the fact that this piece was probably thought for viols, it fits six recorders very well.

I have to underline that all the performances I heard on the internet do not respect the relation between the tempus imperfectum and the prolatio written in blackened values (hemiolia). The relation should be: one semibreve (whole note) equals one dotted semibreve, whereas most performers double the speed throughout the triple-time section.

I have also included in the PDF file the facsimile of the original source, which is interesting under several aspects.

Version 1.02: corrected a note pitch in all the files.

Only the first section of the movement has been arranged.

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

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

Our edition presents the transcription of the original score in F and its transposed version in G.

Uccellini’s works were conceived for violins; nevertheless, they may be easily adapted for recorders. This edition contains both the transcription of the original score and the adaptation for two descant and a bass recorder.

Arranged and transposed from the original vocal score «No, di voi non vo’ fidarmi» in Eb major.