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Richard Hudson, The Folia, the Saraband, the Passacaglia, and the Chaconne. The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar.

MSD 35-1 Cover

Contents and Sample Pages (PDF)

MSD 35-1  Richard Hudson, The Folia, the Saraband, the Passacaglia, and the Chaconne. The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar.  Vol. I, The Folia.

        1st. ed.     1982
     xl + 146 pp.
Bound copy temporarily out of stock.
Unbound 8.5x11(A4) offprint available.

MSD 35–1–POD   $36.00

Contents
Introduction to the Set   xi
The Evolution of the Folia   xv
  The Earlier Folia   xv
  The Ripresa & Ritornello, the Alta Regina & Fedele   xxiii
  The Transition   xxv
  The Later Folia   xxviii
The Sources   xxxi
The Transcriptions   xxxix

THE EARLIER FOLIA
1. Salinas, Vulgares quas Lusitani Follias vocant (1577)   1
2. Kapsberger, Folia (1604) for Chitarrone   1
3-54. Rasgueado folias for the Spanish Guitar (Arranged to Demonstrate the Technique of Chord Insertion and Therefore Not Necessarily Chronological)
  3-18. Folias semplice   7
  19-22. Folias with the IV Chord Inserted   11
  23-30. With II and IV Inserted   12
  31-34. With III in the Second Half   15
  35-41. With III in the First Half   16
  42-54. With III in Both Halves   18
55. Follia, Italian (1613), Discant and Bass   22
56. Stefani, Partita di Donna amata (1622) for Voice and Continuo   22
57. Piccinini, Partite variate sopra la Folia (1623) for Chitarrone   23
58. Folia, Italian (c. 1630), for Guitar   25
59. Folias smen.ta [sopra l 'O], Italian (c. 1630), for Guitar   25
60. Folias smen.ta [sopra l 'E], Italian (c. 1630), for Guitar   25
61. Corbetta, Folia passeggiata sopril l 'X (1639) for Guitar   26
62. Corbetta, Folia passeggiata sopra Ia + (1639) for Guitar   26
63. Foscarini, Folias sopra l 'O con parti variate (c. 1640) for Guitar   26
64. Foscarini, Fulias con parti variate (c. 1640) for Guitar   28
65. Bartolotti, Follia (1640) for Guitar   29
66. Corbetta, Follia (1643) for Guitar   31
67. Corbetta, Folias (1648) for Guitar   33
68. Falconiero, Folias para Señora Doña Tarolilla de Carallenos (1650) for Two Violins and Continuo   34
69. Corbetta, Folie en g re sol ut (1671) for Guitar   45
70. Corbetta, Folie en d Ia re sol (1671) for Guitar   46
71. Corbetta, Follie G. re. sol. ut (1674) for Guitar   49
72. Folias, Spanish (1705), for Guitar   50
73. Tonos de Palacio, Folias, Spanish (1707), for Keyboard   50
74. Folias, Spanish (1708), for Keyboard   54
75. Otras folias, Spanish (1709), for Keyboard   56
76. Minguet y Irol, Folias españolas (1774) for Guitar   60

THE ALTA REGINA AND THE FEDELE
77. Caroso, Alta Regina (1600), Discant with Lute   60
78. Alta Regina, Italian (1613), Bass and Discant   61
79. Mayone, Partite sopra Fidele (1603) for Keyboard   61
80. Trabaci, Partite sopra Fedelei> (1603) for keyboard   65
81. Fedele, Italian (c. 1640), for guitar with bass courses   76
82. Giramo, Partite sopra Fedele (c. 1645) for three voices and continuo   77
83. Caresana, Baletto: Fedele (1693) for two melody instruments   83

THE LATER FOLIA
84. Lully, Air des hautbois Les folies d'Espagne (1672) for Wind Ensemble   88
85. Gallot (the younger), Folies d'Espagne (c. 1672) for Lute   91
86. Sanz, Folias (1674) for Guitar   94
87. Ruiz de Ribayaz, Folias (1677) for Harp   95
88. The King's Health (1682) for Voice and Continuo   97
89. Faronell's Division on a Ground (1685) for Violin and Continuo   102
90. Mr. Faranella's Ground, English (c. 1685), for Violin and Continuo   107
91. The Spanish Follye, English (c. 1685), for Keyboard   113
92. Coferati, Invito di Cristo all'Anima (1689) for Voice   115
93. Mazzella, Folia spagnola partite (1689) for Violin and Continuo   115
94. Folies d'Espagne, French (c. 1690), for Theorbo   117
95. Guerau, Doze diferencias de Folias (1694) for Guitar   118
96. Diferencias de las Folias, Spanish (c. 1700), for Harp   122
97. Marais, Les folies d'Espagne (1701) for Viola da gamba   123
98. Las folias, Spanish (1709), for Keyboard   133
99. Folies d'Espagne, French (c. 1717), for Violin   138
100. Folias graves, Spanish (1721), for Keyboard   140
101. Follias de España, Spanish (1764), for Psaltery   143
102. Minguet y Irol, Folias italianas por el abecedario (1774) for Guitar   146
103. Minguet y Irol, Folias italianas (1774?) for Violin   146

 

MSD 35-2 Cover

Contents and Sample Pages (PDF)

MSD 35-2  Richard Hudson, The Folia, the Saraband, the Passacaglia, and the Chaconne. The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar.  Vol. II, The Saraband.

        1st. ed.     1982
    xlii + 131 pp.
Bound copy temporarily out of stock.
Unbound 8.5x11(A4) offprint available.

MSD 35–2–POD   $39.00

Contents
The Evolution of the Saraband   xv
  The Spanish Saraband   xvi
  The Fast French Type in France   xix
  The Fast French Type in Italy   xx
  The Slow French Saraband   xxvii
The Sources   xxxi
The Transcriptions   xli

THE RASGUEADO SARABAND (Arranged to Show Variations in Harmony, Rhythm, and Structure, and Therefore Not Necessarily Chronological)
1—25. The Zarabanda Spagnola
  1—16. Single Phrases
    1—12. With Rhythmic Changes in the Scheme I—IV—I—V   1
    13—16. With a Melody Suggested by Dissonant Chords and a Few Punteado Notes   3
  17—25. More Than One Phrase
    17—18. Two Identical Phrases   4
    19—23. Two Varied Phrases   4
    24—25. More Than Two Varied Phrases   6
26—34. The Zarabanda Francese
  26—30. Beginning with I—IV—I—V   7
  31—34. Beginning with Other Chords   8

THE SARABAND IN ITALY (Other Than Rasgueado)
35. Six Sarabande Francese (1615) for Lute   9
36. Piccinini, Aria di Saravanda in varie partite (1623) for Lute   12
37. Fantini, Sarabanda detta del Zozzi (1638) for Trumpet and Continuo   15
38. Corbetta, Six Sarabande (1639) for Guitar   16
39. Carbonchi, Three Sarabande (1640) for Guitar   18
40. Bartolotti, Three Sarabande (1640) for Guitar   19
41. Foscarini, Seven Sarabande (c. 1640) for Guitar   20
42. Carbonchi, Serabanda di Madama di Savoia (1643) for Guitar   22
43. Calvi, Three Sarabande (1646) for Guitar   23
44. Granata, Three Sarabande (1646) for Guitar   23
45. Corbetta, Six Sarabande (1648) for Guitar   24
46. Pesori, Zaravanda Francese (1648) for Guitar   26
47. Pellegrini, Six Sarabande (1650) for Guitar   26
48. Granata, Four Sarabande (1651) for Guitar   27
49. Marini, Two Zarabande (1655) for Two Violins, Viola da Gamba, and Continuo   29
50. Granata, Five Sarabande (1659) for Guitar   31
51. Sarabanda (c. 1660) for Guitar   33
52. Bottazzari, Sarabanda (1663) for Guitar   33
53. Bononcini, Three Sarabande (1671) for Violin and Continuo   33
54. Granata, Three Sarabande (1680) for Guitar   34
55. Albergati, Three Sarabande (1682) for One or Two Violins and Continuo   35
56. Gabrielli, Three Sarabande (1684) for One or Two Violins and Continuo   38
57. Torelli, Three Sarabande (1686) for Two Violins and Continuo   40
58. Mazzella, Three Sarabande (1689) for Violin and Continuo   42
59. Laurenti, Three Sarabande (1691) for Violin and Cello   44
60. Roncalli, Five Sarabande (1692) for Guitar   46
61. Buoni, Four Sarabande (1693) for Two Violins and Continuo   48
62. Brevi, Three Sarabande (1693) for Two Violins, Cello, and Continuo   51

THE SARABAND IN FRANCE
63a. Praetorius, La Sarabande (1612) for Instrumental Ensemble   56
63b. Praetorius, Courrant Sarabande (1612)   57
63c—f. Praetorius, Four Ballet Sarabandes (1612)   58
64a. Vallet, La courante Sarabande (1615) for Lute   61
64b. Vallet, La Sarabande Espagnolle (1615) for Lute   62
65. Four Sarabandes (c. 1620) for Lute   62
66. Valerius, Courante Serbandei> (1626) for Voice   64
67. Mersenne, Two Sarabandes (1636)   64
68. La Barre, Sarabanda (c. 1640) for Keyboard   65
69. E. Gaultier, Sarabande (before 1651) for Lute   66
70a—b. Mezangeau, Two Sarabandes (before 1660) for Clavecin   66
70c. Pinel, Sarabande (before 1660) for Clavecin   68
70d. Richard, Sarabande (before 1660) for Clavecin   68
71. Sarabande (before 1670) for Lute   69
72. Dufaut, Two Sarabandes (before 1670) for Lute   70
73. Daucery, Sarabande (before 1670) for Lute   72
74. Dubut, Three Sarabandes (before 1670) for Lute   72
75. Sarabande (before 1670) for Lute   75
76. Dupré, Sarabande (before 1670) for Lute   75
77. Vincent, Sarabande (before 1670) for Lute   75
78. D. Gaultier, Sarabande (c. 1670) for Lute   76
79a. Corbetta, Sarab.de Tombeau de Madame (1671) for Two Voices, Guitar, and Continuo   78
79b. Corbetta, Sarabande and Passacaille (1671) for Guitar   80
79c. Corbetta, Sarabande (1671) for Guitar   80
80. Bouquet, Sarabande (before 1673) for Lute   81
81. Gallot (the younger), Sarabande Ia pièce de huict heurs (c. 1673) for Lute   82
82. Corbetta, Two Sarabandes (1674) for Guitar   82
83—84. Three Sarabandes (c. 1686) for Guitar   83
85a—b. Valleroy, Two Sarabandes (c. 1686) for Guitar   84
85c. Angelo Mikielo, Sarabande (c. 1686) for Guitar   84
85d. Sarabande de flore en rondeau (c. 1686) for Guitar   84
85e. Luigi, Sarabande (c. 1686) for Guitar   85
86. Marais, Sarabande (1686) for Viola da Gamba and Continuo   85
87. Sarabande (1699) for Violins and Oboe with continuo   86
88. Sarabande en rondeau (c. 1701) for Viola da Gamba and Continuo   86
89. Marais, Two Sarabandes (1701) for Viola da Gamba   88
90a—b. La Lande, Two Sarabandes (1703) for Orchestra   89
90c. La Lande, Mouvement de Sarabande (1703) for Voice   90
90d. La Lande, Sarabande Iégère (1720) for Orchestra   91
91. De Visée, Two Sarabandes (c. 1720) for theorbo   92
92. Three Sarabande (c. 1730) for Violin and Continuo   93
93. Campion, Three Sarabandes (1731) for Guitar   96
94. Boismortier, Sarabande Ia Mijauré (1743) for Two Flutes   98

THE SARABAND IN ENGLAND, SPAIN, AND GERMANY
95. Six Sarabanden, German (c. 1639), for Keyboard   99
96. H. Lawes, A Loose Saraband (1649) for Voice and Continuo   102
97. Bellony, Sarrabande (c. 1652) for Guitar   103
98. Three Sarabandes, English (c. 1660), for Lute   103
99. Lorentz, Serabrandt (c. 1660) for Lute   105
100. Sanz, Four Zarabandas (1674) for   105
101a. Pezelius, Sarabande (1675) for Two Violins and Continuo   107
101b—d. Pezelius, Three Sarabanden (1675) for Two Oboes and Bassoon   108
102. Ruiz de Ribayaz, Zarabandas (1677) for Harp   109
103. Schultheiss, Three Sarrabanden (1679) for Keyboard   110
104a. Saraband, English (1682), for Lyra Viol   112
104b. Coleman, Saraband (1682) for Lyra Viol   112
104c. Ives, Saraband (1682) for Lyra Viol   112
105. Meister, Three Sarabande (1695) for Two Violins and Continuo   113
106a. Blow, Sarabrand (c. 1695) for Keyboard   118
106b—d. Croft, Three Sarabrands (c. 1695) for Keyboard   118
106e. Sarabrand, English (c. 1695), for Keyboard   121
107. J.C.F. Fischer, Sarabande (c. 1696) for Keyboard   122
108. Zarabanda Francesa par Ia C, Spanish (1705), for Guitar   123
109. Zarabanda, Spanish (1708), for Keyboard   123
110. Six Zarabandas, Spanish (1709), for Keyboard 124
111. De Murcia, Three Zarabandas Despacio (1714) for Guitar   128
112. Two Sarabandas, Spanish (c. 1715), for Guitar   130
113. J C.F. Fischer, Sarabande (c. 1738) for Keyboard   131

 

MSD 35-3 Cover

Contents and Sample Pages (PDF)

MSD 35-3  Richard Hudson, The Folia, the Saraband, the Passacaglia, and the Chaconne. The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar.  Vol. III, The Passacaglia.

        1st. ed.     1982
     xliii + 153 pp.
Bound copy temporarily out of stock.
Unbound 8.5x11(A4) offprint available.

MSD 35–3–POD   $43.00

Single bound copy available from our German office. Contact us here.

Contents
The Evolution of the Passacaglia   xii
  The Guitar Passacaglia before 1640   xiv
  General Characteristics of the Variation Passacaglia (the Basses, Rhythmic Structures, Upper Voices, Tempo, Rhythm, Mode, and Meter)   xx
  Ostinato Aspects of the Variation Riprese & Ritornelli   xxv
  Ostinato Aspects of the Variation Passacaglia   xxvi
  The Phrase as the Unit of Ostinato   xxvi
  Ostinato Effects Within a Phrase   xxviii
  An Ostinato Unit of Two Phrases   xxx
  Formal Structure in the Variation Passacaglia   xxxi
The Sources   xxxv
The Transcriptions   xlii

THE RIPRESA AND THE RITORNELLO
1. Borrono, Saltarello and Le riprese (1536) for Lute   1
2. Bailetti, Represe (1554) for Lute   3
3. Waissel, Saltarello and Le represe (1573) for Lute   12
4. Sanseverino, Romanesca and Ritornello (1620) for Guitar   15
5. Castaldi, Ritornello primo (1622) for Theorbo   15
6. Milanuzzi, Ruggiero and Ritornello (1625) for Guitar   17

THE GUITAR PASSACAGLIO BEFORE 1640 (Arranged to Show Variations in Harmony and Structure, and Therefore Not Necessarily Chronological)
7—26. Single Phrases
  7—10. With The Standard Harmonic Scheme I—IV—V—1   18
  11—13. With Other Triads Added   19
  14—26. With a Few Punteado Notes & Dissonant Chords   21
27—47. Multiple Phrases
  27—32. Pairs   23
  33—47. More than Two
  33—38. With No Modulation   24
  39—41. With Modulation Ending in a Different Key   27
  42—47. With Modulation Returning to the Opening Key   28

THE VARIATION PASSACAGLI IN ITALY
48. Frescobaldi, Partite sopra Passacagli (1627) for Keyboard   31
49. Sances, Cantada sopra il Passacaglie (1633) for Voice and Continuo   35
50. Piccinini, Passacagli (1639) for Lute   41
51. Carbonchi, Pasacaglis del D and E (1640) for Guitar   46
52. Bartolotti, Passacaglie per E and B (1640) for Guitar   47
53a. Foscarini, Passacalli passeggiati (c. 1640) for Guitar   50
53b. Foscarini, Passacaglia variato sopra l'E (c. 1640) for Guitar   50
54. Four Sets of Passagalli (c. 1640) for Keyboard   53
55. Corbetta, Passachaglie sop. P and M (1643) for Guitar   58
56. Granata, Pasacagli sopra A and D (1646) for Guitar   60
57. Corbetta, Passachaglie sopra L and H (1648) for Guitar   61
58. Pellegrini, Passacagli per E and G (1650) for Guitar   62
59. Falconiero, Passacalle (1650) for Two Violins and Continuo   65
60. Passagagli (c. 1650) for Cittern   72
61. Granata, Two Sets of Passacagli (1651) for Guitar   72
62. Marini, Passacalio (1655) for Two Violins, Viola da Gamba, and Continuo   74
63. Granata, Two Sets of Passacagli (1659) for Guitar   78
64. Granata, Pasagali (1680) for Guitar   79
65. G. B. Vitali, Passa Galli per la lettera E (c. 1680) for Viola da Gamba   81
66. G. B. Vitali, Passagallo secondo (1682) for Two Violins and Continuo   82
67. Mazzella, Passagagli flebili (1689) for Violin and Continuo   86
68. Laurenti, Passacallo (1691) for Violin and Cello   88
69. Roncalli, Passacaglij (1692) for Guitar   92

THE VARIATION PASSACAGLIA IN OTHER COUNTRIES
70. Corbetta, Two Passacailles (1671) for Guitar   93
71. Sanz, Passacalles sobre D and B (1674) for Guitar   94
72. Ruiz de Ribayaz, Passacalles (1677) for Guitar   97
73. Ruiz de Ribayaz, Passacalles (1677) for Harp   98
74. Lully, Passacaille from Armide (1686) Arranged for Keyboard   99
75. Guerau, Pasacalles de 1.o tono de compassillo and de proporción (1694) for Guitar   105
76. Meister, Passagaglia (1695) for Two Violins and Continuo   109
77. La Lande, Passacaille from Adonis (1696) for Orchestra   115
78. Pasacalles de quinto and octabo tono, Spanish (c. 1700), for Harp   122
79. Santa Cruz, Passacalles sabre la C and la E (c. 1700) for Guitar   125
80. Marais, Passacaille (1701) for Viola da Gamba   127
81. Fernandez de Huete, Diferenzias de Passacalles (1702) for Harp or Organ   128
82. Passac[alle]s por la C and de 3.o tono, Spanish (1705), for Guitar   132
83. Passacalles de 1.o tono [compasillo] and proporción, Spanish (1707), for Keyboard   136
84. Pasacalles, Spanish (1709), for Keyboard   140
85. Campion, Passacaille (1731) for Guitar   141
86. De Murcia, Passacalles por la A a compasillo and por la O a proporción (1732) for Guitar   143
87. J. C. F. Fischer, Passacaglia (c. 1738) for Keyboard   146

 

MSD 35-4 Cover

Contents and Sample Pages (PDF)

MSD 35-4  Richard Hudson, The Folia, the Saraband, the Passacaglia, and the Chaconne. The Historical Evolution of Four Forms that Originated in Music for the Five-course Spanish Guitar.  Vol. IV, The Chaconne.

        1st. ed.     1982
     xlii + 148 pp.
Bound copy temporarily out of stock.
Unbound 8.5x11(A4) offprint available.

MSD 35–4–POD   $42.00

Contents
The Evolution of the Chaconne   xii
  The Guitar Ciaccona before 1640   xiv
  General Characteristics of the Variation Chaconne (the Bass-lines, Rhythmic Structures, Upper Voices, Tempo, Rhythm, Meter, and Mode)   xviii
  Ostinato Aspects of the Variation Chaconne   xxiii
  The Phrase as the Ostinato Unit   xxiv
  Ostinato Within a Phrase   xxvi
  The Eight-bar Ostinato Unit   xxviii
  Formal Structure in the Variation Chaconne   xxix
The Sources   xxxiv
The Transcriptions   xli

THE GUITAR CIACCONA BEFORE 1640 (Arranged to Show Variations in Harmony and Structure, and Therefore Not Necessarily Chronological)

1—53. Single Phrases
  1—26. Using Triads Only
    1—6. With the Harmonic Plan I—V—vi—V   1
    7—11. With I—V—IV—V   2
    12—16. With 1—V—vi—IV—V   2
    17—21. With 1—V—vi—iii—IV—V   3
    22—26. With Other Harmonies   4
  27—28. Using a Few Dissonant Chords   4
  29—53. Using a Few Punteado Notes
  29—40. On the Letter B   5
  41—45. On A   6
  46—49. On C   7
  50—53. On G   7
54—66. Multiple Phrases
  54—58. Pairs   8
  59—66. More Than Two
  59—64. Without Modulation   9
  65—66. With Modulation   11

THE VARIATION CIACCONA IN ITALY
67. Falconieri, Aria sopra Ia Ciaccona (1616) for Two Voices and Continuo   12
68. Piccinini, Chiaccona in partite variate (1623) for Chitarrone   13
69. Frescobaldi, Partite sopra Ciaccona (1627) for Keyboard   14
70. Mannelli, Ciaccona (1629) for Three Voices and Continuo   16
71. Ciaccone per Band E (c. 1635) for Guitar   19
72. Merula, Sopra la Chiccona (1635) for Three Voices, Two Violins, and Continuo   20
73. Corbetta, Chiaccona (1639) for Guitar   32
74. Piccinini, Chiaccona Mariona alla vera spagnola (1639) for Lute   33
75. Carbonchi, Ciaccone passeggiate per A and G (1640) for Guitar   38
76. Bartolotti, Ciaccona (1640) for Guitar   40
77. Four Sets of Ciaccone (c. 1640) for Keyboard   42
78. Foscarini, Ciacona variata and Ciacona con variationi sopra l'G (c. 1640) for Guitar   49
79. Ucellini, Aria sopra la Ciacona (1642) for Two Violins and Continuo   52
80. Giramo, Varie partite sopra la Ciaccona (c. 1645) for Three Voices and Continuo   59
81. Granata, Chiaccone sopra C (1646) for Guitar   62
82a. Calvi, La moda and Sua chiaccona (1646) for Guitar   62
82b. Calvi, La mia donna importuna and Sua chiaccona (1646) for Guitar   63
83. Corbetta, Chiacona (1648) for Guitar   64
84. Falconiero, Ciaccona (1650) for Two Violins and Continuo   65
85. Pellegrini, Chiaccona in parte variate alla vera spagnuola (1650) for Guitar   69
86. Ciaccone (c. 1650) for Cittern   71
87. Granata, Caprici di Giacone (1651) for Guitar   72
88. Giamberti, Ciaccona (1657) for Two Melody Instruments   73
89. Granata, Capriccio sopra la Chiaccona (1659) for Guitar with Bass Courses   75
90. Ciaccona (1679) for Violin and Continuo   79
91. G.B. Vitali, Chiacona per la lettera B (c. 1680) for Viola da Gamba   84
92. G.B. Vitali, Ciaccona (1682) for Two Violins and Continuo   85
93. Mazzella, Ciaccona alla spagnola (1689) for Violin and Continuo   91

THE VARIATION CHACONNE IN OTHER COUNTRIES
94.Vallet, La chacona (1615) for Lute   93
95. Two Chaconnes, French (c. 1620), for Lute   94
96.Denis Gaultier, Ciaconne (before 1670) for Lute   96
97. Chambonnières, Two Chaconnes (before 1670) for Clavecin   99
98. Corbetta, Two Chacones (1671) for Guitar   101
99. Corbetta, Chacone (1674) for Guitar   102
100.Sanz, Chacona (1674) for Guitar   103
101. Pezelius, Two Ciaconen (1675) for Two Violins and Continuo   104
102. Ruiz de Ribayaz, Chaconas (1677) for Harp   106
103. Lully, Chaconne from Acis et Galatée (1686) for String Orchestra and Continuo   107
104.Lully, Chacone de Galatée (1686) Arranged for Guitar   109
105. Two Chacones, French (c. 1686) for Guitar   109
106. Two Chacones and a Ground, English (c. 1689), for Keyboard   111
107. La Lande, Chaconne en écho (1691) for Trumpets, Timpani, and Continuo   115
108. La Lande, Chaconne from Mirtil et Mélicerte (1698) for Orchestra   119
109. Chaconne, French (c. 1700), for Bagpipe   125
110. Clarke, Chacone (c. 1700) for Keyboard   126
111. Marais, Chaconne en rondeau (1701) for Viola da Gamba   129
112. Chaconne, French (c. 1701), for Viola da Gamba and Continuo   131
113. André and Anne Philidor, Two menuets en chaconne (1701) for Violins and Oboe   135
114. Chacona, Spanish (1708), for Keyboard   135
115. La Lande, Chaconne légère from Les folies de Cardenio (1720) for Orchestra   137
116. De Visée, Chaconne (c. 1720) for Theorbo   139
117. Chacone d'Arlequin, French (c. 1720), for Theorbo   139
118. Campion, Two Chacones (1731) for Guitar   141
119. J.C.E Fischer, Chaconne (c. 1738) for Keyboard   143

 

2022-05-01  

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