Th r e e Tr i o S o n a t a s

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1 h r e e r i o S o n a t a s a s e d o n C o n c e r t o s b y r c a n g e l o C o r e l l i ) r r a n g e d f o r r e c o r d e r s b y R. D. e n n e n t R. D. ennent 200. his work is licensed under the Creative Commons ttributionshare like 2. Canada License. o view a coy of this licence visit htt://creativecommons.org/licenses/bysa/2./ca/ or send a letter to Creative Commons 11 Second St. Suite 00 San Francisco California 9 US.

2 F O R E W O R D lthough the universall dmiration of Corelli s Works have allmost equaliz d his Meritt yet there are many entlemen Lovers of Musick who want a true aste of his erfections his Comositions being for the Violin only if so agreeable an Instrument as the Flute could be accomodated with the same benefitt it would add to the Honor of the Comoser the Pleasure of the erformer and suly that Instrument s defect of good Musick which has been so much of late Comlain d of. his thought was the only motive of the following ransosition... John Walsh London 120) Can a concerto grosso be erformed with just three recorders Part of the answer comes from the title age of Corelli s Ous ublished osthumously in 11: Concerti rossi con duoi Violini e Violoncello di Concertino obligati e duoi altri Violini Viola e asso di Concerto rosso ad arbitrio... i.e. two violins and cello are obligatory but additional strings violins viola and basso) are otional. Indeed excet for the otional riieno arts the works are stylistically similar to the fortyeight trio sonatas by Corelli ublished in Rome between 11 and 19 O. 1 ) and it is quite ossible that most of the material was initially comosed for use in trio sonatas. In any case the Ous works may certainly be erformed as if they were trio sonatas. Numbers 9 to 11 arranged here are three of the four concerti da camera chamber concertos) in the Ous set of twelve. Each consists of a suite of dancebased movements in the same or related keys introduced by a stately relude. Some of the dance movements are receded by a short adagio; in No. 11 Sonata II here) an adagio is extended by an andante largo. ut what about the use of recorders rather than strings Many transcritions of Corelli s sonatas and concertos were ublished in the 0s for flutes i.e. recorders) and other instruments but these generally assumed a conventional basso continuo tyically cello and keyboard. However there is evidence 1 that recorder ensembles existed at that time though very little music was comosed secifically for them in the baroque era. It is resumed that they layed music originally written for other instruments. So it seems quite likely that recorder ensembles were laying Corelli trio sonatas and maybe even concertos) in the 0s and it is not inauthentic to continue this tradition today. he arrangements here are in the original keys but a few octave transositions were necessary to fit the ranges of the recorders and in some of the movements raid string figurations were streamlined for erformance on recorders. R.D.. 1 htt:// ii

3 V U Ć hreeriosonatas for recorders rrangement by R. D. ennent rcangelo Corelli1 11) 1. Preludio S S S ndante largo ÎÎ ÎÎ ÎÎ ÎÎ Ð ÐÐ Ê ˆ ÎÎ SonataI ˆ ÎÎ Ê ÎÎ Ð Ď Ö ÕÕ ˆ Ü ÛÛ ÎÎ ÎÎ Ê ÎÎ ÎÎ Ü É È 1 Ł ÎÎ ˆ ÎÎ ŐŐ ÎÎ Ê Ö Ê ÎÎ Ä D.C. al Segno ÐÐ ŐŐ ˆ ÎÎ 20 Ous No. c R. D. ennent 200 Licensed under a Creative Commons ttribution Share like license.

4 Ă Ă 9 2. llemanda S S S llegro ÏÏ ÏÏ Ä ŐŐ Ê tr tr ÏÏ ÏÏ Ä ŐŐ Ä ) ) ÏÏ ) ÏÏ Ä ŐŐ Ä f) f) f) 1 ÎÎ Ä Ł Ł ) ) ) Ł Ł f) f) f) Ř Ł Ł 2

5 ˆ 20 É È ŐŐ ŐŐ Ä 2 ÎÎ ÎÎ Ð Ð Ð Ð Ð 0 ÏÏ ÏÏ Ä ŐŐ ÊÊ ) ) ) ÏÏ ÏÏ Ä ŐŐ Ê ÎÎ

6 FF. dagio 2\ FFF 2\ FFF 2 2 \ FF \ FF \ ^. Corrente Vivace ˆ ˆ ˆ ˆ ˆ Ï Î ˆ ˆ 1 ˆ tr 20 tr Î 2 ) ) ) trˆ trˆ 0

7 Î f) f) f) 0 ˆ ˆ Î 0 ^ tr ŐŐ trˆ trˆ 0 ˆ Î ˆ ) tr ) ) tr 0 Î Î

8 . llegro S S S ÕÕ ÕÕ ÕÕ ÕÕ ÕÕ ÕÕ ŐŐ Ä Ä Ä Ê Ä Ä Ä Ä Ê Ä Ê Ű ÛÛ ÕÕ ÕÕ ÕÕ 9 f) f) ÕÕ f) Ř 1 ÕÕ Ř ÕÕ ÕÕ ÕÕ ÕÕ ÕÕ ÕÕ Ê 20 ^ Ê Ê ˆ ÎÎ

9 Ä Ä ˆ Ï Ł Ł 2 ÕÕ ÕÕ ÕÕ ÕÕ ÕÕ ŐŐ Ä Ê 0 ÛÛ ÛÛ ÏÏ ÎÎ Ł ) ) ) Ê ÛÛ ÛÛ ÏÏ ÎÎ Û ÃÃ ÏÏ ÎÎ 0

10 ˆ. Minuetto Vivace ÏÏ Ê tr ÏÏ Ê ÏÏ ^ f) f) ÏÏ f) 0 ÐÐ ÊÊ ÉÉ ÐÐ Ï ÎÎ Ă 1 ŐŐ ŐŐ 0 2 ^ ÐÐ ÊÊ ÉÉ ÐÐ Ï ÎÎ Ă ŐŐ ŐŐ 20 Fine ÎÎÎÎ â ÄÄ ˆ Ä DaCaoalFine

11 Ś Ă Ă Ă Ă SonataII 1. Preludio S 2 2 S ndante largo S Ú Ř Ú P= P= P= Ú Ř Ú P= P= P= ˆ ÎÎ Ï Î ÎÎ Ï Î ÎÎ Ï Î ÎÎ Ï Î Ï Î Î Ð Ð ^ ÎÎ Ä Z 1 ŐŐ Ï Î Î Ï Î Î Ú 9 Ĺ Ĺ Ő Î Ő Ő 2 Ő 9 ĹĹĞ Ous No. 11 9

12 2. llemanda S 2 2 S S llegro Ď Ä Z ĆĆ : ĆĆ

13 !! ś! ÏÏ 2 Ř 1 ś ÂÂ Ê Ä ĎĎ Z Č Č ÎÎ 11

14 Ă ˆ. dagio ndante largo 2 2 dagio ˆ ^ ˆ ˆ 2 2 S 2 2 S 2 2 S ndante largo Ř ˆ Ð Ê Ű 1 Ł Ö tr ÎÎ Ö Z ˆ ÎÎ tr Ř ˆ Ï Î Î Ð Ð 20 Ł ˆ â Ð ÈÈ Ä Ł ÛÛ ÛÛ Î f f ÏÏ 2 12

15 . Sarabanda Largo ÏÏ Î ˆ Î Î Ő Î Ő Î Ő ÏÏ ÏÏ ĎĎ 1 Î Ž ÏÏ ÏÏ Ľ ĞĞ Ľ ĞĞ Ľ ĞĞ Î Ž 20. iga Vivace Ï Ï Ľ ˆ Ŕ : 1 Ï Ï ă 1. ˆ 2. ˆ 1

16 tr 20 Ï Ï Ă ă tr 2 Ï Ï ă 2 Ï ÏÏ Z 0 Ã Ã Ľ Z ˆ Ż Ã Ŕ Ż Ã ˆ ˆ ˆ Ï 0 Ï Ľ 2 2 Ŕ Ï Ï ă 1. ˆ 2. Ã Ã ˆ ˆ 1

17 SonataIII 1. Preludio 2S 2S 2S ) ) ÄÄ ) ĹĹ ) 2 2 ). ÉÉ È Ĺ Č Ã.. ŁŁ Ğ Ğ ^. trˆ ÂÂ.. ÄÄ Z tr ÂÂ.. ÊÊ Ç Ç ) ) ) Ł Ä Ä 2 2 É Ç I 2 Ä ÎÎ ŐŐ Ď ˆ Ã Ü 1 Ú Ð Í ŐŐ : Ous No. 9 1

18 Ş Ş 2. llemanda 2S 2S 2S llegro ÊÊ Ż Û Ü tr ÉÉ ÜÜ ÛÛ ÜÜ tr É ÜÜ ÜÜ Û ÜÜ Û = É ŔŔ tr É Û tr É ŻŻ Û Û ÃÃ Ĺ Û Ż łł ŔŔ ÉÉ È Ĺ Ľ ÃÃ Ż ) łł ) ) ŔŔ ÉÉ È Ĺ Ľ ÃÃ 1 f) f) f) 1

19 Ś «Â Â Â ) ) < Ĺ Ĺ Ľ ÃÃ 9 Ä ÃÃ 2 f) f) Ż ) ) ÄÄ 2 : ) ÄÄ = < łł ÃÃ ĎĎ Û ĹĹ Ľ Ä ÃÃ Ż ŔŔ ÃÃ ÃÃ Ä 0 Ĺ Ĺ Ľ Ä ÃÃ ĎĎ : ŻŻ ŻŻ ÎÎ ŔŔ 1

20 . Corrente Vivace tr tr Ő Ő Ŕ Î trˆ Ŕ Î Ŕ 9 Ŕ 1 2 Î 20 Ï 2 2 Ő 2 2 ˆ Î ˆ Ő Z ˆ Î 0 ˆ Ő ˆ Ő 1

21 . avotta 2S 2S 2S llegro ÊÊ Ż Û Ű Ű Û É ÏÏ ÎÎ ÏÏ ÎÎ ÊÊ Ć Ĺ ÎÎ Ĺ Ĺ ÎÎ ĹĹ. dagio ˆ ˆ ˆ 19

22 . Minuetto Vivace ÐÐ ÏÏ ŔŔ tr áá ÛÛ ÎÎ ÐÐ ÏÏ = ÐÐ ÏÏ ŔŔ 1 ÎÎ ÎÎ 20 P P P Fine 2 2 f 2 f = f Ä Ł Ê ÎÎ DaCaoalFine 20

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