A. S. · 2020. 7. 11. · Johann (Giovanni) SCHENCK (c.1660-c.1712) SCHENCK L contains a useful...

A. S.See Ambrosius Scherle

SAINTE-COLOMBE 1

SAINTE-COLOMBE

The composer and performer Jean de Sainte-Colombe (c.1640-1700) was hardly known, except

for a reference in Rousseau’s Traite de Viole (1687), where he is credited with the introduction

of a seventh string to the viol and as the teacher of Marin Marais. But in 1991 the film Tous les

Matins de Monde, whose theme is of reminiscences by Marin Marais at the Court of Louis

XIV, brought St Colombe and his music to universal attention through the performances by

Jordi Savall.

The Sainte-Colombe family has been intensively investigated by François-Pierre Goy in his

article ‘The “British” Sainte-Colombes’, VdGS Journal 11 (2017), pp. 1-45 and earlier by

Jonathan Dunford, ‘The Sainte-Colombe Enigma: Current State of Research’, in A Viola da

Gamba Miscellanea, ed. S. Orlando (Limoges, 2005), pp. 16-17. Suffice it to say that

identification of family members remains unclear, except that a Peter Sainte-Colombe [‘St

Colums, musick master’] was buried in Edinburgh on 17 October 1711. Marais wrote a

Tombeau po[ur] Mr De Ste Colombe Le Pere, published in his IIe Livre of 1701, while GB-

DRc, MS Mus. A27 has another Tombeau por Mr. De Ste Colombe Le Pere by ‘Mr De Ste

Colombe de Fils’ on pp.314-18, with nine other suites and pieces, all by the son.

Other collections are of music by the older man: F-TNm, MS 3 has 153 pieces, all but 10 by

him, while F-Pn, Rés Vma MS-866(1) has his 67 Concerts à deux violes esgales..GB-En, MSS

9468 and 9469 duplicate pieces from the Tournus MS and are possibly autograph.

A major problem in creating this index concerns how best to record the free rhythms employed

by Sainte-Colombe, whose irregularity does not fit normal notation and barring. This example

is from the first piece in F-TNm, MS 3:

Both the Tournus manuscript and the manuscript containing the Concerts have many passages

like this, notated as separate quavers, but also have passages in normal note values beamed

together in groups, across extended unbarred passages. Both types of notation would suggest

notes perdues, played fast but at the discretion of the performer(s); however, those passages

that have continuous beams are sometimes also slurred, suggesting these different forms of

notation were meant to represent different types of articulation. The modern editions reflect

these differences, and I have retained these forms of notation here.

The Tournus facsimile and the two related MSS at Edinburgh are impeccably edited by

François-Pierre Goy (Minkoff 7105 and 7106), and the Concerts by Jonathan Dunford

SAINTE-COLOMBE 1

(Minkoff 7104). François-Pierre records all concordances in his introduction. Fine modern

editions have also been published by Guntersberg: G231 (Tournus) and G242-4, (Concerts).

Each of the 67 Concerts is set out as a continuous piece, some parts of which are labelled with

dance or other titles. Furthermore, there are numerous recitative-like and improvisatory

passages and changes of time, some short and some quite lengthy. I have had to make a decision

about which of these to include; those chosen show as a,b,c [etc]. I have omitted all ornament

signs and the time-signatures have been standardized: ‘3’ covers 3 /4 or 6 /4, depending on the

original bar length.

None of this would have happened without the tremendous help of Thomas Munck and I am

enormously grateful to him over an extended period for supplying photographs of the pages

and for other advice regarding the notation and performance of the improvisatory sections.

March 2021 SAINTE-COLOMBE-1

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SAINTE-COLOMBE le Père

[23] Gavotte

[24] Prelude

[25]Prelude]

[26] Prelude

[27] Prelude

[28] Prelude

[29] Gavotte

[30] Courante[+ double]

[31] Courante

[32] Gigue

[33] Sarabande

* also no. [88]

F-TNmMs3f.

10r

10v

10v-11r

11r

11v

11v-12r

12r

12v*

12v

13r

13v-14r

GB-En

9468f.

18r

GB-En

9469f.

22v-23r

18v-19r

11v-12r

3v

[34] Gavotte

[35] Gigue

[36] Gigue

[37] Couranteen bourasque

[38] Gavotte

[39] Allemande

[40] Allemande

[41] Gigue

[42] Allemande

[43] Ballet

[44] Ballet

F-TNmMs 3

f.

13r

13v

13v-14r

14r

14r

14v

14v-15r

15r

15r

15v

15v

GB-En

9468

GB-En

9469f.

26r

21r

25v

36v

26r

Sainte-Colombe Père-3

F-PnResVma866p.

70



[46] Gavotte

[47] Gavotte

[48] Gavotte

[49] Chaconne


[51] Sarabande

[52] Courante

[53] Sarabande

[54]Allemande

[55] Menuet

F-TNmMs3f

15v

16r

16r

16r

16v-17r

17r

17v.

17v

17v

17v-18r

18r

GB-En

9468

GB-En

9469f.

38r

7r &30v

26v-27r

20r

33r

[56] Gavotte

[57] Ballet

[58] Gigue

[59] Gavotte

[60] Courante

[61] Gigue

[62] Ballet

[63] Prelude

[64] Courante

[65] Ballet

[66] Menuet

F-TNmMs 3

f.

18r

18v

18v

18v

18v-19r

19r

19r

19v

19v-20v

20r

20r

GB-En

9468

GB-En

9469f.

6v + 29r

28v-29r

30r

30v

7v-8r

34v

31v-32r

32v

33v-34r

32r


F-PnResVma866p.

72

F-PnResVma866p.

75

SAINTE-COLOMBE le PèreF-

TNmMs3F

20v

20v

21r

21r

21v

21v

22r

22r

22v

22v-23r

23r

GB-En

9468

GB-En

9469f.

35v

35v +

37v

1r

37r

[78] Courante

[79] PetitePiece

[80] Autre

[81] Autre

[82] Autre

[83]Autre

[84] Ballet

[85] Gavotte

[86] Menuet

[87] [Pinelle]


F-TNmMs 3

f.

23r

23v

23v

23v

23v

24r

24r

24r

24r

24v

24v-25r

GB-En

9468

GB-En

9469f.

1r

7r

31r

38r

2v-3r


[67] Ballet

[68] Gigue

[69] Sarabande[+ double]

[70] Courante

[71] Sarabande[+double]

[72] Courante

[73] enBourasque

[74] Courante

[75] Sarabande[+double]


[77] Petitepiece

re

SAINTE-COLOMBE le Père F-TNmMs3F

25r

25v

25v

25v

25v-26r

26r

26r

26r

26v

33v

33v

GB-En

9468

GB-En

9469f.

5v [107]Sarabande

[108] Gigue a lamaniere duVieux Gaultier


[110] Gigue

[111] Gigue

[112] PetitePiece

[113] Sarabande

[114] LaPersiliade

[115] Gigue

[116] Vielle

[117] Prelude

F-TNmMs 3

f.

34r

34r

34v

34v-35r

35r

35r

35v

35v

35v

35v-36r

41v-42r

D-Kl4o

Mus108.7

89v + 90r

-------

GB-En

9469f

14r

27v

GB-En

9468f.

16v

34v-35r


[89] Sarabande

[90] Sarabande

[91] Saeabande

[92] Gavotte

[93] Petitepiece

[94] Autre

[95] Autre

[96] Courante

[97] Prelude

[105] Allemande


ANON [Numbers 98-104] see A-B1-8

F-PnResVma866p.

73

F-PnResVma866p.

95

SAINTE-COLOMBE le Père F-TNmMs3F

42r

42v

43r

43r

43v

43v-44r

44r

44v

44v

44v-45r

45v

GB-En946

8f

13v-14r

11v-12r

14v-15r

GB-En

9469f.

8v-9r [129] Gigue

[130] Prelude

[131] Pianelle

[132] Sarabande

[133] Gigue

[134] Gigue

F-TNmMs 3

f.

45v-46r

49v

49v-50r

50r

50v

50v-51r

53v-54r

54v

54v

54v-55r

55r

GB-En

9469f.

39v-40r

GB-En

9468f.

12v-13r

9v-10r

5r

4v-5r

7v

7r

Sainte-Colombe Père- 6

[118] Allemande

[119] Prelude

[120]Allemande

[121] Courante

[122] Prelude

[123] Courante

[124] Gigue

[125] Sarabande

[126] Gigue

[127] Pianelle

[128] Gigue

[135] [Gigue] see A-B1-8, no. 347

[136] Chaconne

[137] Courante

[138] Gigue

[139] Sarabande

[140] Gigue

SAINTE-COLOMBE le Père F-TNmMs3f.

55r

55v

55v

55v

56r

56r

56v

56v

57r

57r

57r

GB-En

9468f.

4r

3v

5v-6r

6v

8r

15v-16r

GB-En

9469f.

40vTwice

39r


[141] Gavotte

[142] [Menuet]

[143] Gigue

[144] Gigue

[145] Allemande

[146] Courante

[147] Gigue

[148] Courante

[149] PetitePiece

[150] Menuet

[151] Sarabande enpassacaille


Concerts a Deux Violes Esgales

F-Pn,Res Vma

866(1)

I(a)

I(b)

I(c)

II(a)

II(b)

II(c)

ILe retrouvé

Il estoit abandonne

Une gigue en caprice

II (pp,4-5)Le changé

[Minuet]

F-PnResVma

866(1)

II(f)

III(a)

III(b)

III(c)

III(d)

IV(a)

(II)SarabandeLa suivie

III (pp.6-7)La tendre

Sarabande du tendre

GavotteLa ferme

Minuet du tendre

IV (pp.8-9L’incomporableAllemande

February 2021 SAINTE-COLOMBE Père-9



F-Pn,Res Vma

866(1)

IV(b)

IV(c)

IV(d)

IV(e)

V(a)

V(b)

(IV)Menuet

Gavote Ier

Sarabande

Gavote 2e

V (pp.10-11)Le badinLentemente

Gavote 1ercapricieuse

F-PnResVma

866(1)

V(c)

V(d)

VI(a)

VI(b)

VI(c)

VI(d)

(V)Ballet preste

Gavote 2

VI (pp.12-13)La Duchesse

[Menuet]

Sarabande lente 1er

2e Sarabande Lente




F-Pn,Res Vma

866(1)

VII(a)

VII(b)

VII(c)

VII(d)

VIII(a)

VIII(b)

VII (pp.14-15):Le PleureuxMenuet

[Gavotte]

Le PleureuxSarabande

Gavote du pleureux

VIII (pp.16-19)La conférence

Menuet

F-PnResVma

866(1)

VIII(c)

VIII(d)

VIII(e)

VIII(f)

VIII(g)

VIII(h)

Echo

[1er Gigue]

[2e Gigue]Mouvement preste

Gravement

Ballet

[Gavotte]




F-Pn,Res Vma

866(1)

VIII(i)

IX(a)

IX(b)

IX(c)

IX(d)

X(a)

Gigue L’aiséeLent

IX [pp.20-21]Le suppliant

[Menuet]

Gavote La coureusePreste

Sarabande

X (pp.22-23][Chaconne]

F-PnResVma

866(1)

X(b)

XI(a)

XI(b)

XI(c)

XIII(a)

XIII(b)

Bergeronelle preste

XI (pp.26-27)Air a boire bon bon

SarabandeLa mignarde

Gavote

XII (pp.28-29)L’emporté

[Allemande]




F-Pn,Res Vma

866(1)

XII(c)

XII(d)

XIII(a)

XIII(b)

XIII(c)

XIII(d)

Gavote

Sarabande

XIII (pp. 30-31)Le Sérieux changeant

[Gavotte]

[Gigue]

F-PnResVma

866(1)

XIV(a)

XIV(b)

XIV(c)

XIV(d)

XV

XVI(a)

XIV (pp.32-33)L’importun

Menuet 1er

Villageoise

Menuet 2

XV (pp.34-39)Pierrotine

XVI (pp.40-41)Le Craintif




F-Pn,Res Vma

866(1)

XVI(b)

XVI(c)

XVI(d)

XVII(a)

XVII(b)

XVII(c)

[Menuet]

Allemande

Sarabande

XVII (pp.42-43)Le Prompt

[Menuet]

F-PnResVma

866(1)

XVII(d)

XVIII(a)

XVIII(b)

XVIII(c)

(XVIII(d)

XIX(a)

[Gigue]

XVIII (pp.44-45)Les bateries

Sarabande enBourrasque

XIX (pp.46-47)Le long




F-Pn,Res Vma

866(1)

XIX(b)

XIX(c)

XIX(d)

XIX(e)

XX(a)

XX(b)

[Menuet]

Suite

[Menuet]

[Ballet]

XX (pp.48-49)Le pensif

Gigue

F-PnResVma

866(1)

XX(c)

XX(d)

XXI(a)

XXI(b)

XXI(c)

XXI(d)

Gavote

Balet

XXI (pp.50-51)Le Villageois

[Allemande]

Menuet

Courante




F-Pn,Res Vma

866(1)

XXI(e)

XXII(a)

XXII(b)

XXII(c)

XXII(d)

XXII(e)

Sarabande

XXII (pp.52-53)L’escoutant

Balet

Sarabande

Gavote

F-PnResVma

866(1)

XXIII(a)

XXIII(b)

XXIII(c)

XXIII(d)

XXIII(e)

XXIII(f)

XXIII (pp.54-55)L’empressé

[Menuet]

Gavote

[Gigue]

Allemande




F-Pn,Res Vma

866(1)

XXIV(a)

XXIV(b)

XXIV(c)

XXIV(d)

XXIV(e)

XXV(a)

XXIV (pp.56-57)Le gavot

[Gavotte]

XXV (pp.58-59)La Caligie

F-PnResVma

866(1)

XXV(b)

XXV(c)

XXVI(a)

XXVI(b)

XXVI(c)

XXVI(d)

[Sarabande]

XXVI (pp.60-61)Le page

[Gavotte)

Sarabande




F-Pn,Res Vma

866(1)

XXVI(e)

XXVI(f)

XXVII(a)

XXVII(b)

XXVII(c)

XXVII(d)

Gavot

Gigue

XXVII (pp.62-63)Bourrasque

Balet

Sarabande

Gavote

F-PnResVma

866(1)

XXVII(e)

XXVIII(a)

XXVIII(b)

XXVIII(c)

XXVIII(d)

XXIX

Sarabande gaye

XXVIII (pp.64-65)Le Passant

Gavote

XXIX (pp.66-67)L’eslevé

SAINTE-COLOMBE Père-19February 2021



Gavote sans fin

Menuet

Gigue

XXX (pp.68-69)Le Trembleur

F-PnResVma

866(1)

XXX(b)

XXX(c)

XXX(d)

XXX(e)

XXX(f)

XXXI(a)

Gavote gaye a 4 temps

Gavote lente

Saraband du Trembleur(+ double)

XXXI (pp.70-71)Le gigant


F-PnResVma

866(1)

XXIX(b)

XXIX(c)

XXIX(d)

XXIX(e)

XXIX(f)

XXX(a)

F-TNm MS 3

no

70

.



Sarabande du gigant

XXXII (pp.72-73)L’eslevé changé

Gavote

F-PnResVma

866(1)

XXXIII(a)

XXXIII(b)

XXXIII(c)

XXXIII(d)

XXXIV(a)

XXXIV(b)

XXXIII (pp.74-75)L’esveillé

Gigue

Balet gay

Courante lente

XXXIV (pp.76-77)L’imité


F-PnResVma

866(1)

XXXI(b)

XXXI(c)

XXXII(a)

XXXII(b)

XXXII(c)

XXXII(d)

F-TnmMS 3

53

73

F-TnmMS 3

75



XXXV (pp.78-81)Le coupé

Balet

Menuet tendre

Gigue

Gavote

F-PnResVma

866(1)

XXXVI(a)

XXXVI(b)

XXXVI(c)

XXXVI(d)

XXXVII(a)

XXXVII(b)

XXXVI (pp.82-83)L’attentif

Gavote

XXXVII (pp.84-85)L’heureux


F-PnResVma

866(1)

XXXIV(c)

XXXIV(d)

XXXV(a)

XXXV(b)

XXXV(c)

XXXV(d)



XXXVIII (pp.86-87)Le meslé

[Gigue]

Gigue

Gavote

F-PnResVma

866(1)

XXXVIII(e)

XXXIX(a)

XXXIX(b)

XXXIX(c)

XXXIX(d)

XXXIX(e)

Sarabande

XXXIX (pp.88-89)Le resjoui

[Menuet]

Gavote


F-PnResVma

866(1)

XXXVII(c)

XXXVII(d)

XXXVIII(a)

XXXVIII(b)

XXXVIII(c)

XXXVIII(d)



XL (pp.90-93)Le récits

[Gigue]

Gavote

Gigue

Sarabande

XLI (pp.94-95)Le retour

F-PnResVma

866(1)

XLI(b)

XLI(c)

XLI(d)

XLI(e)

XLI(f)

XLI(g)

En gigue

En Menuet

En Courante

Balet tendre

En pianelle


F-PnResVma

866(1)

XL(a)

XL(b)

XL (c)

XL(d)

XL(e)

XLI(a)

F-TNmMS 3no.

95



XLII (pp.96-97)Dalain

Balet

Gigue

XLIII (pp.98-99)Le bref

Balet

XLIV (pp.106-7)Tombeau Les regrets

F-PnResVma

866(1)

XLIV(b)

XLIV(c)

XLIV(d)

XLV(a)

XLV(b)

XLVI(a)

Quarrilon

Les pleurs

Joye des Elizées

XLV (p.108)Le Cor

XLVI (p.109)L’estonné


F-PnResVma

866(1)

XLII(a)

XLII(b)

XLII(c)

XLIII(a)

XLIII(b)

XLIV(a)



(XLVI)Petit air

XLVII (pp.110-111)Le pianel

[Menuet]

XLVIII (pp.112-113)Le raporté

[Gigue]

F-PnResVma

866(1)

XLVIII(c)

XLVIII(d)

XLIX(a)

XLIX(b)

XLIX(c)

XLIX(d)


F-PnResVma

866(1)

XLVI(b)

XLVII(a)

XLVII(b)

XLVII(c)

XLVIII(a)

XLVIII(b)

La belle,Passacaille du raporté

Chacone raportée(pp.114-115)

XLIX (p.126)La Vignon: Ouverture

Saraband (p.122)

Gigue

Gavote



(XLIX)Chacone (pp.124-127)

Menuet I

Menuet II

L (pp.128-129)Le brun

Pianelle

Gigue fantasque

F-PnResVma

866(1)

LI(a)

LI(b)

LI(c)

LI(d)

LI(e)

LI(f)

SAINTE-COLOMBE Père-26March 2021

F-PnResVma

866(1)

XLIX(e)

XLIX(f)

XLIX(g)

L(a)

L(b)

L(c)

LI (pp.130-135)Rougeville

Gigue

Sarabande

En gavote



(LI)Menuet lente

Pianelle lente

Chacone de Rougeville

LII (pp.136-137)L’estourdy

Gigue 1et

Gigue 2e de l’estourdy

F-PnResVma

866(1)

LII(d)

LIII(a)

LIII(b)

LIII(c)

LIII(d)

LIII(e)


F-PnResVma

866(1)

LI(g)

LI(h)

LI(i)

LII(a)

LII(b)

LII(c)

(LII)Pianelle

LIII (pp.138-139)L’aureille

Courante 1er

Sarabande

Courante 2e



LIV (pp.146-149)[La[ DuboisAllemande grave

Gigue en bourrasque

2e Gigue en bourrasque

Menuet

Chacone Dubois

Gavote

F-PnResVma

866(1)

LV(a)

LV(b)

LV(c)

LVI(a)

LVI(b)

LVI(c)


F-PnResVma

866(1)

LIV(a)

LIV(b)

LIV(c)

LIV(d)

LIV(e)

LIV(f)

LV (pp.150-151)Le Résolu

Gigue

Bourée

LVI (pp.152-155)Le Volontaire

Gigue lente



(LVI)Menuet

2e Menuet du Volontaire

LVII (pp.154-155)Les menuets

1er menuet

2e menuet

3e menuet

F-PnResVma

866(1)

LVIII(a)

LVIII(b)

LIX(a)

LIX(b)

LX(a)

LX(b)


F-PnResVma

866(1)

LVI(c)

LVI(d)

LVII(a)

LVII(b)

LVII(c)

LVII(d)

LVIII (p.156)Les Roulades

Gigue en bourrasque

LIX (p.157)Le précipité

Gigue

LX (p.158)Le majestueux



LXI (p.159)Le varié

LXII (p.160)La boutade

[Gigue]

F-PnResVma

866(1)

LXIII(a)

LXIV()

LXIV(b)

LXIV(c)

LXV(a)

LXV(b)


F-PnResVma

866(1)

LXI(a)

LXI(b)

LXII(a)

LXII(b)

LXII(c)

LXII(d)

LXIII (pp.162-163Le Constant

LXIV (p.164)Le Réglé

Gavote

LXV (pp.178-179)L’égal

Gigue

.SAINTE-COLOMBE le Père


LXVI (pp.180-181)L’infidelle

[Gigue]

LXVII (pp.182-183)La figuré


F-PnResVma

866(1)

LXVI(a)

LXVI(b)

LXVII(a)

LXII(b)

SAINTE-COLOMBE Le Fils

Suitte G molle

1. Allemande

2. Courante

3. Sarabande

4. Gigue

5. Fantasie en Rondeau

6. Gavotte

Sutte A molle

7. Prelude

8. Courante

9. Sarabande

10. Gigue

Suitte F dur

11. Prelude

12. Allemande

13. Courante

June 2020 SAINTE COLOMBE Fils-1

GB-DRcA.27

p.

104to

106

110-111

112

113to

115

117to

120


[Suitte F dur continued]

14. Sarabande

15. Gigue

16. Gavotte

17. Boree

18. Minuet

Suitte E molle

19. Prelude

20. Courante

21. Allemande

22. Courante

23. Sarabande

24. Gigue

25. Gavotte

26. Boree

27. Minuet


GB-DRcA.27

p.

117to

120

124to

129


Suitte B molle

28. Prelude

29. Allemande

30. Courante

31. Sarabande

32. Gavotte

33. Gigue

34. Tombeau pour Mr. De Ste Colombe Le Pere

35. Sarabande F molle

36. Gavotte F molle


GB-DRcA.27

p.

291to

294

314-318

318

319

Solo in B-flat, viola da gamba,continuo

D-B, Am.B. 499/5

Duet in d, 2 viola da gambas

D-B, Am.B. 498 (Hesse andSchaffrath)

Trio in G, viola da gamba, cembalo

D-B, Am.B 581

Trio in A, viola da gamba, cembalo

D-B, Am.B. 497/17

SCHAFFRATH, Christoph (1709-1763)

For more details see GERMANY OL

SCHAFFRATH-1June 2011

Johann (Giovanni) SCHENCK (c.1660-c.1712)

SCHENCK L contains a useful summary, by Luttman, of Schenck’s music.

SCHENCK [1703], of which a copy is held at GB-Cfm, is entitled Select Lessons for the Bass Viol/of Two Parts/Collected by our Best Viollists out of the works of that great Master/GIOVANNI SCHENCK... (GB-Cfm MU MS 882).

There are 31 pieces, for basso continuo only, lacking solo part(s). Mention of ‘Two Parts’ apparently led to an assumption that the Bc parts are from the only collection of Schenck’s that was specifically designated for two viols, namely Op 8: Le Nymphe de Rheno. They are thus quoted in GROVE and HOG.

However, from information kindly collected by Derek Davidson, it was found that none of the pieces concorded in any particular with Op 8, but that all of them did concord with pieces in Op. 6, Scherzi Musicali, these being (in Op. 6, as shown in the index pages): Nos 38-43; 11-13; 15-17; 44-45; 47-48; 21-24; 26; 51-55; 58; 60-62; 64.

Some of the selections consisted of the omission of second gigues, and the isolation of chaconnes. The ‘two parts’ must have been Op. 6’s solo and continuo viol parts.

Op. 2 Tyd en Konst-Oeffeningen (1688: 15 sonatas for vdg and bc)

Op. 3 Il Giardino Armonico (1691: 15 sonatas for vdg and bc)

Op. 6 Scherzi Musicali (c.1698: suites for vdg and bc ad libitum)

Op. 7 Suonate a violin e violone o cimbalo (1699)

Op. 8 Le Nymphe di Rheno (12 sonatas or suites for 2 vdg, c.1702)

Op. 9 L’Echo du Danube (4 sonatas for vdg and bc; 2 for vdg solo; c.1704)

Op. 10 Les fantasies bisarres de la gouffe (suites for vdg and bc; 1711/12; vdg lost)

In MS: 2 sonatas, vdg solo (A-Wn, Codex 16598)

In MS: 9 suite movements, vdg (N-Tu, XA HA Mus 1:1 and 1:2)

SCHENCK-1

Johann SCHENCKTwo Sonatas for Solo Bass Viol from A-Wn, Codex 16598(Both published in Das Erbe Deutscher Musik, 67)

Sonata IV Adagio-Allegro; Aria; Aria;Adagio; Tempo di gavotte;Adagio; Allegro; Giga

Sonata V Adagio; Allegro; Allemand;Courant; Giga; Aria; Aria Burlesca

April 2008 SCHENCK-17

SCHMELZER, Johann HeinrichSacro-Profanus Concentus Musicus (Nuremberg, 1662) [DTÖ cxi-cxii (1965)]

key

Sonata 1 C

Sonata 2 d

Sonata 3 C

Sonata 4 a

Sonata 5 g

Sonata 6 d

Sonata 7 D

Sonata 8 G

Sonata 9 d

Sonata 10 D

Sonata 11 F

Sonata 12

a8 2 trumpets,2 vlns, 4 gambas, Bc

a6 Corn. & Tromb. 1-3, or vln, gambas1-3, Bc

a6 2 vlns, 4 gambas, Bc




a5 2 vlns, 3 gambas

a5 2 vlns, 3 gambas

a5 2 vlns, 3 gambas

a4 vln, 3 gambas

a4 vln, 3 gambas

Wind instruments

SCHMELZER-3January 2009

S-UuMSS

58:10

58:13

SCHMELZER, Johann Heinrich

key

64/113

Sonata a

Sonata d

Sonata d

Sarabandvariata D

Sonata a

Sonata F

Sonata e

Sonata g

Sonata G

Sonata G

January 2009

GB

-Lbl

,Add

.31

423

GB

-HA

dolm

etsc

h,II

.c.2

5

f.

226r

222r

no.

14

31

no

4

GB

-DR

c,D

5

violin, viola da gamba and continuo

violin and continuo

2 violins and continuo

2 violins, viola da gamba and continuo

S-UuIMhs

SCHMELZER-4

8:6

58:7

8:18

8:4

8:13

8:5

8:8

8:11

8:12

D-W,Cod.

Guelf.34.7

Aug 2o

no./p.

43/64attrib.

‘CaesarMajest.’

SCHMELZER, Johann Heinrich

key

* amended from‘Bertali’

Sonata G

Sonata A

Sonata C

Sonata e

Sonata d

Sonata F

January 2009

S-U

u,IM

hs

D-W

,Cod

.Gue

lf.

34.7

Aug

2o

8:14

8:9*

8:2.03&

8:21

8:10

no./p.

40/54

41/57

2 violins, viola da gamba and continuo (‘a3’)

SCHMELZER-5

2 violins, viola da braccio/viola da gamba, viola da gambaand continuo (‘a4’)

violin, 4 viole and continuo (‘a5’)

violin, viola da gamba, bc

2 violins, bc

SCHNITTELBACH, Nathanael (1633-1667)

Violin and b.c.

Sonata

Violin, viola da gamba, b.c

Sonata

[Suite] 3 parts with b.c.

Praeludium

Allemande

Courante

Saraband

Gigue

[Suite] 4 parts with b.c.

Pavan

Galliard

Allemande

Courant

Saraband

[Gigue not present, but presumably was originally included]July 2020

D-W, Cod. Guelf, 34.7. Aug.2o,no. 7, p. 20 [Online]

HADolmetsch, II.c.25, no. 1DRC, D2, seq. (8)

S-Uu, imhs. 8:22 [online]

S-Uu, imhs. 8:23 [online] Some parts are missing

SCHNITTELBACH-1

SCHOP, Johann (c.1590- 1667)

Hamburg violinist and composer

Pieces in T’Uitnement Kabinet (1646, 1649)

9. Erste Almande

10. Tweede Almande

11. Derde Almande

12. Verde Allemande

13, Fyfde Almande

14. Seste Allemande

90.

91 Nasce la pena mia

3 trebles

Treble & bass

SCHOP-1July 2020

Jacob SCHULTZ

FÜLLSACK 1607, no. I/ii1. Galliard Written to pair with Paduana

I/i by Melchior Borchgreving

FÜLLSACK 1607, no. VIII/ii2. Galliard Paired with Paduana VIII/i by

Thomas Mons.

7th Instalment 2002 SCHULTZ-1

Mr SHEPPIE

VdGS No.GB-Ob, MS Mus. Sch. D.220(bass only)

1. Almaine p. 121, no. 81

2. Aire p. 122, no. 85

7th Instalment 2002 SHEPPIE-1

A. S. · 2020. 7. 11. · Johann (Giovanni) SCHENCK (c.1660-c.1712) SCHENCK L contains a useful...

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