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SCHIRMER'S LIBRARY OF MUSICAL CLASSICS
EARLY KEYBOARD MUSIC
A Collection of Pieces written for the Virginal, Spinet, Harpsichord, and Clavichord
Edited by
LOUIS OESTERLE
With an Introduction by RICHARD ALDRICH
IN TWO VOLUMES
Vol. I: 65 Pieces — Library Vol. 1559
Vol. II: 57 Pieces — Library Vol. 1560
G. SCHIRMER, INC New York
Copyright, 1904, by G. Schirmer, Inc. Copyright renewal assigned, 1932, to G. Schirmer, Inc.
Primed In th( U. S. A.
b- 5D3U3
Vol. I - Table of Contents
PAGE WILLIAM BYRDE (1538P-1623) * X Pavana. The Earle of Salisbury S Galiardo 4 Victoria 6 Galiardo 8 Preludium 10 The Carman's Whistle 14 Sellenger's Round
JOHN BULL (1563-1628) 18 Pavana. St. Thomas Wake 21 The King's Hunting Jigg 24 Galiardo I, II, III 31 Courante. Jewel
ORLANDO GIBBONS (1583-1625) 34 Preludium 36 Galiardo 39 The Lord of Salisbury his Pavin 41 Galiardo 44 The Queenes Command
Fantazia of foure Parts
GIROLAMO FRESCOBALDI (1583-1644) 50 Gagliarda 51 Corrente 52 La Frescobalda 55 Corrente e Canzona 59 Fuga
JOHANN JACOB FROBERGER (1605-1667) 63 Toccata in A minor 67 Toccata in D minor Vol. I — Contents
HENRI DUMONT (1610-1684)
Allemande 70
JACQUES CHAMPION DE CHAMBONNlfiRES (1620-1670)
Canaris (Gigue) 73
Saranbande 74
L'entretien des Dieux (Pavane) 75
La Rare: Allemande 77
Courante 78
Sarabande 78
La Loureuse 79
Gaillarde 80
PADRE MICHAEL ANGELO ROSSI (1620-1660)
Andantino and Allegro 81
JOHANN CASPAR KERLL (1627-1693)
Toccata {Tutta de Salti) 85
JEAN-HENRI D'ANGLEBERT (1628-1691)
Chaconne ^ 89
LOUIS COUPERIN (1630-1665)
Sarabande (Canon) 94
Chaconne gg
JEAN-BAPTISTE LULLY (1633-1687)
Air Tendre 99
A Courante 101
Allemande, Sarabande et Gigue 105
DIETRICH BUXTEHUDE (1637-1707) Canzonetta HI
BERNARDO PASQUINI (1637-1710) Sonata 11^
JOHN BLOW (1648-1708)
Chacone 118
Ground 122
Almand I, II 125
Prelude 128
Courante I29
Fugue 130 Vol. I — Contents
JOHANN PACHELBEL (1653-1706) Fughetta 131 Fuga 132 Ciaconna 135
HENRY PURCELL (1658-1695) 1*^ Suite I, in G major 1*3 Suite II, in G minor 1^3 Suite III, in G major 1^''' Suite IV, in A minor 1^^ Suite V, in C major 1®^ Suite VI, in D major 1'''^ Suite VII, in D minor 1^3 Suite VIII, in F major AlmandAi A 176
ALESSANDRO SCARLATTI (1659-1725) 177 Fuga
JEAN-BAPTISTE LGEILLET (1660P-1728) 181 Suite
JOHANN KUHNAU (1667-1722) 191 Suite III 197 Senate II \'ol. II — Table of Contents
FRANCOIS COUPERIN (1668-1733) p^gj.
Les Papillons 1
Rondeau. Le Reveille-Matin 3
Rondeau. La Bandoline 6
Le Bavolet Flottant 9
Le Carillon de Cythere 12
Les Petits Moulins a Vent 16
Soeur Monique 18
Les Moissonneui-s 22
Les Bergeries 24
La Bersan 27
Rondeau. Les Ban'icades Mysterieuses 29
Les Rozeaux 33
L'Engageante 35
Suite in C minor:
Allemande {La Tejiebreuse) 37
Courante 3g
Sarabande (La Lugubre) 40
Gavotte 41
Chaconne-Rondeau. La Favorite 42 Suite in G minor:
Allemande {UAtigiiste) 47
Courante I 49
Courante II 50
Sarabande {La Majcstueiise) 51
Gavotte 52
Gigue (La Milordine) 53
La Fleurie, ou La tendre Nanette 55
FRANZ XA\'ER MURSCHHAUSER (1670-1733)
Aria Pastoralis Variata 57
JOHANN MATTHESON (1681-1722)
Gigue I, in D minor gg
Gigue II, in G minor ' 64
Gigue III, in Bt' 65
Gigue IV, in E minor 67 Suite V:
Fantasia 69
Allemande 70
Double 71
Courante 73
Air 73 Double I 74
Double II 75
Menuett 76 :
Vol. II — Contents
Suite II:
Allemande, Courante et Gigue 77
Suite XII:
Sarabande mit drei Variationen 81
GOTl'LIEB MUFFAT (1683-1770)
Suite
Fantasie 83
Fuga a quattro 85 Allemande 88
Courante ^ "" Sarabande
La Hardiesse 9^
Menuett I 96
Menuett II 97 Air 98 Hornpipe 100 Gigue 102
Courante ^°*
Allegro Spiritoso ^^ Gigue 110 Fuge 113 DOMENICO SCARLATTI (1683-1757) "^ Studio, in G • '17 Studio, in G 1*^ Studio, in G minor Toccata 1*^
Scherzo ' '* Gigue 1*8
Tempo di Ballo >32 Larghetto 1^*
Pastorale '36
Cat's Fugue 138 Fugue 1*^
Sonata, in A 1*®
Sonata, in F 150
Sonata, in C 153
Sonata, in C minor 155 Minuetto ,157
Siciliana l6l
JEAN-PHILIPPE RAMEAU (1683-1764)
Gigue en Rondeau • l63
I^e Rappel des Oiseaux l65
lef Rigaudon 168 2me Rigaudon l68
Musette en Rondeau 170 Le Tambourin 173
Rondeau. Les tendres Plaintes 175
Les Niais de Sologne 178
Les Soupii's 188
Rondeau. Les Tourbillons 19*
—
Introductory
1 HE pieces in this collection were all written for those predecessors of the modern piano- forte known as the virginal, harpsichord, spinet, clavichord, clavier, clavecin, and by still other names. There are two classes of instruments included here. One is of the type represented most distinctively by the spinet or harpsichord. In these the string was plucked or twanged by a little slip of crow-quill projecting from an upright wooden bar fixed upon the further end of the key, the depression of which raised it toward the string.
The other class is exemplified by the clavichord, in which the string was struck full by a
"tangent" or upright blade of brass attached to the further end of the key, and con- tinuing its pressure on the string as long as the key was held down. The clavichord was a small instrument, very intimate in its character, and giving forth a delicate, sweet, ex- pressive tone scarcely audible across the room—solely an instrument for the privacy of the home. The virginal, spinet and harpsichord were different forms of the same kind of instrument, the first two being small and portable, frequently without legs or supports, and rectangular or trapezoidal in shape. The harpsichord was larger in size, more power- ful in tone, and was universally employed in public performance. The sound of the harpsichord had a certain silvery, shimmering quality, in a way brilliant, but entirely incapable of accent.
The earliest music for keyed instruments was intended indiscriminately for the organ or the clavier (to use a term apphcable to all the instruments just described), and was, in the very beginning, but a transcription for them of vocal music. When composers be- gan to write specifically for the keyed instruments, they followed closely the form and texture of the choral music of the church and the secular music based upon its style the only kind of composition much considered by professional musicians till towards the end, of the sixteenth century. By that time composers had begun to feel that the flowing vocal style with its long-sustained tones and intricate counterpoint was not the one best adapted for instrumental use. There began a drift toward emancipating in- strumental music from this dependence, and a groping for a style that should give play —
Introductory to the peculiar aptitudes and characteristic expression of the keyed instruments. It was a very gradual and tentative movement.
The first clavier-music that showed a characteristic physiognomy consisted of arrange- ments of songs and dances. In this direction composers found the line of least resistance in developing rhythmic, melodic and formal elements, that constituted so small a part of the contrapuntal choral music. New effects of brilliancy in the use of scales, passage- work and repeated notes were devised, to which the mechanism of the clavier especially lent itself.
The earliest attempts in the newer forms, in Germany and Italy, even by men whose names are important in the history of music, are so archaic in manner that they possess little more than an historic interest at the present day. In their crudest shape, such attempts date from about the middle of the fifteenth century. By the middle of the sixteenth, there had been a remarkable development of virginal-music, especially, in
England; and there we see this branch of instrumental composition first take on form and substance.
Dance-forms, and melodies with ornate variations, are the chief materials with which the clavier-composers of this period worked. A great number of dance-movements native to different peoples had become the common property of musicians throughout Europe.
There was the Parana, Pavane, or Pavan, in common time; "a kind of staide musicke," as Thomas Morley quaintly describes it in his "Plaine and Easie Introduction to Practicall
Musicke" (first published in 1597), "ordained for graue dauncing." "After every pavan we usually set a gaUiard," he continues;—the Galiardo or Gagliarda in triple time, "fighter and more stirring." There was the "Jigg," which in England had come to mean any dance of lively rhythm, having lost the special characteristic of triple time required in the
Italian Giga, the French Gigue. The "Almand" was, of course, as its name shows, of
German origin Allcmande; it was in duple time, also a fively dance. The Chaconne,
Ciaconna or Chacone was a .slow and ceremonious dance in triple time, its main charac- teristic as a musical form being a very short theme in the bass continauUy repeated, upon which was founded a series of variation, in the treble. This device, known as "divisions"
(variations) upon a "ground bass," was a favorite one with the early English composers.
The Sarabande, said to be of Spanish origin, was another slow and stately dance in
triple time. Introductory
Besides dances, composers of this period occupied themselves with Fantasias, Prehides,
Toccatas, and Variations. The Toccata was one of the earUest specifically instrumental
forms. It had no well-defined requirements; but one of its obvious features was a flow-
ing movement, often regularly recurring figures, frequently of rapid running passages,
with little decided melodic character; thus, like the Fantasia and Prelude, it was in the
nature of a brilliant improvisation. In the Variation was soon found a medium for the
development and display of the composer's ingenuity and the executant's technical
facility; and it was considered appropriate to many of the dances just described.
When composers came to perceive the value of the artistic balance and contrast to be
obtained by grouping together dances of different tempos, rhythms and character, grave
and gay, the Suite came into being. There was no definite rule, even in the latest and
lightest development of the Suite, establishing the kind and order of the movements to be
used; and in the earliest examples we find an infinite variety. However, the Suite was
always in the same key throughout. By the beginning of the seventeenth century some
general principles of choice and arrangement were currently accepted: with or without a
Prelude, the Suite was often constituted of an Allemande, a Courante, a Sarabande and a
Gigue, in the above order; but sometimes other movements were employed.
"Sonata" is a word occurring in the remotest periods of instrumental art; but the
thing which it now describes attained its modern form only after long development through
manifold experimentation. As used here, the term denotes a succession of short move-
ments of contrasted character.
William Byrde, the first musician whose name appears in this Collection, was not only
one of the founders and chief lights of the English school of "virginalists," but also a com-
poser of ecclesiastical choruses in the old contrapuntal manner. The date of his birth is Introductory
uncertain, but is put between 1538 and 1543. He was a pupil of Thomas Tallis, one of the
foremost English ecclesiastical composers of the sixteenth century; and Byrde's music
shows the strong influence of the vocal style. He was organist at Lincoln Cathedral, and
then Gentleman of the Chapel Royal, in the records of which, upon his death in 1623, he
is styled "A father of Musicke."
John Bull, another of the most distinguished English writers for the virginal, was, like
Byrde, an organist and a composer of vocal church-music, as well as a Gentleman of the
Chapel Royal. He was the most eminent virtuoso on the virginal, the Liszt of his time,
famed in England and on the Continent. Born about 1563, he was educated in Queen
Elizabeth's Chapel under William Blitheman, a noted organist; and became the first
Gresham professor of music at Oxford. In 1013 he went to Brussels, entering the service
of Archduke Albert, as organist; later to Antwerp, where he was organist of the Cathedral.
Orlando Gibbon.s was born in Cambridge in 1583, of a noted family of musicians,
and, like the other virginal-composers, was highly distinguished as an organist. In
that capacity he received an appointment, in 1604, to the Chapel Royal, and in 1623 to
Westminster Abbey. He composed much church-music; his first virginal-music was
published in 1610, and the following year he joined Byrde and Bull in the publication of
the famous virginal-collection entitled "Parthenia."
John Blow came upon the scene after the art of music in England had been crushed
and many of its leading practitioners dispersed by the Civil War and Puritan domination.
Born in 1648, he was among the first to join the reestablished Children of the Chapel Royal after the Restoration. While yet a chorister, he tried his hand at composition, and
attained no mean eminence in the eyes of his contemporaries through his church-music and as an organist, in the latter capacity occupying some of the most prominent positions in the kingdom.
Henry Purcell was born in 1658, the son of a Gentleman of the Chapel Royal, who was also chorister in Westminster Abbey; and himself became a chorister there in his sixth year. He, too, began his career as a composer while still a singing-boy, and came un- der the instruction of Blow, whom he displaced as organist of the Abbey a few years later.
His compositions, which he poured forth ceaselessly during his short life of thirty-seven years, are principally ecclesiastical and dramatic; but his instrumental music has a special significance, aside from its own inherent value, as indicating the growing pre- Introductory
dominance of Italian and French taste in England. Purcell deliberately submitted
himself to its influence. He ventured upon many new and bold harmonic combinations,
and left instrumental, as well as all other kinds of music, in a more highly organized and
advanced stage because of his labors. His career marked the climax of the British school
of music, and after his death it progressed no further.
GiROLAMO Frescobaldi was the earliest influential instrumental composer of Italy.
Born at Ferrara in 1583, he discovered, like most who have reached great distinction
in music, precocious genius. He studied under eminent teachers, heard much music on
his travels, and as an organist filled some of the most important posts in Italy, where he
was renowned as a virtuoso. He adhered to the principles of the old contrapuntal art,
unmoved by the innovations of the Florentine musico-dramatic reformers in the early
seventeenth century. The majority of Frescobaldi's clavier-compositions are develop-
ments of the Toccata, Fantasia and dance-forms; it was he who first composed fugues
possessing all the structural features that belong to such works.
Bernardo Pasquini was the most potent influence in Italian music that appeared in
the half-century following Frescobaldi. To him, indeed, belongs the credit for developing Introductory instrumental composition from the point to which that master had carried it. He was one of the original emancipators of the clavier from the organ, and one of the first to find a proper and characteristic clavier-style. Born in 1637, he became organist of a church in
Rome, and later chamber-musician to Prince Borghesi. He was also one of the best- known harpsichord-players of his time. He died in 1710, at Rome.
DoMENico Scarlatti, whose name closes this period of Italian clavier-music, brings us a long step towards modern principles and modern style. The son of the famous operatic
composer, Alessandro Scarlatti, he was born at Naples in 1683, and began his career as an opera-composer; later he became chapel-master at St. Peter's in Rome. Clavier-playing early claimed his chief attention, and won him the highest distinction. Going to Lisbon in 1721, he was appointed court cembalist; and after returning to Naples, was called to
Madrid in a similar capacity. In 1754 he went back to Naples, where he died three years later. His clavier-pieces show great strides in developing the technique and style of the clavier. Most of them are in one movement and free forms, called by Scarlatti himself
"Esercizi" (as the English called similar pieces "Lessons"). There are dances of all sorts, Introductory
Studies, Preludes, Toccatas, Sonatas (in the earlier sense of the word), and a few Fugues.
The most famous of these last is the "Cat's Fugue," so called from a legend to the effect that the unusual succession of intervals in the theme was suggested by a cat walking over the keys of the harpsichord,—a legend that, like most of its kind, has no basis in fact.
Scarlatti's pieces made greater demands upon the player than any music written pre- vious to that time. They required the full and independent use of all the fingers, the power of trilling equally with all, striking the same key with different fingers in quick succession, the use of both hands one after the other in rapid passages, the crossing of the hands, and freedom of the wrist for the brilliant and accurate execution of runs in thirds, sixths and octaves.
JOHANN Jakob Froberger was the greatest of Frescobaldi's pupils, the one who did most to spread his influence in Germany, and one of the earliest important composers for the clavier in that country. Born in the opening decade of the seventeenth century—the exact date is uncertain—the son of a musician, he was taken to Vienna to serve as a boy- singer. Afterwards he became court organist there, and was sent by the emperor to Rome for study under Frescobaldi. His compositions include Toccatas, Fantasias and other free forms, and many suites of dances, in which he contributed potently toward a freer and more expressive style for the clavier. He was the first of the Germans to employ the graces and ornaments—turns, shakes, mordents, etc.,—of the French style.
JoHANN Caspar Kerll, born in Saxony in 1G27, also a choir-boy in Vienna, studied in
Rome under Carissimi, and thereafter occupied various posts as Kapellmeister and organist at Vienna, Munich and Prague. Frescobaldi's influence is observable in his works for clavier and organ, though he made many original experiments in chromatics.
Dietrich Buxtehude's works mark the culmination of North German art before
Bach, upon whom he had no little influence. Born in Denmark in 1637, he became the most distinguished organist of his time, and most of his works are for the organ.
JoHANN Pachelbel was a larger figure in the Germany of the late seventeenth century than his present fame would indicate. He, too, was greatly admired by Bach; and many composers, including Bach himself, Handel, Buxtehude, even Mozart, did him the honor of appropriating some of his fugal themes. He was born at Nuremberg in 1653; became assistant-organist to Kerll at Vienna; and later won fame of his own in the organ-lofts of numerous North German cities. He died in Nuremberg, in 1706. Introductory
JoHANN KuHNAU was one of the most interesting personalities in the musical world of his time. Born in the Harz Mountains in 1667 (some say 1660), he studied in Dresden, and became organist of the famous church of St. Thomas at Leipzig, cantor of the school connected therewith, and musical director of the University, where he was Johann
Sebastian Bach's immediate predecessor. Among his clavier-compositions are many Suites and Sonatas; in the latter his work is of special importance, as developing upon the clavier the possibilities of the Sonata in its modern sense, it having previously been cultivated only as a form of concerted music. Fkanz Xaver Mursch-
HAUSER, born near Strass- burg in 1670, studied with
Kerll, and was strongly influenced by him. He spent most of his Ufe as organist in Munich. Johann Mattheson earned distinction in his day not only as a com- poser, but also as a critic, theorist and essayist of in- dependent and advanced ideas, and in youth as a singer and clavier-player.
For some years he was secretary to the English legation at Hamburg, and later charge d'affaires. He was born in that city in 1681, and lived there all his hfe. An admirer of Kuhnau, much of his music shows the latter's influence.
Gottlieb Muffat leads us back again to South Germany and its school. He was born in Passau in 1690, the son of Georg Muffat, one of the most important clavier- Introduclory composers of the preceding generation, and was taught by him and later by Fiix, the famous Viennese theorist. Appointed court organist at Vienna in 1717, he continued in the post forty-seven years. He died in 1770. His numerous chivier-works consisted largely of dances of every description, in which the French influence then in the ascend- ant in Germany, more especially Couperin's, is clearly apparent.
In France, clavier-composition began with dance-music, imitation of the vocal style having played little part in French instrumental music. Even in the earliest attempts at opera, the strongly marked and characteristic rhythms of dance-forms had aj)pealed most forcibly to French composers, and continued to do so for many years.
Jacques Champion de Chamconnieres is recognized as the founder of the French school of clavccinistcs; the one who effected a complete and final severance between music for the clavier and that for the organ, and attained a style truly characteristic for the former. A feature of his music was the lavish use of the agremcns, or ornamental flourishes, which were destined to gain an ever-increasing importance. Another was his use of fanciful titles—mythological, idyllic, pictorial, even personal. Chambonnieres was born about the beginning of the seventeenth century (the date is not certain). He played both organ and clavier, but the latter with special genius, which won him the appointment of clavccinistc to Louis XIV.
Among his pupils, the most distinguished was Jean-Henui d'Anglebert, born about
1628 in Paris, who also became clavecinistc to the Grand Monarque.
Louis Couperin was another; born in 1630, he became a pupil of Chambonnieres while still a boy, and one of the chief representatives of that master's school of composition.
Jean-Baptiste Lully (1633-1687), a Florentine by birth, but brought to Paris as a boy, is chiefly known as an opera-composer, occupying as such one of the most conspicuous niches in the history of French music.
Jean-Baptiste Lceillet, born at Ghent in the second half of the seventeenth century, was a flutist by j)rofession, and wrote ensemble-music for that instrument. He also taught flute-pluying in Paris and London, amassing much money thereby. As a clavecin- iste he i)layed on and conii)osed for the harpsichord.
Franc,ois Couperin, called le Grand, the greatest of all French composers for the clavier, was an original and powerful master whose influence became potent in Germany, strongly affecting even Johann Sebastian Bach. A nephew of Louis Couperin, and born Introductory in Paris in KUJS, he was an organist, serving King Louis XIV in that capacity, and like- wise one of the most skilful of harpsichordists. His compositions are all for the harpsi- chord, and written in the form of Suites, or "Ordres," as he termed them. The several numbers of each Suite are based on dance-forms, which he transmuted into little pieces of picturesque program-music, each with its own title. "In the composition of these pieces," he writes in one of his prefaces, "I always have a definite idea in mind: the titles correspond to these ideas." Each is, he explains, a kind of portrait; not only persons are thus represented, but moods and emotions as well as objects and incidents. Couperin set a high value on his agrhncns, which occur in almost every measure of his music, and for which he devised an elaborate system of signs. He also laid stress on systematic fingering, and published a book on the subject, "L'Art de Toucher le Clavecin."
Jean-Philippe Rameau is the last representative of this period of French clavier-music.
Born ill 1683, he travelled in Italy, became harpsichord-player to an Italian operatic company', won distinction as an organist, and published theoretical writings on music which gained him great fame. He wrote numerous pieces for the harpsichord, mostly in the form of Suites of the kind developed by Couperin, though the influence of Scarlatti makes itself felt in them. He died in 1764.
Richard Aldrich
EARLY KEYBOARD MUSIC
Vol. I 2 / William Byrde. fl538?-ltJ?3.t Pavana. The Earle of Salisbury
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Copyright, 19 Oi, by G. Schirmer, Inc. 53 Galiardo. Moderato. •i^ 5, ^s lOI S SS^ PF^ r mf leg-nto ^^ m ^ •0. .iJ^ _o_ ii J5- ^ ^ 331 JJ5 l^J J ii ff ^ f^ r "r PClc;r :t 13 j»06'o mare crfi.SC. i. ^^^ i A ,y. r ^ Ui *^ i i 5- J. J ;j ;j J ^ ^^ ^ r- It r^ r $ w, J. ST7 P ^ g 33: ^ r ff f 4 =tfe 331 ZZ2= -«- ^^^WJ^^^ J J^ * rnn; j) ^ r 4= _Q_ i^^J J P -^ %j). f 36479 -William Byrde.- Victoria Moderato 5 z «i. I fe^^ i -« ^^^p% i # m ^^ ^ r "TT* f f-rx poco marc. p Vi ^=A HE *A- 4^!-t : !t 'i ^^ xn TV ^s-^ 5^ — -O- crese. 45 leg-ato^ Variation. I j5^J^ IF ^ P^ -— -; ^»/-,w/ - 1 —--. «- «- J 'ii^JJ^:J ^«—sa- p-^=^ -o- P^f^ 35 l^ 'JIT^^IIT^, ^^ r c^rx:,^^^iJ] 1 -J Me-o- ^L^ ^ ^ 331 te -O- II. 4| 3 i: ^gS^^ ^m ^^ ^ 1S^ ^ (ieci.so m f 1 P '' JOZ )% k »^Q *^ ^5t-= tt ^ ^ f «- ^ ? mm 53 ^ f e^ f marc. Variation. 3G479 ^d 4 William Byrde.- ^ 3 . 5 A « a— -A- ^ .^JJ^JJIJ^ ^ » 32 '3 2 1 ^ T rff f If J A / rs ^^^ := a f; ^ ' 8 e * Pi^ poco rit. %v^ li_ zrt P ^SP^^ / '2 ^4. J .i J ^> » f 'iic; p a ;i ^^J i J XT f in. 34 12 W \ J J i^ g ^^ :l "TO pr r w r t ^$ sostenuto j» ftncresc . ^a^^ i^ ^^ ^ T^ ^^ T 45 Var. 21 2^ ^—» :i 3 fe^ ^ n^m^lo:^ "o^ -^ ^flJ^T13 f r^ "r. 1/ deciso • i. 1 a ^=1=^ r^^ , I - ip p "^^''•'i r r 3 ^ r — [Mi.rrc::^ *^^ "^ ^ I —fr 1^ ^^ }p TTir cresc r nr 1 1 » -^ ^ p x _4 _ ^- i r, \' r~ r % ,v/" larg-amente •>• * ^j:] • dm^ ' ^ d cirrcrrrwr^ -o- ? 36*79 -William Byrde.- Galiardo, I, Andantino.''ci = 96) gg; -St i i ^ ""-^^ -zi ? i T f ffr*^P //{/" leg'ato S3 -«-o- -o- ^^ h »: :E r ^ q r o P -e- ^ ^ ^ f C rrpr Variation. ^^^ ^S ^ J » J ^ "O" f ^ ^WWff *J» j ^ J: m~ r m n -e- ? ^ ' " I ^PW 5 ^^^^ ^Eg ^ II. 3, t, pn^j ;i J^J. J'i^J s^^^li ^^ ^^t /• deciso .kzJ J: '>• !'' rv o ftg ^ g rn-i r- ''P F i I "I ^ J. ^ f ^ FS?^ dnlce 19 jliffl r3 « i=o -o- ^^ ^- I R * ^ P ^ f^ i ^ Variation. ^^^.\ 3 1? " ''crrcrr ^ f. 86470 -William Byrde.- 1 35J 5, 5 J ^ 3 r, J J J ii j:n?^^^^JJ i J J J^J ;js 'p P p ^r^r r ^ r y 8 ri I i :i i iiJ 21 ^=i It 331 p^^ 2 fil^ -O- 34 ^P III. \f DO ^ fey - ^/T- ^^^^4^ rcr^r r r i r Ff=rf r- r r y ^^UL^ -o- UJ^ gg^ 331 f^^^ i f f P^i^ 4 •^-1 3 ^ -»- i ^1=^-^ ^ g= " r p ^ TT 3 ff^^r ^ r r ^ ^ J: 331 ^ -O- ^ M ¥ -o- f r r cr C r Var 46 2 J^j J J. ^S]^,i^ ii 'J7?J *« I -& ^^^ w p ^ ^ iJ U-^j t ^ J J J. ®XJ: S6470 8 Preludium, Moderato, « t% $ ^ f / »:,|. ., ^r rfrrrrrjLT ^ i -»- t s g / p cresc. '> ^ rrrrrrrrrr mm --is ^ . -1 li J.JJ•' liij^ffi.^— iP^lr. 1 ft »• m 2 86479 -William Byrde.- i zsSI J. aaz=E: 36479 . 10 -William Byrde.- The Carman's Whistle Allegro moderate 5 4 -4p- W=^ :?z: 3 ^^f P^l w^^- m ni W '/ 73"^ zz: i li ^ "T" innrcnto ^^ r 2 ^ ^ zcn ^ 3 ^ ^ -Q- w- i i J. 3 1^ ^ ^ ^=i ^ i3 f^^ ?^ 8 4 T z r ^^ 4 «3 # /fffl. 1 g i ^^^ i ^'t: j i / ip rit. ten. I 1 J. ^=J n-A ':'^ ipr^ ^=k ^ ^ S ^i ^- ^^'^ % r *:f T Var.I. 4 =F=F - 86476 ^ -William Byrde.- 11 ir ten. -+r*I t. _^p_ i JJJJJ;]Jj-j rf ^% -© ^ ^?P / i' rit. Fi' 1 ij- :^j..;) ^iji ^^: 3Jfii - 2 i=i I m: c-pr ^ f'4 rCXJ ^ ^p a ^ r ^ Var. III. 4 iS s i ^ irrrrr fffrrf ^ ? p tranquillo r^ «-. «. isi au^ 3 i zqc ^^ — £ ^^ w 3 H ? ^F^ % ten. * 4 -*1 1^ I ^ w^^m ^ U^'W IT' err f-ccr 1 rit. t s ^fe iii^ S ('7^ 3 5 'a I a i^ ^ 3 r^ ^ Cpr^^f-^rts ^^ Var. IV. 3 5 ^ i ^ -SM- animato ffff / rr ff r ^ stftffr ^f#£# ^^^ ^ marc. piu marc. r^ 86479 Var.V. ^. 4 3 ? ^ r ^rrrrrff '{/ g'razioso J: iiiJ —r^ ^m 3 ^ 5 0^0 -r^ m ^ Wf Tjzr. i f [ fl* m p r ^ more ^ f - 0-^-0 za: ^ hS ^ ^ i i tftrrrf rit. 4 iJii sTO .fP J tu. e f4 3 ^ 5 Var.VI. 4k 5 w -& ^ ^^^ *• * d ^ ^ J? dofce mp ^ ^^^-iJ m ^^^=F 1^=^ Md^ ^^-4, ^ f I ^ r r 14 '3 86478 -William Byrde.- 13 N Var.VII. 4r m ^ 3 ^^ $ b villa lite f •z 2 .#^ •Z 2 ffffF^'f =^1.^^ P ^ m t± r g JOT^JTP^ //6>// leg-ato ^ ^ 3 i ^ ^ i*i: *j- '> j]]:^ ' i »: ^ m^ I rrrrrfrrrrrr 1 gp =¥ ^1 ^^ P tH: ? ^^^S "T-e/. J. J 4 UA % ^ p^ y-rw ^ ^ ^s marcato ^ ^ Poco pi'u lento e grnndiofiq^~ 4 4 4 g»l^ i p ff w^ 1 jS' p 8 ? ^ ? Jp^^ J ^ i 4 j- -»<5^ ^ s ^ ^3 * ^ ^f r r 4 3, -2l :^ 'iU g ^ i ^.^^ i :?» * 'if P ^ P^ r^f=f" r r // i ' - i i ;^rj^?^ yi J^ s 4 7yi~ f ^^ ^ ir^ * 5 <;», 'to. llUis. r^ i ^s :< r.i °j rj =^ ttP!^^ irCTG-rCr - /> / ^rit. ^ -fi- ^=a=^ ^di T- r 4 r fei » 36479 r —r -William Byrde.- 14; Sellenger's Round, (1580.) Andantino ^^ J 't>'n: i ¥^^m "^"rfr. f 81 S * m ^ '-Mi CPg 1^^^ P 15 f f y * '^. 5K- ^ ^^ i "]— J J: ^ » i m r rr^ P ^^^f p ^ or^esc. m p f J. fl* • SsS .^ ^ « 0- Ii ' r p p aI 3 F^^ F=^ 3 5 %S. -* r %s. — ^ 1 m i: 1^ ip PI ^^ ^N^ P 0m P" ? ^ Sj- J J: Pl-JT] ^ i i ^^^ r- m f 2 — "Sa*. ^ 4 86470 ^ -William Byrde.- 15 tTEff 2 5 j r @ p^ ^^m Oj^'j J ^i i i ii 3 4y^ j^r?: Jl ^^ r 4 3 f ^ ^^ Bp I 3 / J i'J# i> ^S — :^ jTO^j l r ^^ ff^? w r 86479 16 -William Byrde.- Var. III. ^^ IN-^ i pf7 *=t H=f i f ^ s ^^ r"?j r]?1i JJ ^*'?7 ^-^l-i «B H ^ff*r r cresc. ' r J J) ^ 4: mm Irr^ s 3 s i i y ?' ^3 ^ i = ^ 4 3 r 6 86479 -William Byrde.- 17 Var. IV. 4 5| -»t- ^ J irrJ "J i 1—J> c-c-C c'a e'8 r P Tn ' p rrW roreseJ P dolch HP m 1? 3 i £ a i I 3 ^ 3 4 m fr\ ^ ]—i °J — ^; 5=nq i ^ :^ 3 I ^ r p r I P p p r P f poco rit. cresc. g g g i=t- 3 P 2 %). -* %D. * 'to. « 36479 m 18 John Bull. (1563-1628.) Pavana. St Thomas Wake. Allegro moderato. A, 3 «: XE ^ :«: «: i ^ "tr r # T P i i=i ijj. ^^ 331 U «- 4 5 33: ^ \ ^ ^m -cr ^ *> orese. If 21 -J) J: 'i i g .^ ^>tt r. ^^^=^ -o- 24 4 5 1 ^^ i rp ^ T r. r ^ /I -e-l ^ 33: 9- 45 45 4:J 45 3x: :«= ^ i -»- ^ # "T5 2r 9- cresc. i>. S 21 ^ 4 4 5 ^ ^T r r *: 35: i t =5= z: i ^ ?: rr TT f r poco marc. erase. / ^1 SSi? I 3 ^ -^^e- ^^ 33- e- F fTT ^ — 86479 19 -John Bull- 22 ^ "TT" 1 7- ^m p 1^ J ii ^ Dcn -e- ^ 45 ^M f Var. Poco meno lento. m i ^ =&: :^ rmrjTJ 3nc iI: * X5- w * 1 3 5 l'. 4 i ^lE 9 1"^ - a ( ^ S 86470 30 -John Bull.- -il *- g ;"jJ^ £117 ai ^^ f / 1» ^ ^ n^ J^-^ S^ -H—tt I -»- ^ ^ -^ 4S :§= ^'HT] il # fy J: ! . P ^ r J lTj >rjT3i^ fTJl u^J?r] m g^^ F^ 45 331 -f»- * "ITZZT ^ 1 y ^ w iS«.fzzzi 3 i "^fn ^ ' ss ^^n -o- ^ ^ d f poco a poco cresc. 4i * 5 s xn 3^ t f IT r r r f r itix/ tE3: ;^^ JTTim 3^ !J—H- ffl^ xs: f4 -€>- f 45 * 1 3^ .. o — *The F-sharp does not appear in the original, but the first measure on page 19 would seem to indicate that it was intended. 3fi47<» J • -John Biill.- 31 The Kings Hunting- Jigg. Allegro con fuoco. 4 4 4 'i 2, ^ ^ m i ^- f ^. i^ J. i)j i 'I ^ i ^ -*>- 'Ka. 'Sis. ten. ^r ^^ \^ rjm. F-P-F u^ rrn / p ^ ^E4i I I i a f %B. 4 ^e?z. —-—— J. J . 'i -W—-Ti^ i I,. ^i f T dnlce J. ^1 ^ -e»- 321 i -o- <5i«). * 36479 * 22 -John Bull- ten. H-^ i ^ew. i •-• =—s -«^i i f — m ^ f \ r -r r P / f A' 1. ^ r < _s:; 'MA2L i m # # %D. r * i ^ ^ i .^ ^ ^* ^* # I I f f u ;i ^ II ^^=p=» j T [) T j=a= p fcfc ' Ei I-S-XJ- M r r r r r ^^ f-V^ -¥^ ^ 2, fetel J 3 " ^ f ^ fT=r7 f f f f ^ eresc. / i* / l^ « • ^j^ fe= h i) .^ ^ 3= ? 7 i=t£5 ^ ; Ij I « # '^ %i). 'Jifi). r ^ 3G479 — — -John Bull- 33 ^ r7?tt I 1 1 1 H 1 'J—-J J II H 1 P^^^^H 1 -f"-"^ ^ f ^ f ^ f f. "^^h-t-=^i-t-f^ ff 4f:i^ f P f F M» r r r r r ^=p^ If r r r [=J %». r- * i # # r I f I f P r » n» ^^ P / J^r p rTH im-n/r; JU7H^i 355?i; ^m t «£«).M S a J"^^'^ ^1 J^P^J^ffll /. trt^trtr 3£^i; nrj'r:;? ^^ 3 a 36479 Vi/ — 24 -John BuU- Galiardo I. Moderato. I . 5^ i-t ^^ F f;- p r mf i i A i 4 -^ o ^—ac H—«- E S o * =g 2^ a^- Hf r^ i ^ i i^ ^ % ^ •i\ BT i)J- t^ i Jj r^^j i J y'J J ;;^ i^ ^P^3S '35? r ^ f ^^ Var r J j n: 36479 -John Bull- 25 III 35 i i A i -rSr- -ev- T T P^^ TT 1? L-LA i i 4): i> ? ^ i # i ^4 5 <^ j^i~:tj 'II ^ !- «J 1 ^ 4- .1 i 1- 4 ^,>i B^ 3 -tv- £ f j ? 1 P ^ 36479 4 26 -John Bull- Var. ^•JJII^J. £7] ±± ±± i -• e»- \ i-m^^K^-^ — r J J J i I 4 V i> i P I i 81 ;J5 ^ P ^54 ^ jJTJj'JJ.AJ .,^ ^-,-^-tL- ^ i ^ ^ r\ i J j j ^^ j m g i 54 ^ Galiardo II. Moderate. 4 £ ^^ zoi S 4 f w * K m/ ^^n ^1 J j. J' -o- ^ -»- 4 t "! a J J * * E ^ TT3 ~cr IIF" vi §S ^S f Var. -€y- ^ ^ 33= i J JIH^^ J 3P1^» la legato r 1 # 1 m m - - 3 ^=4 -f-p i^ i OTlJTJ'^ ^ ^ ^ ^^^^ 86479 — 27 -John Bull.- fe 3x: za. i *3 i f W f r:?7f ^^ 'h rrrr ' F=ii [xrrr ^^rui J r r [.r .^ I ^^ o r ^ ^F ' l'-'^ i ciX^ ^ jiJijczur r II ^^ I *-^ ^. i ^ ^ ^^( i i)J J J ^ J -#^ / ^S J i J -*v- -o- -»- X ^ i i i g ^ ? ^ -o- -»- X SSL -3SL ^ 311 ^ Var. 86479 28 -John Bull- ^ H* 1 J * J h J *E i 4' J U^l^E^: ir* ^ i^ 41!H-^ 1 -ev- J -»- 4- . it^rrv^ 3 3s: 3X1 j ^ 33: ^ 24 ^ i JIJ^ J JS J EC I do: r rr err f ir 1 81 f? 21 ^^ ^ p / j i 4 j j i- iJJ ^ ^ ^ i £ ^43 Var. -O- is^ ^ s ^r^ T ^^ 12 f r iil P -€- «-«- ^ -^ JT^^JT^rJTS I i J-»-d - jtJ^rp=] 1 iif} 5~ -e»- 1?=^ '21 21 3 ^-^ -»- ^ -»- ^^ ^^r t "r r 86479 -John Biill- 29 Galiardo TTT. -Andantino 1 :< r-r i^-f^m -»- i i r^ f r ^Tt a -^m fci -e- ^^ II rffe=i ^^ fla r T r r r r If ^ rr crenc. 3 i J J J i rt ^ 36479 30 -John BuU- 4 3 36479 — r -John Bull.- 31 Courante. Jewel. Allegro. I 1 ^ t9 =L± m ^ m w ^ / P S^ j_j tUi iLM l a P J J I 3 I ^ i i i i ^ / ^ r^ ?/ J !> i iJ 5? ^ V ^ ^ ^ ^ 1^ P ^^ f- 2 Var. ^^^ m 4_ r=T ^^ ^^ J J J 8 |5 %8. r T f ^4 'i ^ i rJi m m p i 3^ i IJ '9- p^« U J ^S ^ zat m ^^ f F P ^ i ^rJ^] |^T~Xi n r— ^ f r s p- 3t±: 3 -»—»- to 86479 ^ 33 -Jolin Bull- II 4 ;{ (T ^ ^ 19 ^ ^ f P m 1?77iA \aA Li ij ^^LA LJl i=^ 4=J: i f T r oreac. ^C-^ iJu m4 1: r> i 4 5 4 g ^£ s a« 1 cresG. ^ 81 J 'J J ^ ^ i^ ^P %!). * Ill ^ i i i ;s ^ cresc. ^ cresc. p "'^j. I ^i J- J. ^J. k'^- V > ^ 3l: > £ ^ ^ ^ ^ P S e n ^ ^ ^ ^ I I n i M 1 i=^ g k ^ % i ^^f# 7^ — ^ ^ ^ 36479 f 33 -John Bull- Var. i mw %P---W* « itzm p m oresc. ^ oresc. I I a.' ^J. J. '> r- pr i g i 2^ £ ^ -l9 # ^E t9- eii P p ^^ ^ fl'/w. i" J J i- i i. J. J. iji • ^ • i i ? i ^ ^4 4 ^ - r\ J - i J fr^ H S ^ I rJ. i>J ^ ^S SB I #9 :^ s 86479 34 Orlando Gibbons. (1583 - 1625.) Preludium. Allegro vivace sempre legato •L^ Im F^F p fpr rs: I r j ;j J i f ^=^ r 13 W cresc. ^^ rrirgfrf-^ii if ^ msqcft ^ 1^ -o- ^ r ' dimin. ^^ ^ "f Or. •h« p » ,->-^ f-rt mi l> ^ 54 54 54 i 4 ft f f r 21 crefic. #T»-1» i»-"t^p ^ [ P y wz'^SMirrrEjK. 4 a ^s I i^^^' > »-p-"-p- mVi ^ ^« ^^M^^ ' #-i-(»- S p I ^terDi ^ f S ptu cresc. 3 4 i 1 45 P I 45 86479 35 -Orlando Gibbons.- { LU:^ ^ ^^ ^^ ^ ereso. J i J 45 46 ^•^Jl. rj£ffi-?pj- "^mg».^. i^ ^ J '# ^^ »j ^ a tempo 'h^ P O^j-^tf 45 45 ^ nJ ^ ^ i ^ ^ # r r r r r r ^ I ^ S ^-^J^Jj^J^Ctfri jpotfo moderaio 3 4 2 1 ^ ^ 8^ J3J ^ m T ^^f ^ ^^ W I / i bi J) " p#«:\ ^' « jQIki iSst^S ^ 5 poco rit. 4 r\ V P^_ S I S?^^ :§: If fcQ:^^^ 6^^\^; p m t~f^ oresc. >-^ V3 m -^.^j ^J) J— J rr 7p 1 2 1 -- ^P^r ^^ 36479 36 -Orlando Gibtons. Galiardo. Moderate maestoso. 'to I f -«»- -^ fici: S 4-«s- 331 f= /^=r7l ^^^ ^ ^M r frp frfrffrr ' %j). Hr. 331 - g < rv ^ ^ ^ ^ ^^^-fa.' ^, j— J. S^RE 4-j^jn^ 3 ^^ f ^ Var. 45 -«-S S r f P f f^. f Cj r V- ^ -J— =iF=iO gro^-^^w ^ ^ ^^ L 38479 I'y/' (9//(^ oefdve hnvfr. - 37 -Orlando Gibbons. t f ff 1 ~1 Mi- _o_ u 1 i^r^ ;)J )) 1 3i: * ll f IX £ ^ ^ ^ ^ ^ y'^iizi. ieg-ato ^f.^^^ fffrr c^''£D^r L 1^ frrrrrrrrrrrrrE 36479 - 38 -Orlando Gibbons. 36479 39 -Orlaudo Gibbons.- The Lord of Salisbury his Pavin. Moderate. (J = 96) 4 B4 2 B4 -+- B4 I i 35 «^-^ * ^ ^ ^ ^ a) r Pr r c/ ^^^^^^ ^ :5i- :'; ii A VmH 331 ^ -o- TT- legato r ^ poco rtt. dimm. tlUM TV TT" ^ ^331 25 5>-. *. 45 B _2_ 5i i ^^ i -o- ^"^^^ ^ »?/ dimin. J J r> ii^ -O- ^S ^ 4 ^ ^ f^ f 43 r If a) Small sharps in the Original. 36479 40 -Orlando Gibbons .- 2 B4 4 rf* " ^^ §i fej 1 1 1! I' T *f F=¥^ r f: f w e.spress f P cresG. U- A i i TV i 3 -O- -O- i 43 f marc. 4 ^^ m ^ » TT w. r^ jt??« al/arg' ^ '^, f 3: 4 351 31: TT- ^ S¥*i= -e»- -&=- 1« 34 45 7^ i ^ ^ J: J ^ J i^^ F^ I 1 T I- u-- cresc. a tempo | B £ #^-^ ^ ^ 2 r crese. I allarg _ [ 21 ij 9: ^» i 3g 4 "^ lir W3 r i> ^ i ^ f34 f l^s "r c 43 f ^^ 3 45 I J^ \ \^ i 3m.-J ] i ? f ^ *f ^"E ^^2 ^r1 / cresc. il ^j^j 1 I g ^ i i ^ ^^ '"c c^r £1/ r p- cj r B 4: nllarg: molfo 5 -4- r\ •* jjj ;jj i ftJ^SP'^i^i^J ^^ ii^ J' Prrrn rj«f -tzr ^ f / 21 r\ J-] J'"J^ ;-]j ^ ^ ] JIJ =f f 36479''^5 ^^ ^ ^ '^^jT « J 41 -Orlando Gibbons .- Galiardo. Andantino 35 I. "Tx J..V. Jl ^JTTT^ i ^^ [" ip r ^^ r ^/:^. i a- jTHi ^ J'J^ J"J -J. J. S mV o I m i i ^'rTM^,.^j^TTT^ ^ 7^: i ,jin LL;r i 54 ^ -J J J ^^^^^ y—E Vg-ECg-r TT jj?^ i i 4^^« ^^*- ^^ I9-II >'# P et^s^tls^ irsi P : ^^JJ^J JTOJ * TT ^^ f *f -r<^ i 3 t i t ur to UJ* ^-^STLi^/ c^ r r r 36479 — 42 -Orlando Gibbons.- II. -Pj^ a ^ f^wm U m ^ i^ -^I 3 #: V VtTeBg: g- ?f£t!*S ^xT'n'n rj^rr f ? S ^^^ f Var. 3^ TTT- -f-pr :*» >> ^:i^'^^ ^- J £ ^ g ^ 4 ^ E2 te * ^^^^ xn ^ ? eee'Ef teE^e i-^ '.--f^ 3 i 45 45 fi: " — 3Ij s 3^ -©- ts^- ^ .; ji ^ ISi ^ P^13 L3 «. 1 ^ 1, g ^^ ^ I ^ ^ f r 36479 43 -Orlando Gibbons.- III. J J -O. ^ % r ^ Ltj p r r 2 *, 3 I I -^ rff rr ^- J J J J ^J^/g -»- J ^^ f J iS^ jCH 5t ^^^ ^ ^ ^ r-rr-::;? . r Var. 3 _fiL i. ja 11 g M i }f8t- * r^rt ^r r ^^^^^f i g ^J 1 J J ^ i i m r 5 6. ^ i- ».=j ^^ ^^ ^ ^^ i ciffsxr'cjj i ffii i 3X1 ^ iEE^ ^ ^ 45- P /?^ i^ 3^ ' ^ tt rfryiJ ' Jfe f F «e r r. ^ ffl-W 12 r^ 2 F=^ i a ^ ^ im 3G479 - 44 -Orlando Gibbons. The Queenes Command. Moderato. (J = iie) ^"^•^—^ V, ^i a i m^m %m fTi 4: ^-j ^' m ^ W¥^ [---' ' P^ r r ^ s SIX '?- 5 i i ^ m p Urirtrr^r ; i *=i= -J -6 ^9-' r-i -il 3 - Ii rjir & -r p r ^ r-^ r 4' - _^^K _ -*« ^^^ ^ vG — —a*^ "jy^ <: ^ s 'p do Ice ? ^ (I i^ i rr] i^i i^ii ^j I i- H5>T-m l^v- 3 [' r' lx^^° r-[- 36479 - 45 -Orlando Gibbons. ^-£;[£^:£^L[ 3G479 p 46 -Orlando Gibbons.- Fantazia of foure Parts. Moderato. 3r: i -o- m w ^ 'TSff /- ^^ -o- s i 722 St ^ ^ ^ P ? ^ legato ^ -4iJ- S ^^ PF n^ ffftr ffff ^ i 12 ^m r^i' f- nr ftyrtf r 32 « ^ ^^t^ ^ m^¥ r "XT ttrt 32 '* f i-8i 3 ^V» ^ ^|£^iT? ^ ^ $ 35 f=r 5 ^ 3 32 4 63 I J- J: ^ a ^ «g f i ^ rrfF i, i^j- 13 ^Ji: J -»- A ^ 33Z i 3 -O- -96- i 5 ^^^^ 35 45 M^ :t '^W ^^ ffr^ ^21 iiU i hii j- g I I ^ p ^ 331 B_3 IJ i ^^ ^ J: ^-ihk^ =fti ^ f i i f— ^^ ^^ i m nu i Ji- ^J 35 34 ^ 4 36479 f - 47 -Orlando Gibbons. 54 5 I 46 2 5i I <^ I I 3_ i. iMJ J Jl S-:. JS 4i rf^=J ^ f ? ^ m21 ^^ ^ * ^ f} j^ Ij_J ^ - "^ XT ^ ' T , r 64 f S r r- r r f ^ 4 4 i4—i 3 -»- J ^ J 3 O -« r g 1= * r f f ^ J. gt t: r £ g^^^ =^^^fV^ E 43 f^ 6 4 4 53 i 4 ^^ :J I J J^J J i i^nqr ^5f T- fry r^r^rr J i i I TV ^ J ' "~3b" ? f f 6 3 4 46 «, 2, ^J^ ^ i ^ -i^ i ^ka ^^ (f^ i^ r T ^^ ^iaA t^ TY" -« *- -o- ^ -its- m 45 32 ^ i ^^M I ^ t r f ^ 3 :i' -4i_ -O- i 1 ^ 3i: ^ ?^^^^ -*e- f 45 36479 r 48 -Orlando Gibbons.- 45 4, 2 I g—ij fe^ U^ m ^^ jy «^ f i g ^^ ^ ii^- .-Q iJi -(5>-r ,ii^ 3 xc 6»- ^ 4| 35 ^ ^ * :^^k ^ ^ ^ ^ ^-r- f r TTr f mf i=^ -»- Si XSI ^4 ^ ^^ i T^ ^ f: r=t'6 4 1 5_ 43 J i -«- ^ ^ ^ * f— r err T^^P ii 4' JJ Ji^J 3 -e 1 P -*%- ^^ ?=^ 39479 - I 49 -Orlando Gibbons. 3 4 " 4 a I 2 ^ ij^ ^^ 3S p# ^^ ^ f m"r r crrr trrr P 'CTfr rr ^^^ ^ 3 n ~H^ «- ^ ^ rj T •• itt^^^ Ji I M Ji^Jii'r'^r o i i ^J-t-JjJ,j^^^ ^J^flJ^I 15^ M.. f '•i'^crrflrf rr T=f^ ^^ T J g J 7J.J1J J ^JVJJ ^ r=r rf- ^^ J: ^ p-F1* I e &^ ^ ^ ^TT /, i.,j] _o_ J JJD J «s= ^U^J 5i==y ^I m w r-ttTJ i 54 ^^ ^ f^ { j^ '4^ 3 ^^ i [• ^ I ^^ f'r p ^^ ?^ j-i iJ' T^l. j) m I 1 Uii ^ E^^^ ^ ^ S 3 35 45 3 T^i^^ 2 ] J. ^-H 1 ^ J. ^ m ^^ ^^ w r r prf i ^ rfT~^^ ^ i I i-^ ^ ^ ??^ frr fff ^ r 3 2 4 2 r\ i i iM a itJ-_j' ^^ ^ ^ m rrr r T rWr P Pfr- m^z = r^ j J' J- i,ji=3 j=i^3=^ . J J ^- J J 3 ^f^^N- g^ ^ ^ J I = TT- i ^ 36479 ' Girolamo Frescobaldi. C1583-1644.) Gagliarda. Moderate. \r-^ ZSD \" 4 i r cresc. _o_ i. I 21 ^^Laj ^ -O^ : fe^ 33: -^^^— »— ^5 ^ * ^ ^-e^ / !> V i ^ 31: :=a= ^> ^'' :< t^ " -o- -e-= -o- ^-e^ 34 (a) (b) B!J"o (c) Jfflj. ^^ ^ I «) The ornaments may be omitted 36479 51 -Girolamo Frescobaldi.- Corrente. Allegretto. ^1 3^ ^ /> dolce ^ J S ^ P¥^^ S si ^ ^^ ^ f a tempo 86 5 6 2 ^ * I i F= f PS /?o #i: :r22 P^ i i -I& « f tXrr r %i. 4 /i 1 2 )C=* ^ ^ ^ 3^ f^ ^ *f i / Pit. J. ^ ^S S ^ fe r 46 f f"> ffl tempo 3 ^1 I =t i ^ 1 ¥^ ^ f^ ^ f f espress r ^ (») 3 i 4k a i f sf f r 45 35 IT 2.0 i p^^ ¥ I ^•'m-ui (•) p !kL i =- B> f P ^9^ r 'to. 'toJC/ * *) ornaments may be omitted. 86479 ^ 52 -Girolamo Frescobaldi.- La Frescobalda. Andantino, (Jr 53 -Girolamo Frescobaldi.- III. Gag'liarda. (dme) i¥^ s i- t>i i Mij /- "/ i Q. i -o- -©- 9: |{ - - , -»- 33: ^ n s F 3X1 %). %a. t 5, 2 i rr\ ^=^ n J: ^ -«- ^pf=p g w w^^ ^ T riten. Oi^Ti Q. J V "r 'cXH LiLLj £x„ (^) -^ 3- 6>—,- &: i F=^ i r^^^ :£ oresc. 1 3 % -9- 3 g TT £ 36479 54 -Girolamo Frescobaldi.- 6^ Cor rente. (Jn**) 35 JL^ ^ ^ fe m f ^ ffii/ i* n ^.n ^ \>i ^ ^'ft ^ ^ f f «r Ti^T^r 86479 55 -Girolamo Frescobaldi.- Corrente e Canzona. Corrente. Moderate 8 4. 86479 . A — 56 -Girolamo Frescobaldi.- Canzona. Moderato. (JzOi) — 41 a-^*- ^-0- — i*-^'' ^ ^ i J J- 1-;^ r^:t a ww^ Pi^ iA. t t ^ V Pf ^ u^t ^ mt ^=^ f> 3 -3—a- ^ «—* fe^ -^ei«i J J~] r [^ Uj-cJ r cJfr^ » 1?f > i >M n rrrT' p r r rr r rrr I 3 52^ i i i ^ s ^m^ ^ f^ / •i/ i i u *• ^ s^ I—P i^ 1 ^^ ^ i ^ ^f^H? ^ ^1 »- t^ ^ i/5 # /•z'^. :^-f i 36479 f ^ 57 -Girolamo Frescobaldi.- (J = 138) -7^. ^ fe j=i I ^^p p^f^ 5!^ espresfitvo dolce p "iTU^ lU -J JjU 4/? . —1^ zxt h^^^ . ^ 53 poco marcato (JzlHil 35 I -7-^ 23 ZJE » m f ^~r. i W J a) * ai gj^ i f ^^33 m b fe rzV. eresc. 4 J i IOj m £ zzz: E* r=^ g ^^ marcaW 3 p^ 5 a tempo »/,i£ i ^^ 5 SSI zu r ^W / ^ ^ £ 3 ^e j^ ^^ 35 4 a 5 1 a* a ^ fei *• # i- ^^ Ms' v r - ^ ^ S ^f»- ^ 2 I ? 1 J i :rj:^ i^ 3 ..4 ^ l=A ^"r^ 2 f15 ^ f^ lej^j^' 3 r^ T r cresc. r--muLa / -4-:— m p 4 \ «< * - 8«.47'9 ffi^ 5 58 -Girolamo Frescobaldi.- « tempo ^1 ± ^ ^e 3* ^ h^ iS i -fcr £/r T ^ 'pooo rit. v;; leg'g-iero S^^&^ t*- ^ i ^ ^ £ i i i £;r- £1 l: ^'^^' ^ w bili M '^ ^ f ^ "r g^ 4 i 1 nz i is t^ 4 a^=g ? ffi ^ 12 .j^ cresc. p ^^^J ^ (J =138) 3 ifr- _5a_ ^ 3»: ^ ^ u ^r^T^ J? fl^rt/^ff <^ leg'ato ZSSL ^ t 16 4 'ifr- k^ t ^m si i i m * g-^ ^^ cresc f r r ..:.:! ^Jji^^a^ ^ O^1 ^^ f^=^ ^ 4 3 i^ E3 #=F P # P ^ vcretfc. I m # i. / 3 ^ TT" o 864799 ^ sr ^ 59 -Oirolamo >Frescobaldi.- Fuga. Moderate. ^ 4 2, 0—0- » g 1)fIi« is ^^ mU LT^EI' mf ^JE^ —BH-n. '^ ^r^h/n i ,'' ii i i 'T f r ^ - . p . f f 1 ' ^U" "1-r cj- p s^ttr SE 2qf_ |fi"'^ll|ffll^W ^ »/ 3 4p 46 8 J i i ^^ i i ^ r f "^^i_'g a LOT £l£ £ # A. :^ £ ^ ^r "p r: •¥ Bf^-^ 36479 60 -Girohimo '/rescobaldi.- S 4 5 ^^ 4. m,f^ nn r- t fT ^ J s: fet i J- r M -o- 3 c-JLi;r ^ 45 I 5 ^ rtJ S7-i rj ^ i •> J^il r^ J :i ' espress. |?J dim. ^ i{^; ^ pr ^- 1 f /•;^. -^ —I b> 3 4 ^ [^ i «-«O H—fi 1- TT-«- I HiJ—J n,n j '^ms r 1^^ mr- F ^^ j- -^ gga J /:i ^^S 'l^Uii ^;:] 86479 / 61 -Girolamo Frescobaldi- ^^^^ i I: ^ ^S i err f ^ * p ^ 1 ^^ 4 3 1 a Pf 4 4 4,^ 3 45 4 i i SiS ^ ^^ P^ ?o Bt7~GT ^^CTT dim. i m mr=^ g i8 -a- ^ f ^g ^ 45 PP ^ .ro .^ . ^ ^ ^?j3J—-j, j,4 Ji i^ #r i:ipp ^ ^^ag^*-i5^ ^ > \>m m S^ SI i ^ m E .b.BJl a 1 v^rtt^ ni€ t^ 34 ^ nnrj ^ i %-4^^^-ifi ^ express. dim. «^ d 1 m^^^ 3- 36479 62 -Girolamo Frescobaldi.- 45 5 ^5 s ^^ 8 3 ^ m ^ ^qr wm E^^ r 7 1 »/ Si >>,!, f K ^^ £ ^.j' l 'v^ ^ 3 « 4 46 46 g t ^i^i^h 4 ^ r i /.^. eresc / "J1J. bJ^J^ J: ?'"^L£jtp^:';7r~'^ ^ ^^^P1 14 fl tempo J , AMp3^- at Shs^ . =^ ^1 C-^P C3 c- j»o 36479 63 Johann Jacob Froberger. (1G057-1667.) Toccata. (From the "Libro secondo.") Andante sostenuto. 1 — f*- 36479 ^ 64 -J. J. Froberger.- Pii mo [^^wJJJ [^ l 85 ff^J ] i fit s LW„*M, ^ r^-r ^ ^ r^^s] cresc. / la^ 3 ffl f r2=3=v o I -T ft r — ^ 43 ^ f F ^ 34 34 _| fi ?] JJ i fe P I (//W. ^T^ ^ J^ ^ r ^^^ ^ «, ^^^^^^ 36479 05 -J. J. Froberger.- ii ' oresc. mj i i I ^ dim, \ P ore.sc. I **. 3 il l-^-"'rf a- ^m f i g * . ^J: ^J7]i: ^s ^a 3 ireac. r^ ' 1"^ i—-i }) .s s^^ f ^^ 3 36479 66 -J. J. Froberger.- 35 imm ? - J^ -J^Ji- Jp ^ [irf K~- »/, JlJj I m ^CTJ CX I LU ? * 32 i ^ Ji^;TJ,t ^1=^ ^i^, J. cresc. r / ^ ^ ?^ ^ P ^ ^ < ^ p r # %i. ^ 5 4 5 a m tip: fff ^: p T r^ Hf- ^ ^ u cresc. m m ^JJJf m 1 i^0 3 ^S mnrcato 1 g_ i g I 3 1^ S ^^^ / r p 1 g —*- m mi 6 ^ • %s. ^ Adag'io. Andante. /C\ i^^.fe E ^ ji ZS51 p- ? r CJJ ClT 81 ?«^^ ^ •/ r?'^. m i zz.*^^ ^^^ ^ ^ ^ rxn 36479 I ^ 67 J. J. Froberger.- Toccata. Grave. -tv— i 5 S T ?^g^^^ii ^W / P /- -e- ^y^rfl ^ -©- rO^ ^ (AllegTO.) m^ Si J ^. crexr. 3 « (Andante.) 36479 68 -J. J. Froberger.- Moderato i^;ff^mm mm ^M cresc. g ^ r- * M ^\7f i; I wf^f y } ^ ^ ^ 4 .-, i i^ ^ f: ^m !/: i^#- S # J . ^ Pr^^ ^^^m s V *- a6VJ9 -J. J. Froberger.- (59 :t 5 ^f^ 32 m =8; ^tj« > ^?-^-v^'. / -» it ^ a 4 »j ^n]J sP5 S fe# f f T L'istesso tempo. ' ) 4 | s Id ^' sm^ ^ M-Y ^ P P^r i trnnqm'llo ^ i J J :J i)J i) npsw^ 4V 1V> = P*r^PV ^n ^W^^ £ i a 4 54^« '/''(''' ^iiiA?U2l4 J> J,-^:^ ^ i> ' 'l4%^' ^ ^ ir""^"Pir^?' ^ P f= 52 i a - 1 3 ^r^r ^pr "pf- ^ ^ ^ 1. 1 ^"^J^-Jj ^^OM "•fjr- ^ ^^ r- «f 1 |i^ »j''^ ^ piir ^p^^ ^'^' J j'l l ^ ^ J ^ ^-^H^ -hj ^ 3 4, il ^jjO id7 I r B-fl ^ Ff f=rrf^T=f? ^5¥=^:j: # ^^ ' ppff ^ ^ I J AJ Lento. 86479 — r 70 Henri Dumont. (1(510- 1(!K4.) AUemande. &E ^ 5^=^ m p leg'nto 4t • :e S^ M F f-f^pf P tJ^ ^'^ii s^^ i^j'. i L^ ':*V^ P ^^ f L/r p f^ W^ S=i ,].^jjj.j "rr ^y \{ ^ ^ u p 1^ to - ^ 4 V ^ #=4 i * ^Wf ^ 21 r f— i ^ i ;:^=^ '^m fTT^'i J l! f f ^ JT^ M. ffi^ -« »- jri—fjj ^ -o- ^ i ^ ^ s«r ^ ^- JBJ^i 2=g -^5- ii p^r 3 5 = ^S ^ ±a ^ r reV. iS^ / J-JTlJ >=-/^7^ j-^ i I- ^^ ^.'f^— i r » B^ 46 ^crr' r-r S6479 . — 71 -Henri Dumont.- Grave. ^=ff I m f ^ i #-» ^- '-^ .3 ^ . -o- ^ t ^ 1 14 XT 8 ^ f ^ i ^^ ¥^ w ^ f^ r=^^ t- I erefic(/ / C rt / c/f ^^fe \ 'I^ c ' ^ r «i? !/ cresc. f ^ p^ 16 3 i 07^ s. * t ^- ^ ^^^m p ^ tF J i^ ^-» ^S ?^ 5> s :s ^fe i r ^B: cresc. t. ^ r / ^ ^^misg '} rji3ijf p Vi p -,^ /' r- •c F=#^ %w ^^ #-*-# ^»ff^ ^ ^ ^ 4 8k J J a^ iM=^ r i ^^¥ r eresc. 3 »' 7 * J • 51 331 F=f=^ Vi ii ^"J^ ^S lir r r f 4-^__2 r" 3 4 4 i i g r- 'T ^ ^^ I ar ^ -l f^ r rTT^r eresc. m rnp^j] •f 7 t w *S p ^ * p 3 21 2 4 3^ ^ L/Lir I .... ^^ ^^ ipF c^ ^^n al c@^ it'' ^>l, x^^ ^ to C!rVj^^"'' p^ 5, 5. ii ^=Z2: #^=^ XT s 33 i rr 4 3 ^ ^ / i- §E Sa§ i"» # ^ ^ S g^ o a f 35f f^ ^ 3, « -*4 j^^^^j^ M 3 J J ^-o- r r' pr * ^^^ crese. rzY. / «^ * * * n J :j' ^i^ i IT" f r 15 tr f 35 86479 73 Jacques Champion de Chambonnieres. (1620-1670.) Canaris. Gig-ue. Alleg-retto con moto. i^m ^ ^^ p dolce ^*^^ ii* w^m r u f p poco calando h 54 1^ t 8 3 ^ ¥ -f' f' U »i^ oresv. i opr J. i. i J- J)J ^ r" w «=p= ^5 f « tempo ff tempo 1 1 ^ XE TryO I O ^ -o- p !> LOi J' §«5P;= i=4 t^ i 14 ^ 35 35 F 6 i TT" i r ^j j:i.- ^ -o- »-. mif poco sost. JPP :JTl ^=4: ^Tp r f=^ (7 tempo ^ ^ ;=I^^ i 3^=^ dim. J ¥E;: ^ r- r- 34 f 415 ^ 3 ' 5 12.^ fcd: i 2| S t-*>- 1-0- t ^ frf r^T^f pp pp /^ , 5^:^ / i j^-J. §^ ^^ i ^ 36 36479 J 74 -J. C.de Chambonnieres.- Sarabande. Adag"io non lento. 3 " il J- J ' s i 3 «^^> ^m f^ cresc. # P — } ^j \ W^4 ^ ^ r^ ^ ^ s-^ F^^ % f f n f /< m t f 3>:tf I ^ ^ T=f *• «• *• ^^5 JyJ. 4> * d r*f f=^^P p^f^^m "^ riten. 36479 75 -J. C.de Chambonnieres L'Entretien des Dieux. Pavane. Moderate 64 I. 5 ^ 3x: m r -«- -J ^ :n *i*=^ -i P ereso. '/ 41 Q. m m ^ ^ fe«- ^ 45 ^4 5 t^ ' i p — j^' r " xf^ "^x*. f r^-^-J^ r r riten. i' 2 -#—^- ^ i^ .^ -o- ^ P o —»- 86479 76 -J.C.de Chambonnieres. ^ '^'^'^ 4*- JQ- •^ ^ .. hJ%l :pfi ? ^^^ m# ^ J i ^ i ^ ^ J z^ 3 E -e- ^a^ f 36479 77 -J. C. de Chanibonnieres.- La Rare, Courante, Sarabande et La Loureuse. La Rare. Allemande. Moderato. 5 8| ^=J: ^ ^-^^M fe^ 'J'@n-^ i: r ^C; F t creso. VV / ''^IW ^"i? J i ^ ^ L^Cj r T T ./'Efl- r ^^jv 143 ^=^ m A ^m 1 lIl*.?^P '"P^ T" f ^ ^rt n=f i^ TJTJ 3 i=^ ^ iq: r r 4'6 it IT,-'n 138 41 831 J j-n^r^ • i=^ i i <* 5 ^ ^-J ^~J J^ ±^ ^i i f^ mmcresc. pf fTF f^ r 3 ^ /iL ^ * a M r> I I'3 3 ^ 5 f^ f ^'4 354 4 0)J- 12. i - ii?] i 1 j.-^j J ^ I ^m I dolve ^- J J ^^J 7—J-^ ^7^ iL i ^ vi? 331 XJI 4'5? ^ i 35 r 3G479 78 -J. C.de Chambonni^res.- Courante. 3 3 s -^ ^ ^r r [:rr ^rxTcrra'^ ^^^fcrr-fl' mf ^M p ^i J ^^L^ * l ^ • iirj ^ ^ff^ 3i: ^ 45 '^ ^,^^M i i fe^ ^ P'P^^^r^^2 1 ^ ^ fpsf f ij Ji «^ i=^ ^ # 73~r- i ;t 7p^ # !3« 3 ^• 143 I 2 I r-pi'r-4 i r- •^•i^j ^ ^^ j-rr-P i B' ^ i 11 ^-^^ 8 ^J3 ^ 3=^ lf=r ^ ^=f1 54 ^ 51 8 143 # ^ , ^ Id I ^ ii ^ ^ ^^ * m n ^ ^ ^^ J i- j i- ^ ^ m ^ ^ ^ ^^ jf 7k"i Sarabande. 4r i 1 ^y^ S ^^ 4hS i^ ^ ^ow espresa. 8i-J_ f f¥ p J J J Lii^ J. ^ S ;i s 1= m f5^ %s. * f 46 ^ '^. i> <^' rJ ' i:^ iti: ^ ^ ^3 ^ ^ W m g « W 'jjj Li ^j Ui I lA ^ i x.^ 1i i 53 ^ ¥ 1^ 4 S=^ ^ #r-(»- ^ ^ i^ ? f^ i ^ «^ poco rz'^. :^ fc«A^ i J- i- m i ^ g ^ s r T f f If 36479 5 79 La Loureuse. -J. C. de Chambonnieres.- Molto moderato. Jtfm 1/1 /T3 feE^I Hi if^ n 5 MLjJL ^^ -i J. ^/T^ "^ *'' ^-r- \, ? ¥ 4' f 'kiB. ^ ^ W ?^ <^ llx^ ^ rr^^ g # a p a ^S cjixr^ ^- ^ i-~Ti) 1 'U^Ml i^ t ^ J f^-tnJ • n ^ r r m ^ < r- .c^ 3 4«3 'So. fes 10: ^ n^^^n I s«r ^ # tr <^ii -^ «^ 1 Ji '] J^^^T^ I i «—I a-H 3 1 331 8 5 T ^ f 831 •^;. - "^^-^^ vT^^s 4 3 — It ms ^ LB-LC/^l; ^ i •/j*/c. ^^ ife ^ ^^^t^ tff "' '' r r- ^V~f^ r r"' \ '.r ' r f^^ f I [8 143 . Sr^ df>, 11. I 3 -^^ ^ :*=:: s Si ipp f «r -^r^^^' n i^S ^5H=- ^ i 15" I T5 w pr %!). 36479 %S. 80 -.I.e. (If Chambonnieres. Gaillarde. 4^ -4V- s ^ s ^ ^ T V 44- ^^pfJf 41 ' - -'^ J J •y t iT. J 19 ^ 331 P3P^ IXC 5 ^ 45 •» ^»-# ^fe # ^f© ig ^ :? P '€ 'fri [^ >"7 ^ -e- ?fe zsa mrM o -1- *5 %a. r * 2. -18--* ^ S i^ ^ «> ii v^^>~~^^^ '"Z r^ m <\ -« i^ TV m 1^ -G- -e- -o- 3s: f 46 ^ %i). » 'te. 'Jlav. «* 3545 —.44^ '^ lg5 ^§ ^ Z5SL a S r~cr rsr i J- ' TIPT / dim. f ^0^ -»- ;%i>-= S^ t i «+«- JQI |3 W^ XT 5 J35 i dee: ^ T i8= rr i ^^ /;/. .»/ ^^ 831 ^ / 3I« • J J-J3 S ^ 'Ett). AS54 vv 3 I 'ifr - 1 4 * i ift i.'tr^ ^ :3-Tr ^8r ^^ ::^ — P« w1 TV Z' cresc. I* f P / i -»- s S ? —o «^ — f 41 318 KT 33^ 3,2 35 8G479 """ *)AI1 mordents maybe omitttd 'to. ^» J 81 Padre Michael Ang-elo Rossi. (W20?- 16(30. Andantino and Allegro. Andantino. (J^: lae) 4 y^¥^^ w 8 41 ffl It J^ ?J^ S=* ? a^a^ « 1 '' cre.sc. dim. poco eresc/* jft =5^1 = ^nT ;zz w~rwW-m-p- rl a ii S 1 s E^SS^ /r dim. 1 a ^^ • • legato S i-4 #=g^E^ i^^tf^^ , :^.»^^ , 1^^ 3 8 ^ T^J^J Ff^fg E^^J* i? ^ m^ oreitr. M: ^ ^j^r*^ -^^ 3 , ^M^ ^ p » M #^^-^ #-^i—!» i rTrf '^LC-J i 4 2 4 -i # ^ f #• oresc. ^S £ 3 - 36479 82 -Padre M.A.Rossi.- '€ « 4 ^'^ l* fIH?! i ^ ^*^ tt p i 3 8 I fc=^ ^^ i £ ^^^ s; ^ crcsc. ^ -^ 'lrpj:jrTrr^ Je a =^ 4 3 I », i ^- .- ^ ^ yJ' » 3 eresc. ^'^^f^ "^ / 3 P G P ^ f ^ a!53 rfrr rfrl 36479 83 Allegro. -Padre M. A. Rossi. 2^ * fe^^^^ f •zi ^ cresc. fp p ^^;i''" := 4.f ?W # ^ ^ i 36479 84 -Padre M. A. Rossi.- 2__L« 1 * y a , ^ "^^^4^^ ^ . 6 ^ 1i i * ^^legato r-^' ^^^ ^rm\^ S 3^ 5 s / ^ a ^-p- ^*^ z -)-^ f ^ s ^ 36479 * Johann Caspar Kerll. 85 ati;e7-i693.) . Toccata. Tutta de Salti. Tempo g-iusto (J^z lae) p e leg'g'iero ^- IT •l^1^1\^1\^')\^1\^^\^ j-'V'^^-^' ^^''^J 1 5 4 5 _ 5 5 Q ip- » -. » f . :. I I w. B crtac. o o u f"^H \ . •7V-y^-yIj'-y[^-y^-y[^,-yt-y^ poco a poco rail. fl/ andnnfe. 4, Jk 5 f ^ 86 -Johann Kaspar Kerll.- AllegTO. (J = 138J S I ra^m ^ia non leg'ato / f » M j'r t i ^^ U ^ y < ^ 3 ^^ £S3l f ^ ^g a^ Meno mosso. (J = 108) 5p i ffi ffl-??^^ ^ ^'V cres-o mpesante — j^ dolce 3 3 ^^^« i ^ Tempo I. (Allegro) '*-«4^ -.4 3 a i»-^ ^ ^ S m. fT* cresc. as: ^ / > s f r f 4 ten. ^«'?^. y^r ^^ I ten. r- 4 A '^''-ten. /— ^c^T ,1!^ 45 ^ 3, ^,— ^^^5 cresc ereso. ^^ ^ rwrtrtti ? accel. i i sS S ^ i ^m %). * ^^ 36479 — -Johann Kaspar Kerll.- 87 # 0- tip ^r m E ^^^ m • • ^ y»o f ., ^r --'gj •# s yPliiJ^^ : ^ - K ^o 86479 — 88 -Johann Kaspar Kerll.- Allegro vivace (J- = 120) 5 M 4 5 .m # 0- -^ s ^^ wr. 1 •i oresc. m £ < \ -4 1 m / since, -m- -0- «3^ ^ I £ i is s 4 5 i S i==F ^^ ^ TT.L.i.^ f ^jJ ^^ // ?=^fft sempref • Pi. i: 3 ^^ liE ^ T.T •» i « 5 5 5 £=:^ m^^ S vf^f >4 E %». 4 5 ^- '1 j- i ^J- . ^ht;] ^^^Wf s *—s^ ji i^ s ^M5 3 5 :>- ' ^ -^J',-' Pr^ K^r pJf ^ ^^ I ^^1R=^ := ^—f— f =^= " ^ g ^ p r r r 1 ^ r T^ I r r ' ^ u>^ I r 1 rJ..^'^ p r r LJ ^^ %B. %,. * 36479 8y Jean Henri d^Ang^lebert. (1638(.?)-1001.) Chaconne. (Rondeau.) Allegretto grazioso. 1 t ^ ^i S pp "f^r^ f T W Tf A u n^ 1 i S iE Sg mm i ^ tf//a corda ^ Poco sostenuto. //"^ tf(9/' J- > j_^^^ sf=r J |S>—^^ Poco piu moderato J- JiJn >>iii r r rT^ "J") Many of the mordents may be omitted and some of the other ornaments may also be omitted, abbreviated or simplified according' to modern usage. 36479 — -Jean Henri d'Anglebert.- Molto piu moderato. ^ i ^ ffff"^ tre corde \ *f 213 if 51 m3m ^ % T^.m J ^ J.JJJJJJJJ 6 3 45 :* ± ri ^ p % F r- p^ ^1 n^ Si Z2: S S^^ ^^ -«—1- ^^ -4 86479 -Jean Henri d'Aiip;lebert.- 91 Tempo I. i 0-'-*m f f=T f^T 1 8 J ^g i J2: ^^ r /wff corda 35 tre corde 4 :f ^ * #-|5^ ^ dolce ^ i 1^ < i-^ ^^a i^^ MjnjMi. 2 14 3 ^ n^j. .i)J • ^ ^ # rj* J j^ cresc. J» esprens ^^OJ ^ S ^# P ^ ^ tf/?a w/t/fl 86479 u 92 -Jean Heijri d'Aiigleberf.- IrJ >/3 s m ^* 0- J ^jM f^ J i J i p^i^ ^^r^ ^^^ p 5 3 Poco moderato. I S » pi p ^^•^ ^ ^ ^ I ^ p ^ P l* ! 3 S 1 a^=^ g^a Siifei ffi ^ E # »/ J a 3 I ^tat ^ S 1 n r f T f ^ m: ffis 3 2 13 m »» jti; r ^ F P m^ Ss f ^^ P P rT C/— m sostenuto j» express. 1S>^ ft -^J ^ ^ ^ tsr "77 — 4 m r f ^ 51 ' s 3 5 Lr Lm" ^ V»»» ' ^ »~^~»'i ^ S?^^ ti ii=* 2,1 21 creac. e poco ff ^o !»/// 36479 -Jean Henri d'Anglebert.- 93 deciso Ji ^ raJ J i f^=*f ( f T t « a •'^>. morcato J A J. :i i i ^^ ^ i 1 2 1 ^ //• * i i i ^ ^ ^ 243 4 J I li :i^^1 P ^ ^ espress. I' A 212 4^^ . ^7^=^ Ai i ^^ ^ w^^^ *=T r r f- i jTinjijii Tempo I. 343 '0 #^ i S^ P r I eresc. poco rail. larg-amente ^ g5¥;; i^ i IZZ ^ f f r f ir////ff 6'(9/'fl''ff r^ ^, -^1 . ^ ;nj. jJiJ ^ e ,^ tt^ ^fT^ r=f f^ poco a poco rit. M /4V i A A i ^ m P ^ -i- ^ l 86479 94 Louis Couperin. (l«30-1665.) Sarabande. Canon. Andante leg-ato —~-45 # f4^ ^kmJ rr /". ti ff >4. ^TW KTl r T7U ^ ^ 'J' fi f ^ ^^i '- 3_« 5 ^ 5. *^ ?" ;a ^=^p=^ m ? r r=f ^m 1^ r c:f ^ w r.h. /•^. cresc. ^^^^^ 3S 5 i 2J g 5 ^ ^=r f A J- J' =5 'J ^^ ^ ^ ^ ~* r- r ^^ ' r. h. ^ I ;{i. l.h. ^ i ^^ ^ 14 !^ 86479 r r J -Louis Couperin.- 96 a 5 |#=F ^ r M £ "r S * j i -»' ^ p oresc. ^ h^ J^ JU>^^ ^^45 ^^ i ^M ^ ^ « f" e r 2 1 41 i? ^ii ^ i^ f^ ^ Tf ^ ft S. Ff^ p /. /i. ^ ^eJ ^ 14 a 2 5 =5 i»-i- IN i*— ^ ^^ pS ^ J- ' «i 1, 1 ^ h^j^ ^ ;m 4-^m ^ fe^ i=^-^^ ^¥^ f^ P i f" 3 , ^*1 ^+ i s >M i =E * * ^ ^ f * • ^tu^^ oresc . e ere.so. /: 1^^ tt f r 5:j — 5» I 8B4T9 96 -Louis Couperin.- Chaconne Moderate. ^m ? 4/^^ i* //(/* leg'ato ^ t=^ #^=» ^ fe^i r==fi: 1 ^ ^ ^i* ../-S \ '/'— 85 * t 1st Couplet. "^ i r ^ i «^ F ^=^^ S k ? =^^g^lrJ "5^^ /- -p P= i 4£- '>.-. ! J -^ ^^ £ *^ f^ 15 5 1 •/ r 85 ^ I i^^ S :* i^ £ i S ^ '^^^iV^ /: i ^E^ ii ^ ? T^ 51 :•>/ r X ii i ^ £ S r> V »f r g •/ i* ^ -J j^TT^ m r ¥ r :I5 r 35 36479 -Louis Couperiii.— 97 2nd Couplet. J \> J.J. J' igi i t; " ^ ^ ,. rm e* f^ tz^s^ ^=05 li -Hi- 3 ^ f CJJ J- i)Tj)4S y^ i fr=r 1^ cre,sc. ^ -* 1 ^ ^ ^ 3E^^ ^ ife r ^3 ; ^- »^ J- ^^ Av^ j ^n^. '>b r \'' tf £ ;£ •/: JP /: i J jr^i' i i^ "#p^"^ - ^ p r r r)i :{5 -/ r 3rd Couplet. ^ ^ A^^ »^=^ ^ f ^ * f f.h. '>h < J ^ f 'ifr' i=^ 1 S S ^^ f- B r J: i i.^i^ ^ 3ee p r^ ^^r .-{1 t i s E ^^^ H r IT r ^ /» - r J J- - ^ ^ J: J J - ^ 3 iEEi I^E^i :<* „5t r-^-cJr p ^ r •^ / 36479 Kj 30 Jft-i '*v7 • 98 •Louis Couperiu.- fh^ t £2 5"* t- J J. .ii ^^ i ff ^ I •!/•- !/: iPs ^ t ^^ ii ^^ fp •/ r .T* r=f^ f ^i. ^^^• L ^ ^»^ '> \.^f i i s ^ ^ ^ ^f-- -p J >-^ ^ ^ ^ [ ] ^^^ fp F^ f^^ ^ f t "•\3 ^51 :»5 V: >/« r 85 4th Couplet. ^ i ^^ ^ f= # *• P z f^^a^f-f ^JP .f^f ^^ H-K i p 7^ r E »F > V h j^T JB JIJ ;3 » ^ .fi^ ^ ^ 1^ r-' f r ' -« — 'i I J fp r- PI:'* ,^S1 /• r J Lf i i :^: ^ G;( 1 ^ l_7 '^f//. ^ ^ i ^f=^fp=^ ',>- L--^ ;{4 51 r f!- 8647« . . ' 99 Jean-Baptiste Lully. (1633-1687.) Air Tendre. Moderate 4 a 3| ij^LJ^^ii ' iC^sr •r^^^'f 1 J g ^^ jp doice i 7 tjJ)7i ;^j J^ _Ca=L ^ Z ' • #H« ^*=F^ ^ ^1 :i ^^I^ 3 :« ^ r / [j^r ^ ^^^ i_^ J: i^^ 3 3 sr^ ^ 5 =s ^ i r ereso- dim i X i 7 '^ J -« 34 4 J ^JJJS 4.3 3 1 J* J5 ^ iS>- -^ » 'Q s f^^^ I ^ -r- 1 ^ « P ^^*=1^ ^^^ s^ m ^^ 81' i 1 -I 35rs=i= ^ T" 3e479 . 100 -J.-B.Lully.- 34 ^< «^t44 i ^ ^^ ^ crtfic. i ^ t 7 4 ^ 'J^^ m ? i f '« ,{, =fr^ 2 ;{ ^0 ^ J34 ^ r m M^^ r r ^ ;'~^j J^ J) ^' ^2 7 7 7 PA ^ i L/ r < ^^ 83 i. ^p^» -•^-Wr-^ ^ [J^ p £ ^ I g E i i i 'J S ^ r s J: -A .« i. i- ^m i ^^^^^p^ 2 8 ^ 1 ' ^^ ^=i ^ r: ^ / j ^ ? ^ f fc ^ E 1^ ^ tf>^ ^^^ ^^ ^ ^ ^^ ^^ 8 p r-r dim. cresG. i' ^ J 4 i J 4 I j) 7 j) '>» rs^ i < ^P 15 \ f- 36479 . 101 Courante .{4 ^ ^ m i f s vreac. i_j: 2 S 1_J ^ P -9- s P^ £ m^ £ :i i ^ 1^s ^=^ !^ ^ % f^ ^ ////?/ ^ ifW» -?c^ ^ i ^ ^ B| ^ '^ • -"8-T» d9, g - ^ F — ,1 i E oresc. j: ^ P 4V M i y ir i § M £ s^^^^^ r 36479 102 -J.-B. LuUy- 3 3 « M :i « -0 0- =f=F= I r ip r r r i )i'^#-^^^^ i ^ i-^-^ ;j J J: >> i '} J J , J am 15 ^ r r=f ? * • - • i 1 ^ 'J ^ :J: 1 t=^ i ^=^ i i T" f r f ^=r 34 Bij].- ^ i r rf m^^ y9 ^ £ cresc. 5S=$ = m m P -• '^ m ^ f £ W *^^ ^^^ £ ^^m Sp i P «i ^^ iif-f .f ^^ .1^ :i J i=A 3 ^^^ ? ^^ ^^ T ^ :3 I — :«^^ ^ a ?i it. * r m ^ ^ ^ i^^^^ 23 i-^^ -T» (•- li t^ ^fa r^r -s .>;. V rir It l r I lr cresc. i» i* :»*: >« r'Hrr ^ 35 36479 — — — ^ -J.-B. Lully- 103 A 1 7^' f~~ 1 pNN Pf'^^r 1 p' J p-j \^T ^ r ^ r ^~ — ^ -« ^ffr -|S % ''''''— l!r -l-jH^ ^^^ ^^ orefic. S 5^ ^=^=i: J: i-~r 35 J -^ i^ ^ ^ — 3^^ r 86479 104 -J.-B. Liilly- rg^- aj li m J H» J- # g ;z //// =!-- ^1 -1»- -0- ^ S^ ^ r " r r r ^^^ ^^ ^^^''^ i i^. erase. 'i\ ^ i i ?=f ^M t=^ 1 « r f ^ ^^ J * J ^ »^ //// ggg^ t J it^ It ^^^ 1 s f » rr j J. ; i 5^ i ppp p '?r J f- r^" J J r ^"T^ f 36479 105 Allemande, Sarabande et Gig-ue. Andante. 45 ^. 1 Ji ^ :s ^p ore.sc. "f 1 :{ -» >»- A i :jLs ^f r --J^LJU ' t3" p J 8-—^* « :i 3 1 f'l ^U'^ ^ a fempo •^- ^^'W. ,)' M # 1 2 3 4 # (» i S nj iwfi £ ^P a ^ poco rit. V f 7 p 7 P y 36479 106 - J.-B. Lullv.- cff. 1 ^' I If- , i ^ rf i ii «J m^ f ^a^ r^^^ i dolce > i^ Ei >H g tt r r mi k^ 'p F m ^p Pej!£;;[j^£|£I f^iil I ^ 1* cresc. k tiPi; i 4 ^ - »-p I-J" ^ p I" 9^ !*=4*: i J= ^ fe # i i>i' W\^ i g— - 51^^ r- £££;^t-££ f ^Ej con e.spress. ;t7Zi^ ^ ^o 86479 — -J.-B.Lully.- 107 Sarabande. -4f^ ^-^ 1 M 1 ^ ^ ^ PT=f OTj* ^^ ^ i ^ ^m m ^m rnr^ » -^fc tK-^ _^: t fe t-5- S S £ ? ^^ 7 P cre.sc. P f ^ rr »f 3^ J oice { I * £ € i M ^ f ^ r T ^ r *• d °J- ^ p _ s i U _']— J)h li ^ p m ^ 7 / a ^^ ff f-i^ # i dolce m i ^ ^^ i f^: -U i^f=T ;»5 ^ T f f r -V iLJ_J. i i *^^ !< cresc. 21 p J . 21 ^ J' n ^ F r f ^ f r ^~T li^^ifij ^ ^^ ? 1 mr 31 / '^1 ^M fi i=i :^ g ^^ ^ i ^ r i ^ f .'J i^ a g 1 45 ES g^^ ^^ ^ i i 21 cresc. r 3 S ^ m r r r-^ I' r iir f r '1^ 86479 10 S Gig-ue. -J.-B. Lullv.- Molto alloo-ro. •g]rj]^rjj :! - • -L ffi ^^ ^ms p i 7 ^ .J. i J. ^fma m e 4 I f^ ^>p- .^ /•pjTjJTl'fT # _LS'ii:^:lj\ [iTujlU^ cresr. 7 iz"* i'- -J. J. 1 i. i.^ s Sf^f f? r rrt^f ^ i %B. f ^ ;* ^. * J. »i- J. 5 •Z ^^^ 1 "ffm - # :S ^^^ ^ / ^n?;: 1 ^ S^^^ is ^ * 'to. P «J 'to. * sens 109 -Jr-B. Lully.- fe^^ ^m eresG. J. * nr « i. 7 ^ 7 J. tEi; r pf 3 m £ ^ i r * ^ ' '^# •^1?^ 1 .^ * * "^ ^ ^ -^ i-p^ « 1 2 f f m.t # f # .- 1 _•- ^» rfifrJUfrfr ^ rc i jcijclr rlfctfcrl / ^ / ^ ~ * ^ is ^ ^ ^ ^^ » f P P / dim. 3j^^ ^ 4^ J. ')Us. ^ * Irj lIt pg^JJ^J ^^ f cxr ^f?5 :^^ 1 a p r ^^r r^- l:; *^ '?^ may be omitted. 86479 no -J.-B. LuUy.- ^ j:3^^r-r nfT]}. i •- ^ 4 ifci 9t f i 7 ISj S ^ * %S>. ^ 5 4 a 5 4 3 5 4 :, ^ 4 g Sf^.f f f r :* H r^^ rip J p fe €i crc^ciT^ri^ cresc. f ^ ^ c/rtor • 4 S * ^ -4 «Tcz: XE i w gmJ^^S * ff 2 1 m: i£ ^B ^?T^ r m 'to. ^* 3r!i79 Dietrich Buxtehude. Ill (Ili37-1707.) Canzonetta. Molto moderato. (J^= isi^ 5, 4S i J i J. F P 'P F poco cres-c. m ^ 4 -^ 88 iM i I— ^ M f 'U lJS 5 4 5 is J J-J-. ]J 5 ^ «^~T ^ L-L/^O/r r 44=fc=i '>t! J J :*^^ J 5 «--# 4 , ;$ ^ •J 1 'a 4 36479 r J 112 -D. Buxtehude.- 4^ •f-M— ^ s S^ ^ i cres-c. — m m 86479 1 113 -D. Buxfehude.- Piu mosso quasi sfacc. a 5 3 1 1 1 :i ^m cresc. r r "W ^-H* i^ ^ ^ * 3 3^^ a 4, 2 1 ^ 4 13 ,5 1 1 1 a 1 7 ^ 7 -. I ^^^ f=P '^^vWs Tt* ^ ni/n 4 3 §5iP! = m #-i- ^=^ ^ I ? ^ 4 5 j 5 5 a tempo ?£ p 5^!^ ^ ffli 3 • • . * _ ^ 1 - J. r f*& / ffl fflw 3 1 t^ /^ i m s -e»^ ^^ "TT^ ^ [ ^ 7- CJ*^ f- >• T cresc.-— ir ?^^! = JH J J J=i i 3i: ^ -is>^ go* C M'PC p —«-»^ 36479 114 Bernardo Pasquini. (1637-1710.) Sonata. Andante. (J = loo) i I ^Ip^ i^^ 1^ UP' 8 P cresc. -^f- tor '/ 33= i^rAf, 3: 33= rx5" xr SS ^?gj 3^ i Y r"^ / T tk ^ fe^ ^ t6 86479 115 -Bernardo Pasquini.- ¥^ ^ !^^^ «J 1 FT ^ / p m i i ^Si ^ ^'^J ^m ' -^m^^ ^ »Of u i ^ ei « a < ~ ^ p m P "N P P ^ Tv r r 1 ? a I » _ • I'y i •7^ ^-7^^^ y ^P I giij ^m cresc. f .i^^ J 3 1 ^ i s^^ 33: i ±=± TT * ^ T-eVf. r^ rr] i ^ _ m P ^:. ^ 331 ^ ^UJlj r ^ r f i 3Bi79 Pasquini.- 116 -Bernardo Pensiero. J r 96) i i^ (M jiTH^^ 5 UJ d f^ j:> legato e dolce 4 m oresc. I: ^3^ i^ i ^ i r r 'L/ r p P p r /, ^,J1B 'h cJ/ c; ^ 2 ^ b '^ r ^ 4 45 M^=^ ±=i^ ^^ F=^ ^ J/ TI3" i i — 5 4 v^—^^ % ^m ? PCITLJ- I^ m;(5 Ji r\ ffS^^=^y-^ j^^^ ^ iz f 1 -i 1 jm ^i^l^ k3^ S --«- -- ^ r 'prr g i -nr- TQT C ^ ^ marcnto 3G479 -Bernardo Pasquini. Piu mosso. 117 vi ^« V -\.. i i ' .^ E=y ./ ^^g / t / UI ^ ^ I ^^=^ ^ # IJ • i# r W T a ^ x-3 ^^ ^ ^ ^ r t $ ^ 1 ^j^lm^ ^^^ 1 i^-^ ^ f ^^ 1 o •^ I ^^ ^g^ s ^^ ^p -e»- Andante. m ^ ^S 5 • W i J I4 s» 36479 lis John Blow. (1648-1708.) Chacone. Lento, .1 t .» :# r r fir r V' r h 'U f f^ t / «i-J (a)W y/j-j % % % rSij ^ \ ^ ^ ^ ^ '&». ^ f t-STrrffr >J^J- J^ J. ^ i fr*^ y- .t i J. n,} ^ pg^ -^^-^ ^ ? ^ ^ ^T r r — f J J^ -^ ^ ^s^ J -^ara . ^ ^P ^^^ J J-J~3 k*- ^^ m ? :zI it 4a. ^ £ dolce f 4 —-» ^^Jt. ^ fe^ ^;i' A ^^ ^S ^ ^ f^^-LEJ=^^^ / 12 1 I 4=^ S i ^ (a)or^E (b) *) may be omitted. 86479 -John Blow.- 119 j) ^ imjrjy T^'-i.- •^ S j. ^ ^ :^ i:j> \ i :^ ^^ r '>ir7^^i/ijgj._;) o 'J- -. :^_i p^ 7' j) ^ J: 4 f r 34 -'V lOT^ ^ j..~. :j)J'ji am £ ^ m^ Pw ^ f t=t iili ^^irr ^ p ^ ^ T r •*. ^j' i P> 'I^rptlif- . p \^ » 1 T nLlii ^^ * f *^ ^Rm r 3 i &^ i ^ « ^ r ^ ^^g^^ i T2 ^lEy % a J 'TJ^'J ' J J^^l 36479 120 -John Blow.- i s ^s f # f f^f # i^ I s i^^ fiLrcl; 'to. -* %i>. 36479 -John Blow.- \2\ i#=Fm^^^\JJ^:t7^^\••• •^* # F^R^B^^ J ITlJ 1 IJJJi^ 'i:^'?. ^ « i ^*: ^: '£'. -r J J 3 i J- "r r 9- * ir a 3647? . 122 - John Blow.- Ground. Moderate *! 34 miE (M ITJ j ^^ i ^» II m ^^« ^:^ ^ 2J; as t^ ^^M^ S=i ( i f * ^^^ *) may be omitted 36479 -John Blow-- 123 IV. • •T"(» -As ^fi a, ff=» i 3E *j i f 'irprpJ-p rTr -r'p $ ft & 8 ig 3! 5»- * i 3*31^ J^ »^T^ ^ f=F^ ^^^ J! ^S 'j rTr ^r-"j f 4 i rT= f t*:^, i i^ 51 ai 31: 'j:tt fpr -r -«- '/ e ^ r ' , r ^-£g'r j : r || ^^ 1 ^=0" ^ p i rsi /I IS fcj i ^ ? r r 3-S . 36 35 3 5 ^tBJ tr^. 3: ij ,f^f^r'i i ^^^ I ^^ 'I -19 ^^^ nr- ^ VI. !=5= g )\j# J- J^ J. ^ ^^^ 7 ^ / 21W3 r ^'t^Jl'A'i 3 ^ f ^=?^i 5-1 77 5 3^3 6 6 ~^^5 r r * r ^ J _ ^H-==^-^-^^-r^i^[ ^ JJ^^J^^JJ O^/- ^ ^i»-^f^ • ...i "^ f f^ .fcjj j f^ f -1^* i» r r ^- p 8GW9 1-24 -John Blow.- S- ^ 34 ^ ^ ^=t ^ 3 L ^ ±=^ S £ £ £ P^-^F VII. =^ ^= "^ g 51, 2 I 'ir^^ j ^ed iSi f ^ ^^ s f f^ ^ f n-jTi ML. if^^ ^==^ S «—*• r m r^ r^-n J :r^ ^ 45 r 35 S6479 * -John Blow.- 123 Almand I Andante. (J= 96) itf^1 E irn nvf^ Ea W &^s— P dolce 4- 4- gtf T f (f! f" p %b!-* fe&te^S .^^ P=i=P =fti^i=^ tt ^ B^BS ^ ^«'yw. 3 i 21 4- 4_ 1 iE i s rr f I^ ^ 4^ *=* 3 !^ 'E^rOT^t ? 81 3._ J3^y—j^ u .>..i .mfffff IJ I py^ i ^ 51 r 86479 — - — 12(5 -John Blow. Poco piii mosso lUJMr r #M ? ^ j» 1 ?c=* Ss 7T- ^ 54 ^ I *t i J: ;jT^ j Ai s ^^3 32 g I i ^^ C" C [ a 2 i 3 ^ ii 22 122: a ^ f 51 # rmi ,t=^ J <^ J * • 3 J J S i Lf «r f r r r r :^ ^ 2 1 3 2 r /< ^ / -i»—(•- :s5 ^ 1 * i i ?^ ^ ;j 2 3 • -^i 0- 3^^ ^ ^^S-1 1—I- tN ^ ^ vrexc.\ i J r^i i-7 m^^ ^ 9(iVI9 - -John Blow. 187 Almand 11 Andante '" ''' •Ra. rr ^r ^r'r' ^Ut r t 36479 VZ8 -John Blow.- Prelude, Allegro moderato. « fijT -4-# I ±:d i m^ -i^. I nr"f ^1^ i ^ I fflj-g?^ ^^S ^ ^1 iiL.— WL f^^ / •sf ^ ' "' ^ 53 ' E^ =^^ /^itJJJPJ^I i / #*rj -I- «- ^> r J S:? ?^^^^ 5 5 "^ ^5 #-«- ( I^tf^ [£^ p m'/ •^/ t^ H \ P ^ ^2^. s fl tempo rzs m lu^fPp '3-5 I ore.sc. / ^^ ^ 36479 #^* -John Blovv.- laa Courante. Andante con moto. J Jir-j) ^^ #-«- I m P f 3 m •'f ^^ m -iSM- 32 3 ^ ^ i ^-^ i 3^ !^ J i=r=r i^^ i s ^ 3 ^ -1— :*=« 1^^ ii* * -I I -I n 'y-^ — • 4 I I? s^ i f 3EE^ 4 ^# -s—~ 9 r— V 5 -: ^ ZZI 4^ b s t=^ ^ Pi r ^ ^ ^ /;oe<9 /"z/ S ^ f IS 36479 130 — John Blow. - Fugue. Allegro commodo. T] ^ Wj\ I f ^m p JL 51 ^^ t=^m M £ ffft m ±M i 2S m » 34^ f 1 1^5 ''Z rf«'/W. P ^x rffrt ^ tM^~ ^ * "ST g ^ P ^ ±Iit ^ ^ 1^ f Lfj" 3 -n^ -w;^ 5 i £ ^^ 3 »- ^P 1 ^{ S Si 3 3 »lig ^ E ^ ^ 53 ^ i ^ g i' y marcato ^>'^ FJ ^>JJ ? --::-• ^L 51 ^ ^ ^ i^pf ^^j ^ i»-r-i» 1 m is: 3i? ^=^ '^ dim. P. \ 'r . \^ F ^ « 36479 ^ ^ ^^ KJl Johann Pachelbel. (1653-1706.) Fughetta. Allegro. —*- 4 3 8 14 3 fi iS » » ^ n>f^'-'^yT~\ 3 2 1^ T ^ m 4 ]\ f m ^ m^ ri-n-r^ s 1^^ 3t=^^^ tr t-/ ^ ^ 36479 132 -J. Pachelbel- ^^ 45 I 45 i - ^ ) , ^ a^ .^ ^ # • S' g i ^^ ia LJ 'U C— 35 234 5 ^45 45 45 -'Cj f ^r P^^r^^^ 2 1 4 3 a 1 4 8 a 1 • h - |i =^_, I J l> p r£££;^^ '•^J^^.n«^ ^ /?^ si S ^*^ r 21 ^ ^ /O s f r IP bi ^ ? ^ £ o- 36479 -J. Pachelbel- 133 Fuga. Allegro moderato. 3 4 I P=5=P iY<'' yn ah-» £ ^»/' ^ ^ ^ 'd j. 36479 134 -J. Pachelbel.— 35 45 -ya-i^ tTsz i' i^±{^:^-\ ^-^ i :i~jrt ^S T\ ' [_/^^££F-'i£f »r^^ i » "-S 1; _ii_ m -O- m 36479 1:55 -J. Pachelbel.— Ciaconna mit 13 Veranderungen. Adag-io relig'ioso. (J =66) 'a 93 (f. ^ p \ y k 3^^ i s !2I fc s ^ s -o- f^ 21 21 P «w fT -«- -o- XE 1:!F=^ xn ^m -o- -»- i -4- f ^ I. _3 5, ^ 4 * S «1 S IS 5 I 3 ]F=* PP rj rfrfr ff f>" P _o_ -&- zrsi m -»- ^ ^ ^m u: xc ^. i^i -ft- B= -«5 =e r 2 r ffl* ^^ d S f. ^&^ mm 15 86479 w^m ^ -J. Pachelbel- ^^ «»;E ^ := te ^ -1».^—O § m 86479 ^ - i:n -J. Pachelbel VII. 3 .? i 4 ± -a- a=« 125: d d ^^=« m 1 I r^ ^ p graziosn r i***i#ii 1 3 351 f^ ^ iPPfii»^**i 31 VIII. energ-^co 2 4 i * a* I 2^ d' d ^ ^ ^^ ^ f •s/- Sfi 4k §^ -Q- « 12*1 2 • -27 « 2*^^0 %a, %ii.-s;f 1 3 « J^ M ^ m s m ^ -5- ./. ^5 3 ^ S 1 a 4 *^* ^.*: %iL^ m ^Jui). animato IX. 3 1 4 3* tf ~ * * JTJJJ^JJjJ^0 ^ m ^i ;irV^ rnfnnn leg'ato ^ ^ m f" m ff i rrrrtfI I I I a 1 a 1 -^ s ^s 4 1 ^ mf^ 86479 %). ^!^ 138 -J. Pachelbel- % &#M^ >». V Mi i •i-^^ f 1?^ 1 gts;;Wf i i Q- "ito. ^ %D. %). *£a. %i). *to. P tto. %D. -M * 5 1^ i^ tefei ^^^# 4:^ 4 :^ g a^ P cJ %S. ^. %). ^ V V %t5. -JiD. %Q. XI. 4 ^"^ ^^-^^^^-^^z:^ # ^7^ 1 ^ ^ 6'0« fuOCOm ^ y w^ tfg'^) %b. «.? %J). 86479 139 -J. Pachelbel- .XII. sostenuto 13 12 1 2 ^^^^^^M g** J # # J«~'^r ih, r *^J %>. 4 ^^^ ^^^ XIII. Larg-0 "^^ *Sa. %&. * ^- ^- ^- "^^ "Sei)- 36479 2 ST^TS'T^^^^ ^ . — — 140 Henry Purcell. (1658-1695.) Edited after E.Pauer Suite I. Prelude. Moderafo. Almand. Andante i ip P- ^ i,^ — i s#—= p S g ^ ^ I CJ ' CJ p hJ Ili p^^ A J)^ qJ i 14 ^ ^ •SiC * %!1. < i!. fl ^T :T r M. u ' CJ r rrrr^^ b) ^^ UlI Si i—i. J rU ^ ^^^ ^ ^ r^r f==r ir f 35 a) .rfjl J j^ b)^§ 1 36479 -Henry Purcell.- 141 X i£ ^N=^ 5^ * i ^^ ^^ £ ^Q^^ !< 1 # ^ 1 %!). * <£»£). ^ Courante. Moderate. . 45, 1 1 f ^ ^ ^ w;•/ T cresc.. y=J:^ 7^;i | u ^ f S^ 36 ? %a. f^ ^ 3 gl i -JOT ^- -«- ^ g ^ ^ ^^ :i: i %l I ^ ^ ^ -**- u ^ r— If 4: fW^ i I f ? ^ --ti e m]"f I i ^ J iJ)^ '^ .«i "J ii 3 £ m ^ p '£s). ?^ a tempo j»J 1 Pi i^ i i r ^ -^ ^-'r 1 ^^ f^ f a) similar cases be omitted or abbreviated. f or: ^In may 3G479 * 142 -Henry Purcell.- Minuet. 3 3 a 4 4 3 2 J5 1 # » ^ffl'F=n ^ ^ ^ ^ P oresc. J. i 1^-^ -*T±»- ^ ^m rr f?t ato 4 3 2 ^11 f^ # • • m I ^ ^ ^ ^ i? ; « «— iM i s :Sr^ u ^ ? n2 1 L^r '"f f 4 f 3 2 1 2 I Ai • ^ * ' ^^^ ^ iOT #— m I i % i^_^ Sitfi m «M- . V i#i ^ 1 ? 2 3 2 3 * may be omitted. %B. 86479 # -Henry Purcell. 143 Suite 11. Prelude Allegro. :i rrpfTTi if^^ rm^ fsempre legato ^\t If - i w^ 5 3 4 2 4 4 ' *— 3 ^ ^ ~nr JJlJ. i f V f If ^^ ^ />Qg(9 y'zY. J f ffl tempo * = omit. 86479 » y 144 -Heury Purcell.- I #^ ^ m 8^ i s s ^ ^ f • 2 ^ f ?f ^ ^ g » ^*— %». *£fi). 4 1. > #—F—«- -Hi- # ^ ^ 12 7 [^|g ^ g ^ j& %5. f %). 'Sfi). i4 J?i. ^ 32 S ^ #• g ^ ^ r u n "T g # £ PC* I ^^ ^ # / ( ^^ p LL^r ? p ^ 5 ti "ito. %a. * * AW i * ^j S — ® tt t f^ ^ i 4 » i -»l- " ^ i * 1^ » L_~*^ *^'^3 ' z ^j^*^ 1 i r J 36479 %i). * %B.' -Heiirv Purcell.- 145 Almand. Moderate. fe^ s m jprimjij. ^^ p espresfi. r "/ 1 .;l^ J: "^i^nTr s -«- ^ -e- r f f ¥ %i. iif 2:« ^ 4 5^ ^2 (^/•) •j ^ i^ a ^ ^ffl i t S I :z i eriat ^ ^ a) ^P i dimin. ^ *1 ii- ^ -il i- J=i £ g ¥ 35 %B. * ^" I' h^. \t. * iS ^ g I r-.rr s i ^ ^ r ^ i- -ij^' 4 4 «i g of -J] A J n 4s^^S ^^^=^^^^^ iz 1 i,^ S^m->^-^ ^ dimin. i J: ^ g & ^ i^li t ^ i -*s- f 35 k * I ilffll. h S tei E5 at^a^ mJ, ^"' h^' \i)m —ar;^ ^^ ^i# oresc. 3- J^ -J ^ J y=4 t * fe ^ ^=^^ f p F f P==T 44^. ^ >m ^ — ^=^ 1 J-,fTP,T i- -J- -J i 4 J g i ^ ^ ? fU-^ ^-J^ >_^ 5=iJ:—J^ A CT J z: - zz: i-" i'f K - r ^d r- ^^ * / ^^I Si ^=^ ^ r T t XT 54 T i nn\y—j^ • ^J7n J i5»-=- s * ^a ^tt^ ^^^ IfT i? -m «- ^2=©= 1 i S f M^i ' r- ^f 36479 147 Henry Purcell.- Courante, Andante. 5v * kroj- ji I ^ >jfDJ- i^JTT] s i ^ J'nJSlJ. i' I w/ U 1.^- -^^ 1_J^ i ^gff ^te I -e*- £ ^ %ix 3. 4 8 2 1 2 2 * 1 5 4 3 51 f^f J I r^i' i M r r 5: F -r .-^ 2, 3. ,2 . J ^OT^^ > 1 |,BJ >nfrfr''^r-r * r r r Tr\ m\"f o^ u ili al Ji^^ ^^ fct ^^ i ^^ 345 .. I fWi. Jlf" ff ^ ^ g ^ .Ol U ^ uo 331 3i p. ^m ^i K ^ r ^ /VW # ^ ^fep:=^ 41 u -i^^iq ^>^'' rr -e- 'xr f -4&- E m^^ aj r3J- i) 86479 f ' 148 -Henry Purcell.- ^^^ i J J J)>OTJ * ^ i''i'd.m i- J'A i J fe m i^z: ^^ -*8- Saraband. f— Sostenuto. /VW * 5 BS ""f p j; ^ P i A i- ^J Tl f^ ^i l^ !j iEES m -«— 54 t a ^^tTT*^- F'^^f^ m r r )U^=f*As-p=^ J 1 .I "-^p » ^ = ^ ^ J— M ^^= ^- 35 a) or /W b) or / 14i> -Henry Furci'll.- Chacone. Animato.(J= los) t * m fppn :i P 2 i cresc. £>=^ ^^ P IOC P ^^ ^^ ^ S ^ i ^^ 2 2 2. i ^ leg-g'iern /W ^3 /W .'VV- J- 1 3 ^ ^ ^ £ 34 4 /W 3 ('^) 2 1-" r P r t 1 J - it- 5 g 1 * ^ P ^ ^ /V* /M-' J -""N • : ^^ ( m ^ 5==J^ 2,.,^. /W' ^ = •— — —1» ,^^ i ^ ffi^^ m /W gra&ioso m • m 3'^'' ^ -'*^ Lr ^ §: brillante •* ^ -^ -^ 2 ^ ,w g ^ a. cresc. •^= ^ /W 3 j:p= ^ ?^ ^ 36479 150 -Henry Purcell.- 23 frfM IPE ^^ ^P ^e ^•irrcrr p rj/rrr /V /*V IZI 3 ^ 5E s ^ ^ ¥ri ^ %rfr\ -^fflT-H^ ^^ * •/: -"41- ./V 3 m IJC I^ b" T l/p i ^^ ^m ^^ leg'g'tero ^ / AiKf AV m • m t 5^=^ ( s ^ m ^ 3 4 . 3 2 1 4^'' ^tTr i ^^ ^^ "> it^jN i /W espress. /v /V»' /V 1 S^ p ^ 3 3 * 2 1 2, (^^^^: ^ S^ ^^ ^ S -w ^ ,w /»V m • m i^ ? 3^ 5==e P m .('^•) iy==^ :i=::^^ i'i^-J> * i ^ " ^ f 'r T^ r^ ^ T" P AV --vv §s ^ Lj^Ll 3G479 -Henry Purcell.- 151 » ^F^^ ? ^J'ii;. j^ —i=i^ ^ fe^ — 1^ TTf ^"p fr F r^ r""i f^ F /W /»V /»V ^ I& i ^^s ,/iV ^ B k=fe : ^ ^ P 1* m P I 5L ( S ^ ^ ^ ^ ^ t r /*v /W I aJ- I ^ g g^^ / >>^i, . . r ^ i E t cc 86479 , 152 -Henry Purcell. 3 . 2 1 >i— 3 M flffli Z. fe^ I W^ piu crew. A -.'< 1 - '> ^ ' i/ i 1^ i ? ^ r ii>^n. m ^ \\ & ff ^ I ^ m s p E ^^ i ^m ^ ^ ^r-r . .[tnj:^^ \^-My J ^ ^ eresc. / m ^ ^ ^ ^ 3G479 -Heiirv Puici 153 Suite III. Prelude AllegTO. # • m r r q .-fct 3 -*- m i !rf .f-4f * i ^ I -ft r f r r^^^^g ^SS i ^^ It [i*-|'r- fp pj^ f^ « p r » ^ p p p ^ I P P P /. ^ fffff' ^fr. t tiL fe-^ 36479 154 -Heury Purcell.- «- -* » 5— • g 2. i- ^T- 1 5 -F ^ m ^3 2 1 1 1 ^ ^ ^rfppr 2 3 « i g 3 I ^^ S B m 1 ^r ^t^ fe Pcqf i 2~r ^ ..:tt fr rftJ^g ft m '-' m r m m '^ - rf^Tlfr 1^—<- J3J3j. ^^^;^ ^ | J) 1 -»4- yf=r r5°nj^ ^ 3E ^^^ ^ T J * ^ i I 36479 » — 155 Almand. -Henry Purcell.- Andante. 4 3ji, iH 3. 2irl ss^ prJi>J^I^ i!^S ^m ^^S '^ ^ dim. —«- 8 1^ ^ f] ^ •>n # ^ O g m 5=B=t? f r 15 ^^ ^%i).' * 2 ^^^~-^ 4 ~^^JC-^^ ^g m«' « i F ^ ir p »/, f 51 ii J t - -j-n-^ -^ .JSJ ^ 7:13 ^ ^ ^ ^ r 34 36 -g :fe I „ ^ r rc^-aj 1 £ S VJ g'C^J- ^2 -Jl-i- ^^= 5^i? -«- -*5- 3 ;t i % -64- f 35 -^JJ)^ .1^ 4 g -' ^^S ^ ^ —---' ^^3 —r ;— I ^ 1 »/ T^rS n s ^^^ s ^^^ r~.^^ \ 46 f %!). r * ry 35 _36 3 — n ^^te ^^ g ^^^ 1^ ^3 ^^ f »/ oTtt 21 ^J)-JjJ3 k± m ^ -' r'- g-^ ^ r 36 J^ •-2 3 ZXDl 4 3 :*: * ^^ ^ :^ I i 'r i p r r r=e^ e^^ ^ a) or /w 36479 # 156 -Henry Pureell. Courante. Moderate. n. ir^ *=t Afc^ m4 5 ^i=: ^1 -»— H f 1-^ -84- »: « ¥ r i ^ ^ ^ r r 4 h *: ^ U^ 4^ ^ 1=^ ^ P^ ^^^ >- 21 J*Si i 1 i 11 ^'l 1 i 1 i 1 s p ?^ -la- ^ -as- m ^ («") *: i^ ^^ 5^ ^ ?^ a 21 ^^:iJ n 1_J i-^ S Ji—32 ^eS ^ ^ ^ f ^ ^ 54 I m it ^ 3 ^ g 32^ 4 • S ^ ? * ^ J 4-j— 4^4-^ | .M I =«- f^^ f^ 51 a) or w 36479 -Henry Purcell.- 157 Suite IV. Prelude. Moderate. Almand. Moderate. ^SB 3^. •7 t il m J-f^f i^ ^H-# p n^ rr r I i S */l', ij M ^FT f a^'^r^ 4 (<^) ^ -* rnffl^rmTj- ( ^ ^ Ji_^ cre.sc. li y^ini ilj=5 ^-^"-n ' § P ^^^^ 13 I i gES 51 -58- * 54 36479 — 158 -Henry Purcell.- 35 3 ^te 3^W ^ t a f f S=3= /?/,i^ 3 it ^ r j r r--^ ,Bi^ — 3i: i ^ ^'L^r J r il il i TJ 21 3 J ^ J^ 1^ ^ '^ ^m r 45 6, i4 ^i^ ^ ^ ^ i ' ' T' ^^Li :^=i 31 3 ^ 1 P 31 ^ f P f T 7 r- C ourante. Moderate. ^^ .^^JffliJ g J n ^ m s 2^ ^^ i* J :y 1 31 ^ i ? m ? ^ r ^ Q g^^^^rii 21 ^tf p^^ I ?^ P « / ^ 4 j- ^ i ^ f r ^ r 54 irx" -nrsj ^31 ^ si f f ^ ^^^ 21 3 * r r ^~T r 8G479 -Henry Purcell.- 159 a) 3 4 5 I 1. "iri ^p-.i'W- m- J3^ ^ :5i:i ^ ^ 4S'C/CJL; w ^^ f ^ J. i i==t t a S =^S^rv . ^fe i ?^ § ^ Saraband. Sostenuto. A\%. ' 4cvi >--.. B : ^ iE^ ^^ 1 ^ / 1 ii ^ i if r- ii ^ i ^^^ ^s^ 7- ^ i i r^ ^ i 63 3 ^ P3EE^ ^ ^m F^ * a) or /w 86479 160 -Henry Purcell- "* 7^ Suite V. Prelude. Aiiimato. 1 r^n f ^ ^ ^ f^ m ^ r u; lu/ru^ . 161 -Henry Purcell.- 4 i X1^0 aj\ mt >: 6 ^^¥^ ¥ / /nareata 'Mt tt UUJU f / i ^=^ s * ^ -3 « 3 ^«- — J — r ^^ i s^ F ^u! ^ ^' ^ ^ k r; 3^ m4 >: * '£«»). 'S«». w 36 479 'to. '5it&. * . 163 Almand. -Henry Pure ell.- Moderate 4 14 d-^J^^^ 33 ^^i^ te ^ r P dulcf ^i. ? J' ia U J Si m£1 i fei ^g^^^ ^- f^ ^ ¥ 3, (*) ^» _^ F ^ _ ti^ Jt^J. gp^ ^^ rf^rjicr "?iM^, r ^ J. -ij J J«^ u l^u -i T^ J S t" " r £ -©- % ^ -46- ^^ w. m >"J , 17)- H^ -o- P -«5 ^ 8 I i i 4 V *> ^ a ^m ^^ ^ffff r •Sta. * •to. * (^) 143 ^H^*< ^1^ ;* ^^^ ^^ ^ I dim. i> Ji_j; H: o i^ ^U^ 3 ^^ P 4 32 ^ -K:^4, 3, i fe^ to i:== P7 recr-T/ i :£ ^ c vr f ¥ ? aresc. -!M- i i J^ 4^-^ l^J^ 331 I ^ ^^eM -O- ^ 34 ? ?^ * r ^r T; f 13% 2. 5 .1^. ^-5L^^^^^^ m feE^ ^S r^ 7 : i P -J I' J ~i I t' J i «s=s HZ .L^L4 a £ ZS51 i I& ^ TfCTTTT 3fi479 Courante -Henry Purcell.- 1«3 Moderate. a) 3 ^\ ^si4, ^P 1 i ^^ ^ ^ ^^ m-f i U i_2 i I r^ ^ nzz 4 i ^^ ?^ f ?^ r 35 ^ |L£4 Jr P- tm ^ ^ g v: ^ * w ^ ^ ^ Ui 31 «5F=^l-J ^ U^ i=3i: 3 i == =Z2Z=g=I ZZ2ZZ-r^-^r^- P^ ^^ ^ Saraband. Sostenuto 3 _ *' M & ^ i ^ ^ ^ ^ ^S^ p dolce 7 ~LU U y^ 41 i i ^mf 34 ^ ^ fW 35 Tr ^ 4l "^ ffi # « I i ^ ^ 3E # ^=^=r ^ ^ ^J 7^ :.t^ t=|=j^ O 4 m S 3E m I --*ft n ? ? f f Cebell.(Gavot.) l.'^ 6 3 5_ -H —1- P=jE 3^ ? •iO a<*—r- 5 s a 1 ^5 J kM. ^ ^ J i-J^ ? s^ ^ 36479 f^ iFf ^=f F?^ a) or s to. b b) or /M' t 164 -Henry Purcell- Jr^ 3 ^ I TZL £• m^ Ull-'\ ^ ^ P^^ ^ cresc. / i=U m U^ JH ?f ^P ^ r=ff ^ r -^ 4 ^m w. i iL J _ s 331 f^^^m? P r 2 1 k.*^ =1 •• zz: ^ro s ^gg^ I S a i» i' dolce tii >rj i^ i ^ nA ^^u ^ 5 4 ^ T w ^ 35 w 4r- v^^wvww-v £1. t i ^^ § ^ iJli :L^ ^ i ZqK ^ i^ ^^ 1 p ? ir i ^ r fff=f FrS^r »— i ?sS ^ a) erexc. .1 *!*. 3 3t i=J W¥^ g ffff ^ ' ^^ staec. fir=f ^^ *331 i m1 // i=^ ar# h^ 3 m m^mm I F=ff? ^ ^ ^m ^^ ai or /w 36479 — - -Henry Pure ell. 16S Minuet. TT » ^-- ^ »> ' M ^ # i £ m'a m I P ^ i i 'j I m ^ ^ ^ij^ • • r P ^ ^ i f5 ^ 31 i_^ J i iii ^ i' 31 ^^ ?^ 3! ^ ^ f Rig'g'adoon 4 ?^^ffl ^^ ^ /? animato crtuc.crt il i- ^ ^i A ss i g ?^ ^^ ^ ^ M ^ i^t jcx: ^ p i j i «L iii: 4 -54- i=^ i S 3i: ? ^ ^ f ^ r -4f^ 31: g ^^S IZZ ^^ i i'. 1B6 -Henry Purcell.- Intrada. mzM #-# ^^S 8 ~ 8- F^^ i 4 inf 4 3 ; 3 f sempre s^' f sL J. ^rr i i ^i^ J t / ^ %B. * r €» •* 'to * tL mtr^^U^t^ l , ^^ / m J rrn ^ 'to.I?r * Jr^ • L! rJJ *^ 3E I r u- ^f p •>/ < J: i 3 m 3E r 'to. r March. Moderate 54 5 5| I '!> r^ m &=^ Ti ^^ £ u -a^ Sf T J HU -6*- ^i^ ^ g =? ft ^S-. 'to.! 'to. * 3, ^^^^ ra3^- 'tr^ ^'^ f=f ^CJ¥ P i A- 1 rr i s £ iU 1 351 ^^ S^ ? *^ -»fr- ^JF!E 54- 4 ^ S~^l I a I -.Tow ^ ? tf ^ ^ f ^^ "57 ^ HU i 351 ^^^^ §1 P ^ 3^^ 3 6479 i f a) or /v* — Henrj' Puree 11.- l(i7 •A ^5^^^=g ;t. ^^=a r c/ ^r- P ^tlf ^ f=f f==f •/ ^ i-^ ^ ^' 11 1 i ^^ f M »3. « <- i 2 J i'tr) ^ — ^ &.' m ;3^ # —(^ f f f i s $ ^^ tz. ^ 21 ,< J i i 21 J J J -ii ^ 3 331 *^ r ^r 14 ^ i J i- 'i J J. '> ^ ^ CJI 54 54 64 54 54 54 132 4,' !OJT^^^ ^ ^ ^lOI ^& l l orexv. J p ii i g ^=i I r j-^rj f ^ tf r 14 23 2l 1 2 1, * a 1 m J4 ' '— w :il^ ^ 21 A J i ^JlJ[ ^^-^ i J J' £ ?^=^^ ^ 54 1^ JU *-J2 . * 4—8——^4- I—- * s fca TT- ^ :«: ^^ crtuc. ^ 1, 2 / ^^J J: -J J i=J ^ J S*: 3 XJI 36479 54 54 S5 ^ 54 r r^ r *) omit. r -Hunrv I'll rc ell- 168 Prelude. Moderato. Suite VI. -U^ k ^ I ^^3"- ^^^^P^ 3 i ' 1 2 i i # f^ ^B -«—I- i f w f T Almand. Andante. m I Lj" ^a* ?/3 /-^ ^r^ ^n. -»4- ' iM >f)[i^ ^^EE^ -7 i — a r h n o? ^C7J n;:^/! iS i^Bj w^= ?^-'?L/v ^r[ ^^2 u . i i > r p ^ ^ p j^^ ^F^ i ^ r p^ f v~r-— •z ^. 154 ^ I 1 A^ ^ i m^^ # ^ i ?fp- ' l; ^^ 21 r li 1, T 5¥^s J. i 5^ 3 n i ^ ^=^ a 45 rc wc < r.^r- 86479 3 .^enry Purcell.- 169 f 4 • * biJ^^'D «e^^ ^ i J3 zr p ^^ ^^ ;.i-i-iA^. ^^^in J. u^;n4_a^ p y ^p r m, ^ P If £ i 4 ^ 45 ^f ' P «31 » ±ar»- a. ip» .a pi» f.Fj'j^ £ ^ XJ3 ^^^^ s J^:i £L- -e- il J X^4J iJ^ E3J[I *^ jy . Se^ ? tf i ^ (*-^ , ;fi» .? * (») ) . i e^ i§ -»^ ^ ^"^P a) 1 35: r p^#i i fe# ^ r' f ^ C T —^5 i *) omit ^ a) or /*i ^ 36479 . . — Henry Purcell.— 170 Almand. Suite vn Molto moderato. marc -^1 r3OTnfi,;s-^ ^ ^ ^SBISBBES^ es :«==«^-> ? m marc. ^ 74 r 1- * 5, - -Mv ^ . I ^J • • ' •4 ' « • p 'p 4 £ s i gs/^r- ^P ^ ? i' 31 y 7 J. «^^ :^ I, V ^ ^A^ J) Jv"< ^ : i ^ r 7" 15 7" wr 86479 r vHenry Purcell.— W' 34 \ 5 Courante. Moderato. ^4r) ,c^) ^ ^ ^ lJ.'J.'^^^ ^ Tt Zp 5 rr* ^ * »// fiosten i=±J iS h^ i ^iE^ J ^m ^^ t f^ r ^ r ^f 1 3 : =s=^ f- g m m g Fpurcfr i 2 I uT ^ fL i -i j- ^ ^ ^g^ ^ S ^^ ^ %). * ^ -w (.^r) a • ^E I i P J'^J- i) ? i t ^ \ ffi^ i I- i J i.ii ^.v.. ^ ^ i w 35 (<<^) 2 !L 3 ^ «-^«-C.¥ -f cirl I ^^ i ;i f ^ 31 i--i :i J ^^ i ^^ i ^ A A g 1 45 45 2 45 ^ m 4 Hornpipe 36479 —Henry Purcell.— 173 Prelude. Suite vni. Animato. ^=1^^^=wg I im m ^J Jm m '/ ^ ^t iP-^-0- xc '* * —«- m 4 ;i A i ^h^^^t # i :::•" *^ s 1^ m • e ;< :!f g =3^ ^ ^^ V. 'Sr a^- * ^ IS s s 174 —He nry Purcell.— « y p- 1 f ts^. r'f'Kr^ Hornpipe. » Animato. * i{ « 4 :{ P fe m^ 3 i^ J i J. J. J i Z2Z i i ^^ =i=^ ? f=^') («?^) • S^ ^ /V ("iSr) i J^^L-^) i^fi^i 6 :ijW: S ^ r ^ f " X-L ^^0)F^- I zzzz: ^ r V 36479 r —Henry Purcell.— 175 Sf 4 ^ ^ J.^^j^ J.--^ J ^ ^ g ~j.^ ^ J ^- ^.i^ zt U ^ i P ^ ^^ * 4 3 ^ (4r) J. ^ S^ m ? ? ^ ._^ ^^ .^, T ^ D -34- ^^ ^ ^ r r Minuet. «^/^) ^!l* ^^ ^ ^^ ^ ^ 31 i ^i 7 i- mw ^ 4 i ^ s T <<^ is * ^ i '"/^ I «i i i ^ i i a -r&-. g ^^^ 86479 Fine. A — —Henry Pur cell. 176 Almand. Andante 1 ;j « — A a -^'^^ •- 36479 ff > or /M- 177 Alessandro Scarlatti (1659-1725.) Fuga. Andantino serioso. „5at^ I i y > a 1 iH-* \/ m f 'wri^r P^ m m # ^ P^^^ ^^ b*" ->j'ii' ThF r i^ ^^* 'i*^ ^^ Ijt. /' ^^ s e-Lrg^ r r^iLLr^^^ 3 1 « 1 2 J .-- ~^ • m /TJ.^OT >.>=iiikT r r p J 1 ^ , > i ^^"^ . 5 mp 2 ^ Z ^iO "h^ n^ t HP -^ |fA,> F p'1 1 a r ^ 1 p 44j% S^E ^¥=^ ^i ^=^ 86479 178 — A.Scarlatti.— 36479 4^8 45 If m- i :? ^ -i'i-Ae^J s P^^ -r ff r. ..J « 1 2 2i^a limin LLF ^ i^ ^ :^^: ^: 36479 180 — A Scarlatti.— 36479 181 Jean-Baptiste Loeillet. (1660 (?) - 1728.) Suite. AUemande. Andante. 3 3 213 s 1 4 3 s ?£; r^>;M P p ^ l^=g= ^ ! r^ ^^^ -« # ? • 35 ^ 1 4 4 « ^ ^^ P I 23 r 36479 ^ 182 J.-B. Lceillet. r V uf^ >J° C-J "L^ n .. » -tr* r^{^ ' i^> ^ :i^ i^/LLlD' ^ ^ ^" J ^ 7 "-ib ^ ^ ^ 36479 — — Courante. -J.-B. LceiUet.- 183 Allegro vivace. 5 ^-;^ . iiv 3*5 • » ^a#P:^ I i ^ ^ # !» crese. X ^ U . . * pa^p • JEt^^ "^ • g [^ ^ # # « f # f ¥ £ n 2 4 4 S 41 « 3 4 6 « s #-=-)• t m i P- f «A:t ti 'A -»-i» i :l 1^ r tlP 1 ; » 1^ 9: 1^1; g ^ ^ 3 I 4 5 y^ mFmP F « , P # ^ ^ 1^ i^^ £ f eresc. n / i» 21 j=i J- IZ_a t i f ? P 3 ^ /W /iV jrr.r'i Kgg3ts ^^ ^zp:^ » r ^ I' f p f i »,» t. ?3? ^^ ^^ r^rfF F £ p *— w m ### A«. ^^ *^#._ Ml ^». m. oA 4 j_Li i i i i^ 5 r ^j i i ^ ^ i M ^ i * ^ m f f 8 4 P ' ^5 l» i 33i *=5a # i M cresc. r r F i 4b^ i ^^ ^ t-j-y^ ^ I ^ I r f 3 #^'! « » • i f V I 6T/fAY,-. %>^ JtM^« # • • ^ I ^ 86479 P 1 2 4 a — 1 — -J.-B. Loeillet.- 1 -p- -p- -p-g *A i^ p=^ i ttp £ MI zip g J^ ^ Ie^ Ie^ 4 ^^=W ^=1^ m f ^ ^ ^ ^ 5 5 3 %_' ^ # ^-«- ^ ^ P bp^ tap p ^u IIP "•* P I p I qp TlN ^ iE 0-0 ii: n f t P i ^ cre.sc. I ^ 4=^ # ^ ^ J—i- J I i=4: I ^ f t-y ^ ^ ^ ^ _4 2 i2 ' »^'a gE^ 1 1 # • I 1f i cresc. ^ ^ ^.^ J ^ i J i_4Li= A i. J i- i: M t9 ii 'H' r ' r 3 4 ^ 3 4 T f= y 4 ^ /W -•iV i rwfiirw i ^ffepp ^ * i m ^ i' / / a S pfr=^ * ir * ^Sjff = 0- ^ ^ * m I ^ r # •# . # ' . ^ • F- rM #f#f* ^ffi S #-Ju# i fffffTffffrF g 3^ cresc. i' «j «J •9- lip £-«: i i gie i g k i fe I ^ i 3 « ^ 4 3 . 2 4 *^^ • ^. • iP i ? ^ 21 f P f ^ 4^ t ^ J. J- 4 4^ j- #^^F# 1_^ :^— c i. r r r i t m P ^ i 3^ ^ 3 3 2 3 3 4 5 3 4 ^ ^ iS s js P ? 11 7^ f / ^ Jf ^^ *?=i= ^ ^ ^^3 ? 36479 ^ r 185 Sarabande. -J.- B. Loeillet.- Lento con espressione. 5 ., 4 -*- I I ,g^ ^ ..,^j: . aE ^m ^^ g^ ^ / PP / •^ ^ hid 22 ^^ i 4 i f ? I f ^ n 3 n 43 * 8# 4 3a 4 3<^' Sl.i- PPr,..m- ft i ^^ ^ s^ ^ ^ 2i a f iV mf / 41 i E i ji-/ ->^^l'«l i ^^ i ^ ^ i r^ ^ i ^• <# 3 2 I 3 2 1 • • i 3 - ^ ^^ Q^^^CJ^U e rf ^^ p f i i i £ i i ^ f f ? % 5 5 r ^ # /*V 4 1," .hf- , v.. ^ i ^ J- fln^i s ^^^ K^ ^^ ^^ P f /; T •/l p. ^B u i ^ ^==^i i 3 ^ ^ i I ^ ^ i r 3 r r 8 1^ :. 4 ^ fr^^ m S P ^ ^ ^ P ^ I' P f fj Li , ^ ^ K * ? W P ^ 36479 18(5 - J- B. Loeillet.- Minuetto, 5 "^^ ^ ^^T- ^^'''j Jllji s 1 ^ ^m ^ i / 21 ^ ^ «. f^^^ ^ ^ i i i ^ I ^ ^ *=f ^ ^ -7^— V i^^ ^ ^^ ^ ^ P m eresc. ai I' a J 2 1 X_E ,1 P( ^==^ i ^ ^ f ^ f ! 5 5 5 3^ i;{a 2 4 8^ #—(• P P % • • • i t m m ^ eresc. •/ •/ J. i a? i^ 4 i i^ S J: ^ ^ ^ S P ^ ^T if j'^ "'^ (• #-»-(• #-^=— # ir~ir P ^ ^ i ? £ X pp r 1 k 1;^ i ^>\l' i ^^^ M ^r i i r=r=^ r=f=^ ^^ ^ £ 5 /W t^ Pa » i g s i It ^m cre*ir. / «* g le ^^ a ^ i i^ ^ B ^ SI i^ fe^ e -rr-r i eresc. I'i' f J: J. ^^ ^ ^ i 86479 . ^ . -J-B. Loeillet.- 187 ^^ tr^ »t;F hwit Sri apfeaSj^iS [r«- i m mi ^m m JSG / cresc J^ i? •'/ M fte Ui i i ^ s•^ i ^ i ^ ••^ ' i^ ^ ^ I'- ' * s ^ r < r i <^ <2^ a 1.4 a- 4t # gm SPE #^ ^ % ^gE i i i cresc. / P a i=^ i=i I e e i^ ^ s ^^ ^ ^ \ ff F ' tr r i r 4 0—0 m m. ^ • I >P^ ^ ^ '^ PP ores-c JL # P^E^ 1^ i ^M^ ^? ^ ^^ 4 g^ Ml ffl i ¥W^ (I f s cresc. dolce^ i* 1 1 a 1'^— i^ 1 ^^ t^ Ui J s lS>-r- i ^ ^ ^ i i r f JIK 4 5 3 i <^^''r"j^.iW;-iJ J**- Ji ^ 1?=3^ f f / r ^ a y i ^^ iE^ 3i ^ I ? ?rf ? r ^ ^ ' 5 5 L,4 # ^ (» »#?. H _ » a 1^ fc^ :i i f ? i s creac / J ii^ jT 0- U HJ i=^ i « S ^^ ? ?^ ^ ni fr ^ 5 4 4 /W ptd^ - ^ ^ l«"^^v ^ ^^ Pf i f cresc^. nr /^ TT ^tH=I J: i J: 86479 P ;i'i — ' . 1 ISH - Gig"ue. J-B. Loeillet.- Molto vivace jLiTT 5H^ -0—^ _= =: Z-Zi [^J J JO• '^ # f ^=a# T ^ i 8 L5tiJ Se3 - ^ "z i^^-Y^- — — —in— ni P„ J: ^: ^- 4 ^S I JB K I I" ^=? i /j- 'J- J. J- 4t^ ^ ' £/ ^ £/ ^ C/ » ^ ^^ 1=^ cresc. /V 4 ^ ^a r i j^j ^l i^ 2 m ^^m w^mP ^^ m F •/ ^^ i tftfe ': • g## a^ i y § j: ^ ^ ^ fp^^f »F^ ^i^ p---^ 1 Ut M r r ^ ^^ r, ttf Zf^^lZff ^^ Tl J- 1^l } ifi^ &^AM.x^ ^ y- ^^ #^ t: i ^ m } •^.li ^ ^ 3 5 ^ ^ir^^ff f JE=MSS ^ mLCJmici L£JLflmLCJ 3tj d crese. ^- -^ * g I Iks mU ie:^ ^^=P^ g 434 is 4 4 4 3 iifc » [!frr_r:cfcr.ri >- ^^Lr c:r^ ^^'[;^c:rrrj ."!/ t^..f J J- J- 2 ^^^:^ j: u- 3 ^—^*^ E^3 r- S f r- f 4W r f^ ^ £ ^^#tf i^ 00 5 m If. J. -'/J. ere.sc •5/1 ^ i ^ g^ 36479 f^ f^^ — ^ ^ -J- B. Loeillet.- 189 - ^ '' ^ —^ « ''— — — iP s y y V i: - i^Sf ^ ft I |y « 1 a 1 i ^ 0-i0 g f F ^ - F P ^ z I — ~ ?E t^r^tllrUS f i^ I ^ij m =^=^^ t r 1^ >tJ/1riJ7:^1 "^p-iLj.* i , [ ;i;^^^ 1 i' ^/ m^M^ oresc. ±±^ r ..r^crf ± -i 4 141 'it { _^^^H ~:i 4^ <•' i ^T^^^^^P^ ^^ r r- r- r- r vf 11 cre.s'c. ^ 15 U lfi= 36479 190 - J- B. Loeillet. r.A. i^':I.r^dirlirrr m i jr ^±' i m /.A. m i ^^Mm /.^. P3^ ^«?«. l.h. «^:y-«- '^j: " srirrnTi m ^^P I. P . iTJ;TJ f 1 iM *^-li- j^»^- ^Cr ^±:^ i ^ crefsc. / */ i' 2 ^ ^ J- m ^ \ .to ^ r- _1 4 i: ii» ii p,ri! i y y L i s^ ^^-a—I- ^rLrrcii^^ eresc. / i 4^ 4: J- > ^ i^ Ei >>J. tLS ^ r t^ -^ ^ 1^-^5 f « 5 * ^ m 1 2 » creav 1 « / ^ J. ^ J- J- J. m ( 3 ^t^± ^ m ? r- r r- r S6479 191 Johann Kuhnau. (1607- iTZ'i.) Suite m, Praeludium. 3 Z \ 2 * 4 2 p;^/??^ 2 4 l l^ 3^42^. ' ^ ^ Tnjrp 3 M 2 4 ^^^^ 2 * mM ^ crefic. _ p £(^ i^t ro;^p ^ i T < 36479 193 -Johann Kuhnau.- 6 5 3 ^ * CLrrmrr rrfftm JSr ttpp *-~_* 0Lm-m (ft r ^ v" Adag-io. 4^ Allemande. Andante con moto. 4 E P i :* r r f i 2 dolce e molto leg-ato i i 1^ ^ £ ^ ^ t-^^ f 34 ? rr^^^1- J -^« J i 8i^ ^m :* ^^ r ^^ifi f=Tespresstvo legg-iero ^^ 4* ^ f^ ¥^ 86479 » — # : -Johanii Kuhnau.- 193 a tempo i % 1 5 fn-n^ j-;pj-y' ^'^nn\ r^s^^ "KT" rr f § ^^-&^cJr Or » ffi^ poco ore,sc. 1\ dolcf crtfic. P lJTi;2 J-^^L^^ zsx: m -«-M P ? 45 45 55l im ^ui.i^^'H ^^ i J. J3 ^ orefic. ?^^ 1 i ^ ^a % 32 f 1 ar ^^^f^ f « 4 1 2 3 4 / 86479 - 194 -Johann Kuhnau.- 1 •i fi A •i ^ a ^ ^^ -d-0~ r irr f *?^P^ crefsc. -ja -A LA \ ^ ^ f^ i n\ jj. JT3 j^=^ i^ TT fr=Y=^5r^f=**f y-^ r erase.vri >/ cresc. ^ J J i 3 '^^. i ^ -^-^^^ ^^^ ¥ i^ ^ ^ 45 ^=^ # <# i ^ «^-# i .i r i S^t S ^ f^ i W 55 Sarabande. . ^^,^. ., ^. 4^ & *• €_fS^ ^S 'm^ if r ^ I 7^ r oresc. —a- i ^ i J ji^^JniHt 4^ If f^ P f ^ f f=p '15 4 1 /?' <^ 2 ^5j=^ mf^ <#• ^ r=R % Y^ ^ s fr r^t T r ftp oresc. '^t :^=^^ i s f^ f f^ r— 3*5479 — -Johann Kuhnau.- 195 Double. i 45 ^ Ir m7 ^^ f=^ ^=r Qj^ r r ^ -i9 P ^' ^ 5 4 s i J.. .. }nJ> ^ Vcrefic.refix llii tr^|;»e«r''"^ w^ '-y^-? J J ic ? \\ f f 5 45 » J. .JT] ^i.=^ *'» ^ _ » * ^^ ^Pr TW f^u^ i 7^ eretic. 51 2 J ^' i^ :^^ ^^^ f ^^ ^^^ i la r Gig-ue. Allegro. 5 J ^m r*ff I m n^4 ^^m "Vffff. ^ w/"^ cresc. * 38 ^ i 3 i ? r rr^^^P ff r crenc. ^ ^ P ^ P ^^^ fed :i p iCTj.jj.jr^;-J^ * T:^— P ?f r=^ ^xrr-c££rc mnrcnto ^ '>».:. "ti' 3Z r I r i P 86479 64 196 -Joliann Kuhnau.- 3 I 'Hi 1 JTTJjJ :£S M ^ i J r i f ^t Pr IF Tf 1)1(1 rcn to i-rf^.sc. •^ 9i £ 1» 0-0- tL-»-m U rrrrr " r ^ g i 4^-i^-j-j::]j JOT^j_j^ }.j -j^^ | f^ f sp=p / 2 I p ^ r^ s i g m #=^ s ^ -6^ J- tii^« 1^ ( ^ttrrr^ a I 3 2 I i ^J ^a^ i. P ^ i ^^^ g^*'* w i ^ rr=^ / 21 r r ^ f 5^- A. LA \ -l^'^ -F-P- r ,i:r-! i |ir i ^^ ^ A J 1 J ^J »CT ^ j •i r T f f f ^^^r^ f creso. ' i4^L4J. i^P^ s IZ2 J- JJ m f f f 4 2 ' J; ^« 'J |J.J i| ^ ^ *^ !»! " 9J r f ti^ r-T r p— r -r i i 1 •& J JX3J J J ^iJJ-UnJ^^:^ l=^rf^ .?r, iia -Johaiiii Kuhuau.- 197 2 ^Tx*-"'-^*-'^. Sonate IT Andantino ^^^m-g^ 8«479 -Johann Kuhnaii.- It rrrrF&rfer[{j ^=r ^ ^^ v£~ 41 ^1^-^^^ ^ ^ zm ^m m 3A478 ^ ^^ -Johann Kuhnau.- 199 Allegro k i i m M /. ii J^ P $ f T if "f f dolce w——m ^% \\V I n k^ ^:*ti ^S I ^-^TT :z: i ' 'S' .£££[£]• ^m ///> */ % \ -.i \ i \ -y € ^ r "y "y-^ 'y ^ ^ y y — 7 ? IK 7 ^£ ; I 1 *i i iffW. •^ k^«'/^. I i* ra;^ st X i i i E P'' P 1 'y1t/M^f ^^ irf £ fl 7 7 u ^ 7 ? i:i£ 7 7 i f -r-r 7 7 id^7 ^ ^s i / r pr i, £ ? •>/ £. p 3^ E^£ ^P^^ ^ iH ^?roJ!^ ^^ ;i 3 3. 4 4 pjfM^rFff FiFFFFiMP =^==9= P r 7 ^ 1^ dolce ^ "i r r r # -^^^ ^ V 7 ^J^' ^ -1 2 fa T- m 5 4, 'i\ 7 ? J>^ 1 1 7 'J) "7 ' ' — i "i — ^•'^7 7 ^ ^£^ i i 1 :{ 1 -^ 1 ^SB St. p ' aJN i^J J.'>- 1 1 f; 1 1 * «-^t^rt i^ i te ' ^ ^ P ^7 7 Fr 7=^ ^ 7 7 86479 ^ y ^ ^ 200 -Johann Kuhnau, 3 1 y ^ -t H- h *nm 'J) — ' -7 ^ — p y ^ 7 m ^ / -7 'U^ ^ ? ^ 7 7 — ^^ i ' fs^ * i * w J^JJJJJ ^ JJJ m P F ^—^ ^m 4 E^Z!# ^^ p / ^ ^^ * * r'" li^^^^Jj^ 4=* ¥ "IT" -T-— 1. rr f^^ 7 7 ^^^ jS^ oresc. •i/^/ r 4 rrrrr frrfr a £ , r - Johann Kuhnau.- 201 Adag"io 5 .{ 35 ' 7 f r I i P -o- ^ P 41 a i» ± 4r ^ i ,^ J S^ \-ZX51 Pi -»- 3 1 5 36479 202 lohaun Kuhnaii.- i ^ 4+ 1^ ^ 6'y« espreasio/ie f f fTT ^ 1 ^1 i?P ^ a i ^^ ^ J i J i d H^ S ^ S1 f .. i mirt^ i ijj ! ±^ SI i^s: # ?r 1 M 4 X 4 - i^ J^ mm £ :si f 1 Pfl P t rf -^ C! 1 _<2_ } ^g ^ ^ ^ f ^!_ C\ =^ ISI ^ s £ cresc. rf rit. Holce £L * X i '^ ! r\ n- i 36479 i^'^. ^ 4 49 9 4 \il, / i) ^ ^ __^ s^^ ^ s^ r- l-t^ f . r ^ 7 ^^7 ^ ^ .aL-rj « E* g ^•|£a-r y • f r a) ra| J a ,m.% * i i i i -95- ^ s E5" 7^ f- Hornpipe. r— Moderato. 138 * 4 132 4*^ ' m. n mlm :v Z: t ^ p^^ ^ ffi!^ ^m ^m »/ -&^ o- 3 £L . .. n u iUM 4 ^ -o- ^ ^ i I ^^