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Music (Scores)

[All scores are available in PDF format and can be retrieved by clicking on the links on this page.]

[Sibelius files: Some scores are in Sibelius format. Clicking on these links on this page will cause these files to appear in the Sibelius viewer Scorch.
To see these you must have Scorch installed. See Viewing Software, below.
To download each Sibelius .SIB file, click on each composer's name to enter the FTP folder / subdirectory.
Once there, right click on each file, and save to your hard disk.]

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Sibelius Viewer, Scorch

[PostScript files: Most scores in the FTP folder / subdirectory are in PostScript .EPS format.
In order to use these PostScript files, each must be printed on a PostScript printer or typesetter.
The PostScript files also can be viewed and printed using a PostScript viewer such as GhostView/GSView.]

[To download each PostScript file, click on each composer's name to enter the FTP folder / subdirectory.
Once there, right click on each file, and save to your hard disk.
If you have GhostView/GSView (or another PostScript viewer) installed, clicking on the *.EPS
filename may cause the viewer to load, with the file.
If so, save the file using the viewer's "save" command, or right-click on the file name
then click on "Save Link As....]

Tomasso Albinoni

• Sonata da Chiesa, op. IV no. 6 (Vl & b.c.) [6 pages: 1, 2, 3, 4, 5, 6] [PDF file]

Anonymous

• (English) "Damon my beauty doth adore" (Ob MS Don. c. 57, fol. 98v–99) [two layouts, PostScript (EPS) files: (i) voice & tablature, 2 pages: p. 1, p. 2; (ii) voice & tablature with realization, 3 pages: p. 1, p. 2, p. 3]    [PDF files of these:   V & Tab,   V & Tab & realization].
• (Italian, from English source), "Dove, dove, corri, mio core?" (Select Ayres and Dialogues, Book 2. London: Playford, 1669, p. 97 [misnumbered 89]), solo song for soprano or tenor, with thoroughbass (in transcription realized in keyboard notation - simple, so easily adapted to lute, etc.) [2 pages: 1, 2]  [PDF file].
• (French), "Hola, hola Charon" (Airs de different auteurs, mis en tablature de lvth..., 1615, fol. 53v-56v), dialogue for soprano, baritone, and lute [6 pages: 1, 2, 3, 4, 5, 6]  [PDF file].
• (English) "I must complain" (Lbl Add. MS 15,177, fol. 19) [two layouts, PostScript (EPS) files: (i) voice & tablature, 2 pages: p. 1, p. 2; (ii) voice & tablature with realization, 2 pages: p. 1, p. 2]    [PDF files of these:   V & Tab,   V & Tab & realization].
• (English) "Like a dog with a bottle" (Lbl Add. MS 29,396, fol. 66v–67) [voice & thoroughbass, 2 pages: 1, 2] [PDF file].
• (English) "This merry pleasant spring"
• (Och Mus. MS 439, pp. 42–43) [voice & thoroughbass, 2 pages: 1, 2] [PDF file].
• (Lbl Egerton MS 2971, fol. 16v–17) [voice & thoroughbass, 2 pages: 1, 2] [PDF file].
• (The Turpyn Book, Ck Rowe MS 2, fol. 9v-10v) [voice and lute, with additional editorial transcripion in keyboard layout, 4 pages: 1, 2, 3, 4] [PDF file].

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John Banister

• "Come unto these yellow sands" (The Ariels Songs in the Play call'd the Tempest, [ca. 1675]) [voice and thoroughbass, 1 page]  [PDF file].

John Bartlet

• "Of all the birds" (A Booke of Ayres, 1606, no. 10) [4 voices and lute, with additional editorial transcripion in keyboard layout, 3 pages: 1, 2, 3]  [PDF file].
• "Sweet birds deprive us never" (A Booke of Ayres, 1606, no. 19-21) [voice, basso, and lute, with additional editorial transcripion in keyboard layout, 20 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20]  [PDF file].

John Blow, songs from Amphion Anglicus, 1700

• Solo for Bass: "Arms, arms, arms, he delights in" (pp. 89-90) [bass voice and thoroughbass, 2 pages: 1, 2] [PDF file].
• The Self Banished: "It is not that I love you less" (p. 91) [new layout: voice and thoroughbass, 1 page] [PDF file].
• A Solo for Two Violins: "Music's the cordial of a troubled breast" (pp. 117-122) [bass voice, two violins, and thoroughbass, 7 pages: 1, 2, 3, 4, 5, 6, 7] [PDF file].
• Flavia grown Old: "Why Flavia, why so wanton still" (pp. 158-159) [voice and thoroughbass, 3 pages: 1, 2, 3] [PDF file].
• Horace to his Lute: "At looser hours in the shade" (pp. 177-181) [bass voice and thoroughbass, 6 pages: 1, 2, 3, 4, 5, 6] [PDF file].
• A Mad Song: "Lysander I pursue in vain" (pp. 182-187) [voice and thoroughbass, 7 pages: 1, 2, 3, 4, 5, 6, 7] [PDF file].
• Sappho to the Goddess of Love: "Oh! Venus! Daughter of the mighty Jove!" (pp. 197-205) [voice and thoroughbass, 11 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11] [PDF file].

Antoine Boësset

• "Divine Amarillis" (Airs de cour avec tablature de luth..., XV, 1632, fol. 17v-18) [voice and lute, with additional editorial transcripion in keyboard layout; 2 pages: 1, 2]  [PDF file].

Dietrich Buxtehude

• Trio Sonata in G Major (Vl I & II, Viola da gamba, b.c.) [22 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22] [PDF file].

Francesca Caccini

• "O che nuovo stupor" (Il primo libro delle Musiche, 1618, pp. 43-46), song (strophic variations) for soprano and thoroughbass, with ritornello for one instrument (probably violin or flute/recorder - fits on treble and tenor) with thoroughbass [6 pages: 1, 2, 3, 4, 5, 6]  [PDF file].

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Giulio Caccini

• "Amor ch'attendi" (Nuove musiche e nuova maniera di scriverle, 1614, p. 41), song for soprano and thoroughbass [1 page]  [PDF file].

Giacomo Carissimi

• Lamento di Maria Stuarda: "Ferma, lascia ch'io parli" (Lbl Harley MS 1265, fol. 1-12v) [11 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]  [PDF file].

Francesco Cavalli [to download file right click on file name and "Save As..."]

• Francesco Cavalli, Canzon à 8, Musiche Sacre Concernenti (Venice: Alessandro Vincenti, 1656) [PDF file]
• Francesco Cavalli, Messa Concertata: Agnus Dei, Musiche Sacre Concernenti (1656) [PDF file]
• [A full score of the complete Mass is available, along with separate parts for the instruments. Contact the editor of this site for more information.]
• Francesco Cavalli, "Nisi Dominus" (Psalm 126), Musiche Sacre Concernenti (1656)
[PDF file] [files in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")]

Archangelo Corelli

• Sonata Op. V, no. 6 [for solo violin and continuo; 10 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10] [PDF file].

John Danyel

• "Like as the lute delights" (Songs for Lute Viol and Voice, 1606, no. 4) [voice, bassus, and lute, with additional editorial transcripion in keyboard layout, 7 pages: 1, 2, 3, 4, 5, 6, 7]  [PDF file].

John Dowland

• "Fine knacks for ladies" (The Second Booke of Songs or Ayres, 1600, no. 12) [4 voices and lute, with additional editorial transcripion in keyboard layout, 3 pages: 1, 2, 3]  [PDF file].
• "Time stands still" (The Third and Last Booke of Songs or Ayres, 1603, no. 2) [voice, bassus, and lute, with additional editorial transcripion in keyboard layout, 4 pages: 1, 2, 3, 4]  [PDF file].

Alfonso Ferrabosco

• "So beautie on the waters stood" (Ayres, 1609, no. 21) [voice, bassus, and lute, with additional editorial transcripion in keyboard layout, 3 pages: 1, 2, 3]  [PDF file].

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Giovanni Battista Fontana

• Sonata 16 à 3 Violini (Sonate, 1641) [11 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]  [PDF file].

Girolamo Frescobaldi

• Sonetto spirituale. Maddalena alla Croce: "A pie della gran croce" (Primo libro d'arie mvsicali..., 1630, pp. 15-16) [2 pages, legal size: 1, 2]  [PDF file].
• Aria a voce sola: "O mio cor" (Secondo libro d'arie mvsicali...,1630, pp. 22-23) [2 pages, legal size: 1, 2]  [PDF file].

Francesco Geminiani [to download file right click on file name and "Save As..."]

• Concerto II [1732] from Six Concertos…Op. 2. Second edition, Corrected and Enlarged, with some new Movements, by the Author; and now first Published in Score. London: Printed for the Author, by John Johnson…, [ca. 1757].
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")] [PDF file]

Claude Gervaise [to download file right click on file name and "Save As..."]

• Les huict bransles de pictou (Cinquiesme livre de danceries, 1550, fol. 6v-11) [PDF file]
• Pavanne d'Angleterre, avec sa gaillarde (Sixieme livre de danceries, 1555, fol. 3v-4) [PDF file]
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")]

Orlando Gibbons

• "What is our life" (The First Set of Madrigals and Mottets, 1612, no. 14) [5 voices, 12 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12]  [PDF file].

George Frideric Händel

• Trio Sonata, Op. V no. 2 (Seven Sonatas or Trios for two Violins or German Flutes with a Thorough Bass for the Harpsichord or Violoncello...Opera Quinta. London: Printed for & sold by I. Walsh, n.d. [1739].) [in PostScript format: 13 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13] [PDF file].
• Trio Sonata, Op. V no. 5 (Seven Sonatas...Opera Quinta... .) [Air GIF files: page (of the sonata) 17, 18] [PDF file of complete Sonata].
• Trio Sonata, Op. V no. 6 (Seven Sonatas...Opera Quinta... .) [PDF file].
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")]

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John Hilton

• "Come follow me" (The Catch Club or Merry Companions, [1762], no. 93) [catch for 3 voices, 1 page]  [PDF file].

Sigismondo d'India

• "Amico hai vint'io" (Le musiche...Libro quarto, 1621, pp. 15–17) [3 pages: 1, 2, 3]  [PDF file].
• Lamento d'Olimpia ("Misera me!") (Le musiche...Libro quinto, 1623, pp. 17-21) [9 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9]  [PDF file].
• "Torna il sereno Zefiro" (Le musiche...Libro quinto, 1623, p. 22) [(strophic song) 2 pages: 1, 2]  [PDF file].

Heinrich Isaac [to download file right click on file name and "Save As..."]

• La Morra (Harmonice musices Odhecaton. A. Venezia: O. Petrucci, 1504, pp. 49-50. Transcribed and edited by Scott A. MacDonald, in Sibelius format) [Sibelius file (FTP; to download file right click on file name and "Save As..."); GIF files: pp. 1, 2, 3, 4, 5, 6] [PDF file]

Robert Johnson

• [attrib.?] "See the chariot at hand" / "Have you seen the white lily grow?" (NYp Drexel MS 4257, no. 2) [voice & thoroughbass, 2 pages: 1, 2] [PDF file].
• [attrib.?] "Have you seen the white lily grow?" ["See the chariot at hand"] (Och Mus. MS 87, fol. 4v–5) [voice & thoroughbass, 2 pages: 1, 2] [PDF file]..
• [attrib.?] "Have you seen the bright lily grow?" ["See the chariot at hand"] (NYp Drexel MS 4175, [original number "XLIX") [voice & thoroughbass, 2 pages: 1, 2] [PDF file]..
• [attrib.?] "Have you seen the white lily flow'r?" ["See the chariot at hand"] (Lbl Add. MS 29,481, fol. 21) [voice & thoroughbass, 2 pages: 1, 2] [PDF file]..
• [attrib.?] "Have you seen but a white lily grow" ["See the chariot at hand"] (Lbl Add. MS 15,177, fol. 17v) [three layouts, PostScript (EPS) files: (i) voice & tablature, edited, 2 pages: p. 1, p. 2; (ii) voice & tablature with realization, edited, 3 pages: p. 1, p. 2, p. 3; (iii) voice & tablature, minimal editing, transcription using original rhythmic values and bar lines, 2 pages: p. 1, p. 2]    [PDF files of these:   V & Tab,   V & Tab & realization,   V & Tab, orig. values].

Henry Lawes

• "About the sweet bag of a bee"
• (Lbl Add. MS 53,723, fol. 75v [autograph]) [voice & thoroughbass; two pages: 1, 2] [PDF file]..
• (Ob MS Don. c. 57, fol. 96v) [two layouts, PostScript (EPS) files: (i) voice & tablature, 2 pages: p. 1, p. 2; (ii) voice & tablature with realization, 3 pages: p. 1, p. 2, p. 3]    [PDF files of these:   V & Tab,   V & Tab & realization].
• "Among the myrtles as I walk'd"
• "Among the myrtles as I walk'd" (Lbl Add. MS 53,723, fol. 78 [autograph]) [voice & thoroughbass] [PDF file]..
• "Among the myrtles as I walk'd" (Ob MS Don. c. 57, fol. 97) [two layouts, PostScript (EPS) files: (i) voice & tablature, 1 page; (ii) voice & tablature with realization, 2 pages: p. 1, p. 2]    [PDF files of these:   V & Tab,   V & Tab & realization] [Literal transcription of tablature (with apparent errors and omissions) (PDF)].
• "Amidst the myrtles as I walk'd" (NYp Drexel MS 4257, no. 38) [voice & thoroughbass] [PDF file]..
• "Thou, shepherd, whose intentive eye" (Lbl Add. MS 53,723, fol. 78 [autograph]) [The poem is on the same page as "Among the myrtles as I walk’d", sung to the same music:] "A second Dittye to the former Ayre." [voice & thoroughbass] [PDF file]..
• "Thou, shepherd, whose intentive eye" (NYp Drexel MS 4257, no. 39) [voice & thoroughbass] [PDF file]..
• "When this fly liv’d" (Lbl Add. MS 53,723, fol. 103v–104 [autograph]) [voice & thoroughbass; two pages: 1, 2] [PDF file]..

William Lawes

• "The Cats" (British Library, Add. MS 31,432, fol. 22v–23v) [7 pages: 1, 2, 3, 4, 5, 6, 7].
• "Judah in exile wanders" (Choice Psalmes, 1648, no. 6) [without realized thoroughbass, 3 pages: 1, 2, 3.]
• "Behold, how good and joyful a thing it is" (Choice Psalmes, 1648, no. 13) [one version with (4 pages: 1, 2, 3, 4) and one without (4 pages: 1, 2, 3, 4) realized thoroughbass]
• "O sing unto the Lord a new song" (Choice Psalmes, 1648, no. 14) [one version with (7 pages: 1, 2, 3, 4, 5, 6, 7) and one without (4 pages: 1, 2, 3, 4, 5, 6, 7) realized thoroughbass]

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Luzzasco Luzzaschi

• "O dolcezz' amarissime d'amore" (Madrigali, 1601, pp. 20-25) [12 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12]  [PDF file].
• "I mi son giovinetta" (Madrigali, 1601, pp. 16-19) [5 pages, legal size: 1, 2, 3, 4, 5]  [PDF file].

Luca Marenzio

• "Quell' Augellin che canta" (Il settimo libro de madrigali, 1595, no. 2) [7 pages: 1, 2, 3, 4, 5, 6, 7]  [PDF file].

Biagio Marini

• Sonata [with separate part for continuo], op. 22: Passacalio à 3. & à 4. [4 pages: 1, 2, 3, 4]  [PDF file].
• Trio Sonata [with separate part for continuo], op. 22: Sonata Sopra Fuggi [9 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9]  [PDF file].
• Marini's sonata "Sopra fuggi dolente core," from Diversi generi di sonate, da chiesa, e da camera (1655), is based on the Italian song "Fuggi, fuggi, fuggi diletta amante" [anon.]. The sonata is essentially a set of free variations, using the melody of this song as a wandering cantus firmus.
  Continental Sources of the song:
I-Fc Codex Barbera G.F.83 p. 158, with text beginning "Fuggi fuggi fuggi da questo cielo" (Attributed: Giuseppino [del Biabo]) [in G]
I-Bas Malvezzi-Campeggi MS serie IV, b.86/746 fol. 91v ("Fuggi fuggi dolente core", lyrics with tablature)
English Sources of the song:
Ob MS Broxbourne 84.9 fol. 4
Playford, 1652 I, 41 [in G]
Playford, 1659 p. 15 An Italian Ayre. (Reissued in Playford's Treasury I, 1669)

I-Fn MS B.R. 238 (Magl. Cl.XIX.114) pp. 8-9 contains a different setting of the song with lyrics (4 stanzas) beginning "Fuggi fuggi dolente core", in F major, triple meter, solo voice with single bass line accompaniment.
The English sources all have essentially the same melody. The bass in the Playford sources differs substantially from the version in MS Broxbourne 84.9. Likewise, although Codex Barbera G.F.83 has different lyrics and bass line, the melody is essentially the same as that in the English sources.
This melody was tremendously popular from the seventeenth century until the modern day. Not only are there settings of the song with alternate lyrics, the melody appears in a variety of instrumental arrangements. In addition to Marini's setting, Stefano Landi used the melody as a ritornello (a 4) in his sacred opera, Il S. Alessio, (Rome, 1634), pp. 159-178, Balletto delle virtu. The melody survives in a large number of instrumental settings. I have a list of about 28 Continental instrumental sources, from Italy, France, the Netherlands, Poland, etc., dating before about 1740. Settings include versions with guitar alfabeto, guitar tablature, lute tablature for violin with divisions, a 4 with guitar tablature, keyboard, chimes, lyra viol, and for instruments a 4 with continuo. Titles include "Fuggi Fuggi," "Ballo di Mantova," "Le Branle de Mantove," "La Mantovana," "Cecilia," "Pantalon," and "la Cascauillane."
Instrumental settings (for unidentified treble, lute, guitar, keyboard, lyra viol) of this melody are also in several English sources, with the titles "An Italian Rant," "New rant," "Fugga, Fugga, or the Italian Rant," "My Mistres is Prettie, by monsieur Mouton," and similar.

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The Lyrics without music but clearly derived from a musical source) are in Remegio Romano, Prima raccolta di bellissime canzonette, 1618, pp. 45-47; possibly by Cataneo. Another text associated with the same tune, "Fuggi, fuggi dolente core", is on pp. 47-48 of Prima raccolta (four stanzas).
The melody survives today in the national anthem of Israel.
[These comments are derived from my research concerning the Bodleian manuscript, Broxbourne 84.9, a collection (ca. 1660) of English, French, and Italian songs, with theorbo tablature accompaniment (in the original). See: Songs with Theorbo (ca. 1650-1663): Oxford, Bodleian Library, Broxbourne 84.9, London, Lambeth Palace Library, 1041. Edited by Gordon J. Callon. (Recent Researches in the Music of the Baroque Era, 105.) Madison: A-R Editions, Inc., 2000.]

Claudio Monteverdi

• "Come dolce" (Madrigali e canzonette, 1651) [5 pages: 1, 2, 3, 4, 5]  [PDF file].
• Lamento d'Arianna [5 pages, legal size: 1, 2, 3, 4, 5; Score files: 1, 2, 3, 4, 5]. [PDF file] [PDF of larger image size]
• "Zefiro torna" (Madrigali e canzonette, 1651) [7 pages: 1, 2, 3, 4, 5, 6, 7]. [PDF file]

Alonso Mudarra

• "Triste estaba el rey David" [David's lament] from Tres libros..., 1546 (lib. III no. 5, sig. b8-c), for voice (alto/tenor) and vihuela (or lute); Italian tablature, also transcribed in keyboard notation [2 pages: 1, 2]  [PDF file].

Alessandro Piccinini

• Chiaccona in partite variate (Intavolatura di liuto, et di chitarrone Libro primo, 1623, p. 121), for chitarrone [in Italian tablature with additional editorial transcripion in keyboard layout; 3 pages: 1, 2, 3]. [PDF file]
• Toccata VI (Intavolatura di liuto, et di chitarrone Libro primo, 1623, pp. 100-101), for chitarrone [in Italian tablature with additional editorial transcripion in keyboard layout; 5 pages: 1, 2, 3, 4, 5]  [PDF file].

Walter Porter

• "Farewell once my delight" (Madrigals and Ayres, 1632, no. 15), song for Soprano and thoroughbass with chorus SATB (different soprano from solo) used as refrain). The song is a set of strophic varations, in florid style, modelled after the contemporary Italian declamatory and florid monody [6 pages: 1, 2, 3, 4, 5, 6]  [PDF file].

Henry Purcell

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• An Evening Hymn ("Now, now that the sun hath veil'd his light") (Harmonia Sacra, 1688, pp. 1-3)
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")] [PDF file]
• "Let the dreadful engines" from Don Quixote, Part I (1694), Act IV, Scene 1 (Orpheus Britannicus, I 243-248)]
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")] [PDF file]
• "O Sing unto the Lord" from The Gostling Manuscript, pp. 124-137
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")] [PDF file]
• Ten Sonatas in Four Parts (1697), no. 9 [EPS files, 10 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10] [PDF file].
• "They that go down to the sea in ships" from The Gostling Manuscript, pp. 77-84
[in Sibelius format: Sibelius file (FTP; to download file right click on file name and "Save As...")] [PDF file]
• "Wond'rous machine" (Orpheus Britannicus II 115-120) [8 pages: 1, 2, 3, 4, 5, 6, 7, 8] [PDF file].

Jean-Philippe Rameau

• Pieces de clavecin en concerts, Premier concert:


I. La Coulicam [6 pages: 1, 2, 3, 4, 5, 6] [PDF file].
II. La Livri [3 pages: 1, 2, 3] [PDF file].
III. La Vezinet [6 pages: 1, 2, 3, 4, 5, 6] [PDF file].
for violin or flute, bass viol, and clavecin. [In score only.]

Thomas Ravenscroft

• The Cryers Song of Cheape-Side (Melismata, 1611, no. 14), consort song for alto or high tenor [transcribed at actual pitch, not 8va] with three instruments (probably viols - treble alto/tenor, & bass). [It is a rather light-hearted item. There is a chorus a 4 (lyrics doubling the instruments at the end) in the manner of a verse anthem, presumably optional - the instruments will keep playing in any case] [7 pages: 1, 2, 3, 4, 5, 6, 7]  [PDF file].
• "Of all the birds that ever I see" (Deuteromelia, 1606, no. 7), part song in three voices [3 pages: 1, 2, 3]  [PDF file].
• "Browning madame" (Deuteromelia, 1606, no. 9), catch in three voices [1 page]  [PDF file].
• "Tomorrow the fox will come to towne" (Deuteromelia, 1606, no. 20), part song in four voices [3 pages: 1, 2, 3]  [PDF file].

Luigi Rossi

• "Mio ben" [variant] (British Library, Harley MS 1501, fol. 33–33v) [2 pages: 1, 2]. [PDF file]

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Alessandro Scarlatti

• Cantata Pastorale à Canto Solo con V.V.: “Non sò qual più m'ingombra” (Hanover, Stadtbibliothek, Musikbibliothek Kestner 72, pp. 89–112). (Cantata for soprano, 2 violins, and basso continuo: Allegro [Sinfonia]-recitative [accompagnato]-Aria, Moderato-[recitative]-Aria Pastorale, Moderato. GIF files: pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19; Sibelius Scorch file; [FTP directory with GIF and Sibelius files] [PDF file]
• Cantata: Poi che riseppe Orfeo (London, British Library Add. MS 31,511, fol. 56–63v). (Cantata for soprano and basso continuo: [recitative]-Aria-[recitative]-Adagio [aria]-Adagio/Adagio/Andante/Allegro [recitative/arioso]). GIF files: pages: 1, 2, 3, 4, 5, 6, 7, 8; Sibelius Scorch file; [FTP directory with GIF and Sibelius files] [PDF file]
• Cantata: Quella pace gradita (Münster, Diözesanbibliothek, MS Sant. 864 fol. 5-15v). [Cantata for soprano, flute, 'cello, and harpsichord (b.c.): Andante—Andante, Recitativo, [Aria] Adagio, [Recitativo], Aria Andante, [Recitativo], [Aria] Adagio [23 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23] [PDF file].

Heinrich Schütz

• "Ich werde nich sterben, sondern leben", Erster Theil, Symphoniarum sacrarum, secunda pars (Dresden, 1647), no. 6 [PDF file]
• "Ich danke dir, Herr", Anderer Theil, Symphoniarum sacrarum, secunda pars (Dresden, 1647), no. 7 [PDF file]
• "Von Aufgang der Sonnen", Symphoniarum sacrarum, secunda pars (Dresden, 1647), no. 22 [PDF file]
[in Sibelius format: Sibelius files (FTP; to download file right click on file name and "Save As...")]

Christopher Simpson

• two set of divisions for two viols:
• Divisions in F Major, from Bodleian Library, MS Mus. Sch. C. 77a and 77b, no. 5 [8 pages: 1, 2, 3, 4, 5, 6, 7, 8]  [PDF file].
• Divisions in G Major, from Bodleian Library, MS Mus. Sch. C. 77a and 77b, no. 7 [10 pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10]  [PDF file].

Barbara Strozzi

• Amor dormiglione (beginning "Amor, amor non dormir piu") (Cantate...Op. 2, Venice, 1651, pp. 63-64) [voice and thoroughbass; 3 pages: 1, 2, 3] [PDF file].
• Lamento: "Lagrime mi" (solo voice and b.c.) [8 pages: 1, 2, 3, 4, 5, 6, 7, 8] [PDF file].
• La Vittoria: "Il gran Giove" (Il primo de' madrigali, 1644) [2 pages, legal size: 1, 2] [PDF file].

William Webb

• "As life, what is so sweet" (Lbl Add. MS 29,481, fol. 6) [voice and thoroughbass; 2 pages: 1, 2] [PDF file]
• "Look back, Castara, from thine eye" (NYp Drexel MS 4257, no. 248) [voice & thoroughbass] [PDF file]..
• "Look back, Castara, from thine eye" (Ob MS Don. c. 57, fol. 94) [two layouts, PostScript (EPS) files: (i) voice & tablature, 2 pages: p. 1, p. 2; (ii) voice & tablature with realization, 3 pages: p. 1, p. 2, p. 3]    [PDF files of these:   V & Tab,   V & Tab & realization].

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