Florida International University
From the SelectedWorks of Stephen Thomson Moore
2011
Styles of articulation in Italian woodwind sonatas of the early eighteenth century: Evidence from contemporary prints and manuscripts, with particular reference to the Sibley Sammartini Manuscript Stephen Thomson Moore, Florida International University
Available at: https://works.bepress.com/st_moore/61/ Styles of articulation in Italian woodwind sonatas of the early eighteenth century: Evidence from contemporary prints and manuscripts, with particular reference to the Sibley Sammartini Manuscript by Tom Moore Rio de Janeiro
Introduction
This article will consider issues having to do with articulation and style in the wind music of the first half of the eighteenth century, from the period which we commonly think of as “late Baroque”, though as will be seen later, such an encompassing label is probably too broad to be useful. It has its origin in my work as a performer of this repertoire, and my work coaching the early music ensemble of the University of Rio de
Janeiro, trying to give direcation and answer questions about whys and why nots having to do with details of performance, and also from a frustration with approaches to interpretation which rely on the naive (rather than educated) taste of the musician who approaches a score with a “one size fits all” approach. We know that scores have shown increasing attention to details of dynamics and articulation over the last three centuries. Does this mean that performances three hundred years ago were uninflected, or underinflected? No. Quite the opposite. Performances were probably more highly inflected than we are used to in the twenty-first century. It simply means that scores were treated more in the manner of a play script, giving the text, but without instructing the performers on how exactly each phrase was to be uttered, leaving that to the art and good taste of the individual. However, it is clear that this good taste fell within clearly defined norms. Just as in our social interactions, a range of possibilities are allowed, as long as an individual does not overstep the bounds. Modern musicians often come to the score imagining that all the information needed to realize an idiomatic performance is there on the page in front of them (something not even the case for scores of modern works). The philological impulses of late nineteenth and early twentieth century scholars, who sought to replace published scores incorporating performance directions by noted performers with “clean” scores containing only that which had gone from the composer’s pen onto the page have meant that often the modern musician approaches the urtext with the notion that nothing can be added, that to change a jot or tittle, even in terms of articulation, is violating the composer’s intent. The fact that there is often so little detail offered by an original printed edition of the early eighteenth century only goes to reinforce this view. In considering this important and neglected area I will focus here on a valuable source of sonatas for winds by Giuseppe Sammartini held at the Sibley Music Library, University of Rochester, in Rochester, New York (M241.S189, accessible as pdf on the web at http://hdl.handle.net/1802/1523). This is an extensive collection of sonatas for solo treble instrument with basso continuo, copied by several hands, and incorporating sections with sonatas for oboe and continuo (pp. 1-59), transverse flute and continuo (pp. 69-99), and recorder and continuo (pp. 109-220, and also 61-67, though without designation of the solo instrument). The manuscript concludes with a sonata for violin and continuo.
Sammartini was born (1695) and raised in Milan, the son of a French oboist, Alexis Saint-Martin). He emigrated to London in 1729, and remained there for the rest of his life, performing in the orchestra for numerous Handel operas. His music is neither particularly modern (that is, it moves relatively towards the highly-ornamented galant), nor retrospective, perhaps reflecting an educated (but not cutting-edge) English taste. Sammartini’s approach to articulation might thus seem to have a claim to a wider application, in reflecting the choices of an Italian musician working in an internationalized style in a European metropolis. The works contained in the Sibley manuscript contain articulation markings which are more extensive and more detailed than is often the case for sources from the first half of the eighteenth century. Before approaching this source, we can take a look at a number of contemporary sources by other composers, and see what the norms may have been for Sammartini’s predecessors and contemporaries writing in the Italian style. Then we can look to see if some consistent practices in articulation can be ascertained within the Sibley manuscript. Having done so, we can then see how these reflect the articulations given in published sonatas by Sammartini (some of which have concordances in the manuscript).
Similarity of practice between various woodwind instruments (recorder, transverse flute, oboe, bassoon)
Increasing technical demands for woodwind instruments over the course of the last three hundred years have meant that it is rare today to find professional musicians who play more than one woodwind at a high level. Such was not the case during the eighteenth century, and in fact the opposite was true - the professional wind player most likely played oboe (as a primary instrument), but would also have a master of transverse flute, recorder and possibly bassoon as well. Evidence for this is ample, most tellingly from the many orchestral works which call for a pair of winds in addition to the strings, with oboes in the allegros and flutes in the slower lyrical movements. (A more extreme example of this is the Telemann Water Music, where the two wind players double on oboe, transverse flute, recorders, and piccolo.) Quantz, the most eminent flute teacher of the age, began his career as an oboist, and François Devienne, the leading pedagogue at the end of the century, was principal bassoonist at the Opera in Paris, as well as professor of flute at the Conservatory. Hotteterre’s didactic works (the Principes, 1707, and the Art de préluder, 1719) both concern themselves with the recorder and oboe as well as the flute. Quantz makes it clear that what he has to say on flute performance is directly applicable to the oboe and bassoon as well. Obviously the fingering for individual notes, and the means of producing the tone will be different, but otherwise “the oboe and bassoon have much in common with the transverse flute”1. We will thus be justified in viewing the articulations from works for these various instruments globally.
Articulation information in earlier and contemporary sources:
Corelli (Walsh edition for recorder)
The violinist and composer Arcangelo Corelli, who published a small number of collections - trio sonatas, one set of twelve sonatas for violin and continuo, and one set of concerti - was nonetheless the most widely influential figure in Italian instrumental music in the first half of the eighteenth century, with his violin sonatas continually republished, and adapted arranged for other instruments as well. The transcriptions, published in London by Walsh, of the first six sonatas from Corelli’s opus 5 for recorder and continuo (described as “fluto primo” and “fluto basso” in the two part-books) are relatively well-supplied with articulation slurs, which, however, fall into several clearly- delimited categories. The most obvious of these is the slurring of the first two eighth notes of three successive eighths in the gigas of sonatas I-IV. This takes place so consistently that any omission of such a slur must be an error on the part of the
1 Quantz (Riley), p. 85 (Chapter 6, Section III, Supplement) engraver. The slurs are present whether the melodic motion is stepwise, or over wide leaps, whether upwards or downwards. In these gigues there are no slurs linking the second and third eights of three, nor connecting all three eighths of a group of three (the one such, in the gigue of Sonata II, must be an error). The only other consistent articulation slurs are those connecting a group of a quarter followed by an eight, at the close of the gigue in Sonata I. The remaining quick movements are sparsely marked. An exception here is the allegro of Sonata V, where measures 5-8 have arpeggiated 16ths slurred two by two. The rest of the sixteenth-note passagework, however, has no articulation marked. The slower movments generally have stepwise sixteenths slurred two by two. A noteworthy aspect of this sources is that there is not a single ornament marked, not even a trill. The slurred appoggiaturas in the opening Preludio of Sonata I are marked where we could expect that the player would add a trill on the appoggiatura as well.
Jean BaptisteLoeillet de Gant
Bibliography on the Loeillet family of musicians and composers has focused primarily on establishing details of biography, sorting out family members with confusingly similar names (the two cousins named Jean Baptiste, both from Ghent, one moving to London, where he was known as John Loeillet, the other to Lyons, where he was known as Jean Baptiste Loeillet “de Gant”, i.e., from Ghent. Little ink has been spent on talking about the music, which in JBL de Gant’s case includes four dozen sonatas for recorder with continuo. These were originally published by Roger in Amsterdam with dedications to French nobility, and are very beautifully and carefully engraved, with the figures for the thoroughbass large and legible, and the sharps, flats, and naturals before (rather than over) the notes to which they apply. Grove describes his sonatas as being in the Italian style of Corelli”2 , but this is not quite accurate. The style is Italianate, yes, but quite far from that of Corelli - no one would ever mistake the two composers for each other. Despite the care with which the editions were evidently prepared, the amount of assistance given the performer with decisions on articulation is quite limited, and it is difficult to generalize from what is provided. We saw that in the Corelli transcription the gigues were exhaustively supplied with slurs for the first two eighths in a group of three.
For the Roger Loeillet editions this is the exception rather than the rule. It can be found in the A major sonata, op. 3, no. 11, where all such groups are provided with slurs. Similar slurs are present in the previous movement, a Siciliana, which instead of the characeristic dotted rhythm typical of the dance, is more similar to a slowed-down gigue (it is marked Affettuoso et Poco Largo). The question to be asked is why such slurs are present in all the Corelli gigues and in virtually none of Loeillet’s. Is there something about this gigue that sets it apart from the rest of the gigues in these collections? Or was the practice so well-known that it was redundant to notate it? Do all gigues require these slurs? or none? We also find here the slurred appoggiaturas in places which would seem to call for a trill (e.g. in the closing gigue of op. 3, no. 9, where these are the only slurs, with the exception of a three slurred eights at the final cadence, or likewise in the Allegro of op. 3 no. 5). An exceptional case where the score presents both the slurred appoggiatura and the trill on the stressed note is the opening Adagio of op. 3, no. 4. Here both are present only in the first two occurrences in the treble (and in none of the three in the continuo). The remaining four present only the slur. This economizing on labor is typical for baroque scores, not only in the case of marking articulations, but also in the case of
2 Skempton, Alec, Robinston, Ludy: 'Jean Baptiste Loeillet (ii) [‘Loeillet de Gant’]', Grove Music Online ed. L. Macy (Accessed [21 March 2006]),
Slurs elsewhere in these editions tend to be found more extensively in the slow movements, or in specifying ornamental moments, rather than in the many instances of passagework in sixteenths in the allegros. This is particularly the case for movements which are more French in character, such as the Sarabanda op. 3, no. 4, with an explicit coulée de tierce, slurred turns and sighs, and a bass line in which the dotted motion might better be rendered as notes inégales. One of the more extensively marked movements is the opening Affettuoso et
Grave of op. 3, no. 3, a Siciliana, though not named as such in the score. Here the slurs seem to be inconsistent or contradictory. The characteristic rhythm of the siciliana is present throughout (dotted eighth-sixteenth-eighth). During the first sixteen measures the first two notes of the group are slurred together, but from then on the three-note group is slurred. There is no reason from the musical context to prefer one above the other. Perhaps the most elaborately ornamented movement in the sonatas op. 1-3 is op. 3, no. 8, which approaches most closely to a Corellian style, with graces of the sort that would usually be left to the performer. Here all groups of two or more 32nd notes are slurred, including one group of seventeen in conjunct motion.
Francesco Maria Veracini
The composer Francesco Maria Veracini was one of the most prominent and most internationally-traveled of violinists in the first half of the eighteenth century. He was born into a family of violinists in Florence in 1690. After acquiring his training there he left in 1711 for Venice. He spent most of 1714 in London, and 1715 in Düsseldorf. His first surviving collection of compositions is a manuscript dedicated to the Elector of Saxony, and dated July 26, 1716, in Venice. This gift seems to have been successful in securing employment in Dresden for Veracini, since he was put on the payroll there the following year, and stayed until 1722. (The manuscript even today is in the Dresden library). One might wonder why a young violinist would produce a volume of sonatas to show off his talents that would also be appropriate for the recorder (prominently mentioned on the title page). Was there perhaps a connection here with his stay in London in 1714? Did Veracini produce these with an eye to finding an English patron, but without success? The English seem to have been the most devoted to the recorder at the time - Mancini and Barsanti also produced sonatas for the English market intended for recorder or violin. In comparison to the paucity of articulations marked in the Loeillet prints, or indeed the moderate markings found in the Parma manuscript of recorder sonatas, the dozen sonatas in this manuscript set are brimming with articulation markings. Why should there be so many markings? Is there a didactic purpose here? Most of these can be sorted into familiar categories.
• The smallest rhythmic values are always slurred when they occur in pairs. • Thirds filled in with sixteenths in a motion generally of eights are slurred. • Returning-note figures in passage-work are usually slurred as such (generally 3+1). • Returning-notes of the mordent-type are slurred on the first two notes (e.g. the opening of sonata no. 8)
• Runs up or down are slurred. • Descending thirds are slurred. • Gigues with groups of three eights are slurred 2+1 (e.g. sonata 5, sonata 8). What seems exceptional here are longer slurs, over larger groups of notes and varying rhythmic values. Some examples:
• the opening of the second movement of sonata 2 (Allegro), slurring an ascending figure of eighth-2 sixteenths-eight;
• the Largo of sonata 5, slurring over sixteenth-2 thirty-seconds-sixteenth-2 thirty- seconds;
• slurs over groups of four or six sixteenths; • slurs over groups of six eighths in gigues. All in all, the evidence of this manuscript is much more extensive than any other examined so far.
Francesco Barsanti
Barsanti’s first published collection of sonatas was that for the recorder and continuo (though described as for the recorder or violin on the title page), issued by the composer himself and printed and sold by the noted recorder maker Bressan. It was first published in 1724, and reissued in 1727 and 1738.3 He first arrived in England in 1714, and seems to have spent all of the rest of his long career there, with the exception of eight years in Scotland.
3 C. Humphries and W.C. Smith, A Bibliography of the Musical Works published by the firm of John Walsh, 1721-1766, London, 1968, apud Barsanti, [VI] Sonate a flauto o violino solo e basso, Firenze: SPES, 1992, introduction. In his op. 1 (not labeled as such, but its successor is called op. 2), we find some aspects of articulation that are congruent with what we see in the Sibley Sammartini MS. In some details, of course, Barsanti’s print reflects practice we have seen in other sources - slurs over the smallest values (usually 32nds), trills over appogiaturas, slurred descending runs (e.g., the Adagio of Sonata 2, though only in the second of three such runs is the slur present). There are still many passages where slurring must have been used, but is not indicated by the print.
Nevertheless, Barsanti does sometimes give assistance in how to phrase the passagework, for example, in the running eighths (consistently slurred 1+3) of the second movement of Sonata 1. The bass line is generally lacking in noted slurs of this sort, but their omission does not mean that that the continuo would not have followed the treble’s lead in this matter, simply that the custom of noting every detail of articulation had not yet taken holld (such slurs are finally present as a sort of afterthough at the end of the last statement in the bass). This sort of grouping, what we might think of as “Lombardic”, having a tendency to emphasize what should be a weak beat, seems to be modern, forward-looking, and it is found extensively in the Sibley MS. Barsanti only includes one giga (simply labeled as Allegro Assai, the final movement of sonata 1), and two sicilianas among the movements of these six sonatas, but the “Lombardic” approach to slurring is present here as well. Instead of finding groups of three eights slurred 2+1 (as we have seen earlier), the groupings is consistently 1+2. The print is extremely consistent on this point, and the only apparent deviation, at the final cadence of the first of the two parts, must certainly be an error on the part of the engraver, since the analogous passage at the end of the second part has the expected 1+2. A final congruency with practice in the Sibley MS is the presence of slurs for melodic motion up a semitone from a weak to strong beat, that is, from arsis to thesis. Various examples of this can be cited from this collection - the fifth and sixth bars of the second section of the previously mentioned Allegro Assai, m. 10 and mm. 15-16 of the Adagio of Sonata 2, with seven or eight such slurs in a row Once again, this has the effect of setting the articulation at odds with the natural stress of the meter, giving the music a piquancy and spice.
Francesco Mancini
The Neapolitan Francesco Mancini devoted his composition primarily to vocal music, as assistant and successor to Alessandro Scarlatti, but today he is primarily known for his works for recorder - one collection of twelve sonatas published in London in 1724 and 1727 , and twelve sonatas for recorder and strings in a collective manuscript of such works held in Naples. The evidence of the Walsh edition (the third) is inconclusive. Though these sonatas were published at the same time as the Barsanti op. 1, Mancini was eighteen years older than Barsanti (as well as from a different part of
Italy), and the sort of galant phrasing we can discern in the Barsanti is not present here. We can discern the familiar slurring of the returning note figure (usually 3+1 sixteenths), the slurred ornamental runs, the slurred descending thirds. The gigues are quite extensively slurred, but in contrast to usual earlier practice the slurs clearly include all three of the eighths in a group.
A possible point of connection with Barsanti is the passage of arsis-to-thesis semitones over the dominant pedal climax of the second movement of Sonata 4 (p. 17 in the Walsh ed.) Here there are slurs present, but to my eye it looks as if the engraver made a botch of things, since of the three slurs, are from thesis to arsis, and one from arsis to thesis. They should presumably all be one way or the other, and to my way of thinking, should run from arsis to thesis, as we saw in the Barsanti.
Articulation in Parma. Manuscript CF-V.23
The manuscript of sonatas for recorder and continuo, Parma CF-V.23, transmits a corpus of works by composers from the early eighteenth century whose names are completely unknown today, even to lovers of Baroque music. The only remotely familiar names are here are Corelli (a sonata which also survives a third lower for violin), Albinoni and Somis. The level of detail here is perhaps midway between the Loeillet prints and the Veracini manuscript, though even here it varies between different copyists. Nevertheless, although the source is not so consistently detailed as the Veracini manuscript, the ornaments fall into the same categories as mentioned above:
• The smallest rhythmic values are often slurred when they occur in pairs. ex: opening Grave of the Corelli sonata (p. 117)
• Thirds filled in with sixteenths in a motion generally of eighths are slurred. ex.: Minuet of anonymous sinfonia (p. 116)
• Returning-note figures in passage-work are usually slurred as such (either 3+1 or 1+3). ex.: opening Adagio of the Albinoni sonata (p. 6)
• Returning-notes of the mordent-type are slurred on the first two notes ex.: opening Adagio of the Albinoni sonata (p. 6)
• Runs up or down are slurred ex. : opening Adagio of anonymous sinfonia (p. 113)
Gigues are often bereft of markings. One exception is the closing giga of the Sonata Ottava of Giuseppe Valentini (pp. 151-152), which seems to mix and match a “Lombardic” slurring (1+2), with the more usual 2+1.
Giuseppe Sammartini
What is more forward-looking, more galant about the markings for the sonatas in the Sibley manuscript? To begin with, the slurs tend to be more extensive, and perhaps less predictable than in other sources. The musical idiom has not reached the level of rococo elaboration found, for example, in the works of Giovanni Ferrandini, remarkably detailed given their early date (op. 1, 1737, op. 2, undated, both published Paris), but it is considerably more modern than the idiom of his London colleague, Handel. The articulations here, once again, seem generally to fall in line with what can be gleaned from the other sources discussed here. The smallest values (usually 32nds, though sometimes sixteenths) are frequently slurred. Though Quantz’s treatise goes into considerable detail about execution of double tonguing, with extensive musical examples to show its use in context, the consistency with which small values in even groups are slurred in Italian sources seems to indicate an aversion to this practice on the part of many wind players. A good example here is the Allegro (pp. 192-193) of the sonata in F for recorder and continuo, where the sixteenths in the fanfare-like motive are frequently slurred (though the copyist is not consistent in this, presumably the performer should be).
The movement towards a “Lombardic” slurring is very much present here, whether in gigas, or in three-note groups in general. A particularly interesting in this regard is the sonata in G for recorder and continuo (pp. 107-203). Exceptionally, the opening movement is a giga (though not marked thus), which would ordinarily come later, or last. This giga shows a remarkable flexibility of rhythm as expressed in the articulation, with many of the three-note groups of eighths slurred as 1+2. This is particularly expressive in the chromatic moment of measures 7-8, with the offbeat slurs up a semitone. When the music moves to moments of more stability (e.g. the sequence leading to the cadence at the double bar, mm. 11-12, or the cadence to the tonic in mm. 35-36), the slurs begin on, rather than off the beat. The slurring of thehe arppegiated passagework leading to the cadence on the most remote degree (E minor) is not entirely clear. It seems that it should either be 1+2 throughout, or else 1+2,2+1. What is not possible here is consistently 2+1 (compare as well the similar passagework in the sonata in C which follows, clearly marked 1+ 2 throughout) The slow movement combines two characteristics figures - sighing paired sixteenths, consistently slurred as such, and slurred sixteenth triplets. The latter seem more often to be slurred three together, though in some place (the third and seventh measures of the second half) the slurs might be read as 1+2. Again, what is not present is 2+1. The concluding movement, a minuet with variations (once again, not marked) continues the trend toward 1+2 slurs. In the first variation, all but one of the triplet groups are marked thus. The third and closing variation combines this with 2+1 for arpeggios. Also notable here in terms of rhythmic displacement are the four sixteenth- note runs in the first half, where three are clearly slurred beginning on the second of six sixteenths (the second group has no slur marked). The returning-note slurring we have seen elsewhere, and which seems to be taken for granted in articulating passagework, is present in these sonatas as well (a festival of this can be found in the opening Allegro of the Sonata in F for recorder and continuo, pp. 150-151. But here we also see a rhythmically displaced slurring of the sort which seems to be characteristic in this source, a group of three descending slurred eights (see a similar passage in the opening Allegro of the Sonata in F for recorder and continuo, pp. 182-183). What is the commonality here? What seems to be present is a desire on the part of the performer to enliven music which depends on motoric and regular rhythms with articulations which, one might say, cut across the grain, or to think of it another way, enliven the offbeat or backbeat. Conclusions The sources for Italian music examined here, dating from a span of about forty years, show a consistency of approach towards a variety of details in articulation. Earlier sources transmit a score which is often “cleaner”, perhaps easier to read, less cluttered with details about matters about which the performer might be expected to have his or her own opinion. This does not mean that those details were not present in the performance, anymore than the frequent omission of figures for the bass in manuscript sources (as opposed to printed editions) meant that there were no harmonies realized. The lack of an articulation should never mean that the performer should be inhibited from adding his own. Quite the contrary - it leaves him the freedom to articulate according to his taste. The evidence of the sources examined does seem to indicate that tastes in these matters changed over the first half of the eighteenth century, with slurring increasingly going “against the grain”, beginning on weak rather than strong beaks (as in the shift from 2+1 to 1+2 slurring in gigues), or slurring from weak to strong beats (as in the case of semitones resolving upward). What the evidence does not support is interpretations devoid of a variety of articulation patterns, something that often tempts the modern performer when confronted with a naked succession of sixteenths in perpetual motion, as for example in the Allemande and Corrent of the Bach A minor Partita. Choices must be made about how to slur and group these sixteenths, but the choices should be based on an informed knowledge of practice in the historical context.
Works by Giuseppe Sammartini: Manuscript collection of sonatas for treble instrument (oboe, violin, flute, recorder) with continuo at the Sibley Music Library, accession no.: 406133. Accesible as pdf at http://hdl.handle.net/1802/1523.
Sammartini, Giuseppe. Sonate a solo et a due flauti traversi con loro basso : opera prima. Dedicata al Altezza Reale di Federico Principe de Vallia et Elettorale di Brunsvik Di Giuseppe San Martini Milanese. London: Printed for the Author [1736]. Facsimile edition: Firenze : Studio per edizioni scelte, 1994.
Sammartini, Giuseppe. XII Sonate a Flauto Traversiere Solo con il Basso. Opera Seconda di Giuseppe San Martini Milanese. Amsterdam: Chez Michel Charles Le Cene.
No. 584. [173-?] Facsimile edition: Firenze : Studio per edizioni scelte, 1994.
Other contemporary sources cited:
Barsanti, Francesco. Sonate a Flauto, o Violino Solo con Basso, per Violone, o Cembalo. Dedicate all’Eccellenza di My Lord Riccardo Conte di Burlington...... Da Francesco Barsanti. [London: The author, 1724]. Facsimile edition: Firenze : Studio per edizioni scelte, 1992.
Corelli, Arcangelo. Six Solos for a Flute and a Bass by Archangelo Corelli Being the second part of his Fifth Opera.....The whole exactly Transpos’d and made fitt for a Flute and a Bass with the aprobation of severall Eminent Masters. London: I. Walsh, [1702]. Facsimile edition: Courlay, France : Éditions J.M. Fuzeau ; c1998.
Ferrandini, Giovanni. VI Sonate a Flauto Traversiere o Oboé, o Violino (&) Basso Continuo del Signor Giovanni Ferrandini, Opera Seconda, Libro Secondo. Paris:
Boivin....Le Clerc. [circa 1740]. Facsimile edition: Firenze : Studio per edizioni scelte, 1986.
L’Oeillet de Gant, Jean Baptiste, XII Sonates à une Flute & Basse Continue, Premier Ouvrage. Amsterdam: Estienne Roger. [1715].
L’Oeillet de Gant, Jean Baptiste, XII Sonates à une Flute & Basse Continue, Second
Ouvrage. Amsterdam: Estienne Roger. No. 346. [1715].
L’Oeillet de Gant, Jean Baptiste, XII Sonates à une Flute & Basse Continue, Troisiéme Ouvrage. Amsterdam: Estienne Roger, [1715].
The previous three editions published in a facsmile edition: Genève : Minkoff, 1985.
Mancini, Francesco. XII Solos for a Flute with a Thorough Bass for the Harpsichord or Bass Violin Compos’d by Sigr. Francesco Mancini. London: Walsh, [172-?].
Veracinji, Francesco Maria. Sonate a Violino, o Flauto Solo, e Basso Dedicate All’Altezza Reale del Serenissimo Pincipe Elettorale di Sassonia. Da Francesco Maria Veracini Fiorentino. MS, Sächsische Landesbibliothek, Dresden. Facsimile edition: Firenze : Studio per edizioni scelte, 1990.
Collections:
Sinfonie di Varij Autori. [Arcangelo Corelli, Domenico Maria Dreyer, Domenico Sarri, Filippo Rosa, Giacomo Ferronati, Giovanni Antonio Canuti, Giovanni Battista Somis, Giuseppe Valentini, Paolo Bottigoni, Pietro Pellegrini, Quirino Colombani, Tommaso
Albinoni, Anonymous). MS. Biblioteca palatina di Parma. Manuscript CF-V.23 Parma Facsimile edition: Firenze : Studio per edizioni scelte, 1982.