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EARLY 
ITALIAN PIANO MUSIC 



EARLY 

ITALIAN PIANO MUSIC 

A COLLECTION OF PIECES WRITTEN FOR 
THE HARPSICHORD AND CLAVICHORD 

EDITED BY 

M. ESPOSITO 




OLIVER DITSON COMPANY 

THEODORE PRESSER CO., Distributors, 1712 CHESTNUT ST.. PHILADELPHIA 

Printed in U. S. A. 



COPYRIGHT, 1906, BY OLIVER DITSON COMPANY 
INTERNATIONAL COPYRIGHT SECURED 



CONTENTS 

PASQUINI, ERCOLE (born about 1580) ,AGr 

Canzona Francese I 

FRESCOBALDI, GIROLAMO (i 583-1644) 

Toccata, in G minor 4 

Corrente, in A minor 8 

Gagliarda, in G minor 9 

Passacaglia, in Bb major 10 

Aria (called "La Frescobalda") 12 

Fugue, in G minor 15 

ROSSI, MICHELANGELO (died 1660) 

Andantino, in G major 18 

Toccata, in D minor 21 

PASQUINI, BERNARDO (1637-1710) 

Sonata (Fugue) 26 

SCARLATTI, ALESSANDRO (1649-1725) 

Aria from Toccata Seconda 28 

Minuetto from Toccata Quarta 3°. 

Tema con variazioni (Toccata Settima) 3' 

Toccata Ottava 39 

Toccata Nona 43 

Fugue, in F minor 49 

POLLAROLI, CARLO FRANCESCO (about 1650-1722) 

Sonata, in D minor (Fugue) 53 

SCARLATTI, DOMENICO (1683-1757) 

Sonata I, in D major 57 

Sonata II (Tempo di Ballo) o2 

Sonata III, in G minor 64 

Sonata IV, in G minor 0° 

Sonata V, in G minor 7° 

Sonata VI, in G major 7^ 

Sonata VII, in F minor 75 

Sonata VIII, in F major ; 79 

Sonata IX, in F minor ' °' 

Sonata X, in F major °1> 

Sonata XI, in G major °5 

Sonata XII, in G minor i ^\ L' ", ,' 9 

Sonata XIII, in G major ...>., 93 

Sonata XIV, in C major 97 

Sonata XV, in A major 1°' 

Sonata XVI, in C major 104 
Sonata XVII, in A major 
Sonata XVIII, in A major 

Sonata XIX, in D minor ^'5 

The Cat's Fugue (Fuga del Gatto) "7 

DURANTE, FRANCESCO (1684-1755) 
Fugue, in F minor (Studio) 



107 



112 



122 



117 4 



PARI 



vi CONTENTS 

MARCELLO, BENEDETTO {1686-1 739) 

Toccata, in C minor j2r 

PORPORA, NICCOLO (1686-1766) 

Fugue, in G minor I^j 

ZIPOLI, DOMENICO (born about 1686) 

Suite, in B minor I or 

MARTINI, PADRE GIAMBATTISTA (i 706-1 784) 

Aria, from the Sonata in C minor 142 

Gavotta, in F major Ij^e 

Preludio, and Fugue, in E minor 14^8 

GALUPPI, BALDASSARE(i7o6-i785) 

Sonata, in D major ^ -^ jct 

PARADIES, PIETRO DOMENICO (1710-1795) 

Sonata, in A major l5j 

TURINI, FERDINANDO (1749-1812) 

Presto, in G minor l5q 

GRAZIOLI, GIOVANNI BATTISTA (1755-1820) 

Minuetto, from the Sonata in G major I^o 

CLEMENTI, MUZIO(i752-i832) 

Toccata, in Bb major j.^- 




CLAVICHORD (ITALIAN) SIXTEENTH CENTURY 




THE CLAVICHORD 

Among ihe predecessors of the modern pianoforte the clavichord and tlie harpsichord {Italian cembalo) 
were the most important. The clavichord was derived from the old monochord, and --was in general use 
up to the beginning of the nineteenth century ; in fa^, it was frequently still to be found as late as 1870 
in remote German villages. IVhen the superior possibilities of the perfected pianoforte led to its universal 
adoption among musicians, the whole family of mediaeval keyed instruments fell into disuse. 

Neither the clavichord nor the harpsichord was the true ancestor of the pianoforte, which was derived, 
by analogy at least, from the dulcimer. Their principle of a£iion was quite different from the pianoforte, 
and they also differed entirely the one from the other. In the clavichord the string was struck full by a 
small brass ^^ tangent" or wedge attached to the farther end of the key, and continuing its pressure on the 
string as long as the key was held down. The resulting tone was charmingly sweet and delicate, suscep- 
tible of increase and decrease, and until the piano was invented, unequalled in reflecting gradations of 
touch. An effeiJ much admired in the clavichord was the " Bebung" or vihrzto, produced by a repeated 
after-pressure of the key without removing the finger. In shape the clavichord was the prototype of the 
modern square piano ; while its small size — often portable — and the weakness of its delicate tone made it 
preeminently the instrument of intimacy and the home. 

The illustrations on the opposite page show two excellent examples of the clavichord of different periods. 
The Italian instrument is a very interesting specimen of early construction ; and although, like many old 
instruments, this one has met with considerable restoration, its value and interest are not affeCfed thereby. 
It is contained in a small portable case, covered with stamped leather with design in brown on a gold 
ground; and has a compass of but thirty-six notes. The name of the maker, Alex. Trasontini, and the date, 
I 537> are found on ivory within the edge of the case ; also a motto which has surely been erroneously re- 
lettered, and which should read ut rosa flos florum ita hoc clavile clavilium, /. e. '■'■As the 
rose is the flower of flo-wers, so this is the clavichord of clavichords." 

In contrast with this primitive though elegant instrument is the German clavichord shown in the lower 
illustration, which was made in the year 1765 by John Christopher Jesse, organist at St. Martin's 
Church, Halberstadt. The case, supported upon a permanent stand, is plain, painted upon the outside in 
imitation of tortoise-shell ; the inside of the cover black, with painted panels. But the compass has been ex- 
tended to five oCfaves, and the mechanism so improved, that the contrapuntal masterpieces of the eighteenth 
century may be satisfactorily performed thereupon. It was for an instrument such as this that the great 
Bach wrote the celebrated Preludes and Fugues of the "-Well-tempered Clavichord." 



THE HARPSICHORD 

Contemporary with the clavichord, though probably of later invention, was the harpsichord, a., instru- 
ment evolved, in common with the spinet and virginal, from the ancient psaltery. Its compass, in earlier 
instruments very restriiled, was gradually extended to five octaves. The wing shape [" Fliigel") of the 
modern grand piano was charaHeristic of the true harpsichord — a model taken from the trapeze-shaped 
psaltery. The virginal and spinet, though operated by the same mechanical device, were of oblong shape like 
the differently constructed clavichord. 

The harpsichord was not only larger than the clavichord, but was capable of producing a powerful, 
brilliant tone, and was very generally used for public performance. The strings, instead of being struck 
by a tangent, were plucked with points of quill or hard leather which stood out from the side of wooden 
uprights, known as jacks, fastened to the farther end of the keys. As the keys were pressed down the jacks 
passed upward, causing the quills to pluck the strings above, which vibrated like those of a mandolin. 
The tone of the harpsichord was hard and metallic, and entirely incapable of reproducing the nuances of 
forte and piano, or responding to differences of touch. To offset this defied a suggestion was borrowed from 
the organ. Stops were added, which, as they were drawn out or pushed in, made it possible to use either 
one, two or three strings, thus producing three degrees from piano to forte. A damper of leather or cloth 
put upon the strings by the same means produced an imitation of the lute. Or, by providing two keyboards 
placed one above the other, these appliances were combined, and by shifting the hands the player could se- 
cure dynamic contrasts. 

The beautiful harpsichord reproduced upon the opposite page is the work of an unknown Italian maker 
of the seventeenth century. It has but a single keyboard, with two unison strings to each note, and a com- 
pass of four o£iaves and a fourth. The case is elaborately decorated with inlay of ivory and ebony, and 
with paintings of musical scenes and a sleeping Venus. Above the keys [also inlaid) are small ivory 
plaques engraved with scenes from the Passion of our Lord. The sound-board bears three sunken roses, 
one of which is partly visible in the photograph. 

The second illustration shows a fine example of the double-banked harpsichord. It was made in Flanders 
about 1650 by Joannes Couchet, a nephew of Jean Ruckers, of the famous Ruckers family of harpsi- 
chord makers, who flourished in Antwerp during the seventeenth century. Both keyboards have a compass 
of four otlaves and a fifth. There are three strings, two in unison and one in the o£iave, and a lute-stop. 
The upper keyboard ails on the first string and with the lute-stop; the lower keyboard on the first, second 
and third strings without the lute-stop. The combinations are operated by small brass knobs, which pro- 
je£f at the right of the case, which is painted with flowers and conventional ornament on a gilt ground, 
and rests upon a seven-legged stand, finely decorated with carving and gilt gesso work. 




; vrrmj. 



HARPSICHORD (ITALIAN) SEVENTEENTH CENTURY 




HARPSICHORD (FLEMISH) SEVENTEENTH CENTURY 



ITALIAN COMPOSERS FOR THE 

HARPSICHORD 



IN the sixteenth century Italy was first in all the arts, in music, in sculpture, in painting and 
in literature. Palestrina was called upon to reform church music, and he composed masses 
of a beauty that has never been equalled; Luca Marenzio composed his madrigals, and Mon- 
teverde invented the opera. The example of these geniuses was followed by a host of lesser com- 
posers; schools for music were founded, and French, Belgian and Spanish musicians, who one 
hundred years before had gone to Italy to teach, now came to learn and to admire. Though a great 
deal of the music written in Italy in the sixteenth century was vocal, — all Palestrina's masses, in 
fad: all religious music was unaccompanied, — instrumental composition was not neglefted, and at 
the beginning of the seventeenth century Frescobaldi produced his works for Organo e Cembalo, 
and later on Corelli and Viotti wrote for the violin. 

That the musical inspiration which arose in Italy in the sixteenth century should have been 
continued far into the eighteenth shows how strong the instindt must have been, and how excel- 
lent the musical tradition; and the learning of these masters of old time, and their knowledge of 
music, will, I think, astonish the reader of this volume. I have endeavored to bring together, for 
the student and the amateur, examples of the music that was written at this time for the harpsi- 
chord. They have been chosen from the earliest Italian composers down to Clementi, whom I have 
included, although he has written chiefly for the modern pianoforte. 

True it is that most of these pieces have been published in various editions, but Alessandro Scar- 
latti's toccatas are given now for the first time by the kind permission of the authorities of the 
Conservatorio di Musica Giuseppe Verdi, of Milan, where the original manuscripts are kept. 

The pieces of this volume follow the originals striftly, and whenever I have thought it necessary 
to make a slight alteration the altered passage is given together with the original. I have supplied the 
marks for expression and speed, for, as every one knows, those old composers only put the mere 
notes on the paper. I claim no more for my marks of expression than that they were suggested to 
me by the music, and every one is free to alter them according to his individual feeling. 



BIOGRAPHICAL SKETCHES 

ERCOLE PASQUINI was born in Per- /^^ I ROLA MO FRESCOBALDI was born 

rara about 1580. He studied with one of VJT in Ferrarain 1583, and was buriedin Rome, 

the Milleville, who were established at the Court March 2, 1644. He was a pupil of Luzzasco 

of the Duke of Ferrara. Pasquini was organist at Luzzaschi, and when, accompanied by his master, 

San Pietro in Rome ; he left Rome in 1 6 1 4, but he went to Rome, to fill the place left vacant by 

his reasons for leaving and what became of him Ercole Pasquini, a crowd of thirty thousand peo- 

are unknown. He was a celebrated organist; hut pie assembled to hear him play the organ in the 

his compositions are rare, and few are acquainted Cathedral. He left works that place him above 

with them. ^" composers of his rime for the organ and 

Frescobaldi succeeded him at San Pietro. cembalo or harpsichord. His toccatas, canzonas. 



ITALIAN COMPOSERS 



fugues, &c., are full of beautiful melodies and 
daring harmonies, and show an extraordinary 
feeling of tonality. Besides the technical difficul- 
ties of his compositions PVescobaldi wrote on a 
stave of six lines for the right hand and eig/u 
lines for the left. (See illustration below.) 

In the preface to his Toccate d' intavolatura di 
cembalo ed organo Frescobaldi, after having pro- 
tested that he prefers the merits of other com- 
posers to his own, proceeds to give some advice 
on the playing of his compositions: that the 
time must not be kept with strift beats through- 
out, hut be subjeded to the emotion, sentiment 
and brilliancy of the different passages; that the 
opening of the toccata be played slow, and the 
chords and discords arpeggiando; that the ca- 
denzas, although written rapidly, must be played 
broadly and rallentando towards the end; that me- 
lodic passages be played slowly, and brilliant ones 
quickly; and, finally, that he leaves to the good 
taste andjudgment of the playerfull liberty in se- 
leding the tempo, " in which consists the spirit and 
perfet'tion of this manner and style of playing." 

MICHELANGELO ROSSI was born in 
Rome; the date of his birth is unknown, 
but it is certain that he lived there from 1620 
to 1660. He was a pupil of Frescobaldi, and 



had a great reputation as a violinist, organist 
and composer. In 1625 an opera written by him, 
Ermiiiia sul Giordano, was performed in Rome, 
and successfully. His book called Intavolatura 
d" organo e cembalo, published in Rome, 1657, 
contains many interesting pieces. We find in the 
Toccata in D minor (see page 21) many daring 
modulations, and its close is an extraordinary 
example of the early use of chromatics. The 
Andantino (see page 1 8) might have been written 
by a Mozart. 

BERNARDO PASQUINI was born in 
Massa de Valnevola, Tuscany, the 8th of 
December, 1637. He studied with LoretoVittori 
and Antonio Cesti. When quite a young man 
he was appointed organist in Santa Maria Mag- 
giore in Rome, and later organist of the Senate 
and Roman People. He was the greatest organ- 
ist of Italy in the latter part of the seventeenth 
century, and his best pupils were F. Gasperini 
and Francesco Durante. He died in Rome on 
the 2 2d of November, 17 10. 

ALESSANDRO SCARLATTI, one of the 
,. greatest ot Italian composers, was born in 
Trapani, Sicily, in 1649. He studied counter- 
point under Carissimi in Rome, and later became 



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FOR THE HARPSICHORD xi 

maestro di cappella of Queen Christine of Sweden, No. 2 is in four movements: Adagio, Allegro 

then living in Rome. In 1688, after the Queen's Grave {aria). Vivace. 

death, he accepted a similar appointment at the No. 3 is in two movements: Allegro, Giga. 

Chapel Royal of Naples. In 170J he went back. No. 4 is in three movements: Allegro, Ada- 

to Rome as maestro di cappella of Santa Maria gio, Minuetto. 

Maggiore, where he stayed until March, 1709, No. 5 is in three movements: Allegro, Ada- 

gio, Alia Francese. 

No. 6 is in one movement. 

No. 7 is a theme with variations. 

No. 8 is in two movements: Allegro, Giga. 

No. 9 is in one movement, like a fantasia. 

No. 10 is in one movement. 

From the above it will be seen that Scarlatti 
gave a wider meaning to the name "toccata." In 
some of these pieces he wrote what we would 
call a small sonata, in two, three or four move- 
ments. 

The best of these pieces to my mind is No. 7, 
Tema con variazioni. He seems to have been the 
inventor of this form, for we do not find it in the 
works of any earlier composer, nor in any later 
until we come to Beethoven. The theme is in it- 



and then returned to Naples. He died there 
Od;ober 24, 1725. 

In the various conservator! di musica of Na- 
ples (Sant' Onofrio, Poveri di Gesii Cristo, Lo- 
reto) he taught many who became celebrated and 
contributed to the glory of the Neapolitan school ; 
for instance, Logroscino, Durante, and his own 
son Domenico. 

Alessandro Scarlatti was a voluminous writer: 
one hundred and fifteen operas, two hundred 
masses, several oratorios, a large number of can- 
tatas, church music, chamber music, &c. Many 
of his compositions for the harpsichord are still 
unpublished; a Fugue in F minor and an Alle- 
gro in G major have been printed in collections 
of music by old composers. Fetis, however. 



speaks of two books of toccatas and a suite of ^^j^ ^ ^^^^^^ ^^g. ^^j ^^^ treatment, the tech- 
pieces. Through the kindness of the authorities ^^^^^ ^^^ handling of each variation, are extraor- 
ofthe Milan Conservatorio di Musica Giuseppe jj^^^y. With later composers these would be 
Verdi, I was permitted to copy ten toccatas for j^gre scales, arpeggios or florid passages; but with 
the harpsichord, with a view to publication ; and gcarlatti there is a sequence of rhythm and mood. 



some of these pieces are now printed for the first 
time. I felt I must harmonize the Aria from Toc- 
cata Seconda and the Minuetto from Toccata Quarta, 
for in the originals only the melody and the bass 
are given; no doubt the composer left the per- 
former free to harmonize it, the jif on the two B's 
in the bass being, I hope, my valid excuse. All 
the other toccatas are left as in the originals. I 
wish to call the attention of musicians to Toc- 
cata Settima. 

The form of Scarlatti's toccatas is quite difi^er- 
ent from those of Frescobaldi and Rossi, which 



and we have a sense that the composer is work- 
ing up to a complete whole. The closes of the 
second, third, fourth, sixth and eighth variations 
are full of passion, such as we find in no one else 
before Beethoven. In looking at this toccata and 
at No. 9 one can hardly realize that such music 
was written merely for the cembalo at a time 
when Bach and Handel were still boys, and one 
hundred years before Beethoven. 

CARLO FRANCESCO POLLAROLO, 
born in Brescia about the middle of the 



may be almost said to be formless and read like seventeenth century, studied with Legrenzi, and 

passed all his life in Venice, where he died in 
1722. He composed seventy operas, various ora- 
torios, cantatas and organ pieces. The fugue given 
in this volume is a good specimen of his vigo- 
rous writing. 



improvisations. Every one of Scarlatti's toccatas 
is different; but though he changes the form, 
there is always form. 

No. 1 is in one movement, not unlike his 
son's pieces. 



xn 



ITALIAN COMPOSERS 



DOMENICO SCARLATTI, son of the 
great Alessandro Scarlatti, was born in 
Naples, in 1685. His father was his first teacher; 
and later he went to Rome and finished his 
studiesunderGasparini. He became Italy's great- 
est harpsichord player, and one of the best in 
Europe. He wrote several operas, and they were 
all performed in Italy. When he visited Lon- 
don, in 1720, his opera Narciso was given at the 
Italian Opera. Scarlatti also composed church 
music, but it is his pieces for the harpsichord 
which place him in the first rank of composers 
for that instrument. Many and varied ideas, 
charming melodies and abundance of technical 
devices make these pieces a source of continual 
delight to musicians and amateurs. Anv one of 
them may be placed on a modern pianoforte- 
recital programme with a certainty of pleasing 
the audience. Scarlatti wrote a great number of 
pieces for the harpsichord; about five hundred 
have been attributed to him. Some have been 
printed, but many remain still in manuscript. 
Domenico Scarlatti died at Naples in 1757. 

FRANCESCO DURANTE was born in 
Frattamaggiore in the kingdom of Naples, 
March i 5, 1 684. He was admitted into the Con- 
servatorio dei Poveri di Gesu Cristo and became 
apupil of Gaetano Greco, andsoon acquired great 
ability as player on the harpsichord and organ. 
Later on he was sent to the Conservatorio di 
S. Onofrio, and finished his studies with Ales- 
sandro Scarlatti. He composed chieflv church 
music, and his compositions were admired all 
over Europe. To him, more than to any other 
Neapolitan teacher, is due the foundation of the 
famous Neapolitan school of the eighteenth cen- 
tury, and his pupils included Traetta, Vinci, Jo- 
melli, Piccini, Sacchini, Guglielmi and Paisiello. 
He became professor at the Conservatorio di 
I^reto, in Naples, in 1742, and died Au'^ust 13, 

1755- 

BENEDETTO MARCELLO, the cele- 
brated composer of the Psalms, was born 
in Venice, July 24, 1686. He was of noble birth, 



and received a solid and manifold education; but 
poetry and music attracted him, and he studied 
counterpoint with (jasperini, for whom he had 
great respedt. 

Like all Venetian nobles, Marcello, in his 
young days, studied law and held several posts 
as magistrate. For fourteen years he was mem- 
ber of the Council of the Forty, and was sent as 
"Provvisore" to Pola in 1730. There his health 
broke down, and in 1738 he went to Brescia (as 
treasurer), hoping the change would benefit him. 
Unfortunately he did not recover his health, 
and he died there on the 24th of July, 1739. 

Besides his fifty celebrated Psalms he com- 
posed some dramatic works, masses, oratorios, 
cantatas and instrumental music. The toccata 
published in this volume is remarkable for its 
peculiar wrist motion and clearness of form. 

NICCOLO PORPORA was born in Na- 
ples, August 19, 1686. He studied at the 
Conservatorio di Santa Maria di Loreto under 
Gaetano Greco and others; and probably received 
advice from Alessandro Scarlatti. Like all Italian 
composers he wrote numerous operas, oratorios, 
masses, &c. ; but his best compositions are his 
cantatas for solo voice with harpsichord accom- 
paniments, twelve of which were published in 
London in 1735. ^^ ^'^^ ^ great teacher, and 
the most famous singers of the eighteenth cen- 
tury were his pupils, viz., F"arinelli, Caffarelli, 
Porporino,Salimbeni and Molteni. In Vienna he 
gave a few lessons to young Haydn ; in Dresden 
he met with ingratitude from his former pupil 
Hasse. In London he competed with Handel 
and founded a rival opera house; but his ad- 
venture was not successful, and he returned to 
Naples, old and in bro^cen health, and died there, 
in poverty, in February, 1766. The fugue in 
this volume gives a good idea of his instrumental 
style. 

DOMENICO ZIPOLLborn about 1686, 
was organist at the church of the Jesuits 
in Rome in the beginning of the eighteenth cen- 
turv. More than this is not known of his life, 



FOR THE HARPSICHORD 



Xlll 



nor is the date of his death obtainable. He pub- 
lished in Rome, in 1716, Sonate d' intavolatura 
d' organo e cembalo.T\\e two volumes in which his 
music is published contain many varied pieces, 
such as toccate, versi, canzone, offertort, pastorali, 
preludi, allemande, correnti, sarabande, gighe, ga- 
votte and partite. His style is flowing, melodic, 
elegant and harmonious. 

GIAMBATTISTA MARTINI was born 
in Bologna, April 25, 1706. He was taught 
the violin at an early age by his father, who very 
soon found that there was nothing further he 
could teach the boy. Martini was sent to Padre 
Predieri, with whom he studied singing and harp- 
sichord playing; Antonio Ricederi taught him 
counterpoint. He was confided to the Fathers of 
St. Filippo Neri for his moral and religious train- 
ing, and they accomplished their task so well that 
when he was eighteen Martini became a monk. 

He studied philosophy seriously, and acquired 
such a deep knowledge of theoretical and prac- 
tical music that, although he was only nineteen, 
he was selected as maestro dicappella at the church 
of San Francesco. When not composing music 
he spent his time studying mathematics, and 
reading ancient and modern treatises on music. 
He gathered together a remarkable library of 
music-books and manuscripts. Martini collected 
for fifty years, and spent large sums on his col- 
ledion. His former pupils, and foreign princes, 
his admirers, knowing his acquisitive passion, 
presented him with old and rare books and manu- 
scripts, and vied with each other in increasing 
his colleftion. 

Martini opened a School of Music in Bologna 
which soon became celebrated all over Europe, 
and the great musicians of his time were sensible 
of the advantages of his advice. He died Odlo- 
ber 3, 1784. 

The greater part of Martini's compositions 
is still in manuscript at the Liceo Musicale, in 
Bologna; very little has ever been printed. He 
wrote masses, motets, oratorios and other kinds 
of religious and secular music. He also wrote 
eighteen sonatas for organ and harpsichord. 



BALDASSARE GALUPPI was born Oc- 
tober 18, 1706, in the island of Burano, 
near Venice. His father, who united the dispa- 
rate offices of barber and violinist, was his first 
master. When he was sixteen he went to Venice 
and picked up a living by playing the organ in 
different churches. Galuppi was a daring boy, 
for though quite ignorant of the principles ot 
music, he composed a comic opera, and was 
clever enough to get it performed; but he could 
not get it applauded, — it was hissed, — and in 
despair he resolved to return to the original shop, 
to the shears and the razor. But Benedetto Mar- 
cello, who recognized his musical talent, took 
the boy under his protection, and put him to 
learn counterpoint with Lotti. He also studied 
the harpsichord, and became a very good player. 
During his long life he composed many operas, 
all of which were performed in Italy, many with 
success, especially the comic ones. Catherine II 
sent for him, and he went to Russia, where his 
first opera, given in St. Petersburg, was well re- 
ceived. He returned to Italy, and died at Venice, 
in January, 1785. 

PIETRO DOMENICO PARADIESwas 
born in Naples about 17 10, and studied 
with Porpora. He composed several operas, one 
of which was performed in London when he 
settled there as professor of the harpsichord in 
1747. His twelve sonatas were published in Lon- 
don, in 1754, by John Johnson. Many years 
after he returned to Italy, and died in Venice 
about 1795. 

FERDI NANDO TURINI was born at 
Salo, near Brescia, in 1749. His uncle, F. 
Bertoni, taught him harmony and organ play- 
ing. At the age of twenty-three he lost his sight, 
was obliged to give up writing operas, and ac- 
cepted a position as organist at the Church ot 
Santa Giustina in Padova. In 1800, on account 
of the war, he went to Brescia, where he sup- 
ported himself by teaching till his death, about 
1812. 



ITALIAN COMPOSERS 



*'^IOVANNI BATTISTA GRAZIOLI 
VJ^ was born in V'enice about 1755, and 
studied with F. Bertoni, whom he succeeded as 
oro-anist at the Church of San Marco in 1782. 
He died in 1820. Several sonatas by Grazioli 
have been pubh'shed in Germany. 

MUZIO CLEMKNTI was born in Rome 
in 1752, and died in England, March 10, 
i8j2. With his Gradus ad Parnassum he laid 



Ocfober 30, 1905. 



the foundation of modern pianoforte playing. 
All his compositions, which include one hun- 
dred and five sonatas, belong to the period of 
pianotorte music and are outside the scope of 
this volume. Nevertheless I have decided to in- 
clude his celebrated Toccata for comparison with 
those of the older composers. It would be use- 
less to give any of his sonatas, as all students 
of the pianoforte are acquainted with them. 




EARLY 
ITALIAN PIANO MUSIC 



I 



CANZONA FRANCESE 



Edited by M. Esposito 

Andante mosso (J = loo) 



PIANO 



ERCOLE PASQUINI 

(■born about 158o) 






Copyright MCMVIby Oliver Ditson Company 



M L-8S9-3 




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TOCCATA, in G Minor 



Edited by M. Esposito 



Moderate (J == 50) 



GIROLAMO FRESCOBALDI 

(1588-1644) 



PIANO 




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CORRENTE, in A Minor 



Edited by M. Esposito 



Moderate (J = loo) 

5 



GIROLAMO FRESCOBALDI 

(1583-1611) 



PIANO 



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5-32-66857-1 



GAGLIARDA, in G Minor 



Edited by M. Esposito 

Sostenuto (J = 54) 



GIROLAMO FRESCOBALDI 

(15H8-1644) 



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riipyripht MrM\T by Oliver Ditson Company 



M L-892-1 



10 



Edited by M. Esposito 



PASSACAGLIA, in B\> Major 



PIANO 



fe 



Con moto (J -. 120) 



GIROLAMO FRESCOBALDI 

(1583-16 5'.) 




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M L-893-2 




Altro Tuono (un poco piu lento) (J = 84) 



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Edited by M. Esposito 

ARIA 
Lento (J - 6o) 



ARIA 

(called "LA FRESCOBALDA") 



GIROLAMO FRESCOBALDI 

(1&83-1644) 



Part I 



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Part n 




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ML-894-3 



13 



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14 



VARIATION m 

Andante con moto (J =69) 



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15 



FUGUE, in G Minor 



Edited by M. Esposito 



PIANO 



i 



Allegro moderato (J = so) 



GIROLAMO FRESCOBALDI 

(1583- lfi44) 



3 



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M L-895-3 



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M L-S95-3 



18 



AND ANTING, in G Major 



Edited by M. Esposito 



MICHELANGELO ROSSI 

( died 1G60) 



PIANO 



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M L- 896-3 



19 




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Edited by M. Esposito 



Lento (J = 5o) 



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Edited by M. Esposito 

Alleg:ro con fuoco (J =152) 



PIANO 



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28 



*)aria 

from "TOCCATA SECONDA" 



Edited by M. Esposito 



PIANO 



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ALESSANDRO SCARLATTI 

(1649 -1725) 




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from "TOCCATA QUART A" 



Kditt'il by M.Kspusito 



Molto modcrato (J>=ii2) 



ALKSSANDKO SCARLATTI 

(16m -1725) 



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H.irmonizod by M.EspDsito 



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33 



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TOCCATA OTTAVA 



Edited by M. Esposito 



Allegro con brio (J=i3s) 



39 



ALESSANDRO SCARLATTI 

(1649-1725) 



PIANO 





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M L-1204-4 



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TOCCATA NONA 



Edited by M.Esposito 

Spiritoso(J = 120) 



ALESSANDRO SCARLATTI 

(1649-1735) 



PIANO 



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49 



*)FUGUE, in F Minor 



Edited by M.Esposito 



Andantino (J.^so) 



ALESSANDRO SCARLATTI 

(1649-1725) 



PIANO 



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SONATA, in D Minor 

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64 



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68 



SONATA ly in G Minor 



Edited by M. Esposito 

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SONATA V; in G Minor 



Allegro moderato (J = 02) 



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M L- 909 -2 



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SONATA VI, in G Major 



Edited by M. Esposito 

Allegro con brio (J. = 132) 
4 1 3 .f=^ 3 



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M L - 910 -3 



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75 



SONATA Vn, in F Minor 



Edited by M. Esposito 



DOMENICO SCARLATTI 

(1683 - 1757) 



Moderato (J = eo) 



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M L-911 -4 



76 



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SONATA Vm, in F Major 

Edited by M. Esposito 

Allegret to pastorale (J- ^69) 



79 

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(1683-1757) 



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M L -912 - 2 



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Edited by M. Esposito 

Presto (J. a 120) 



83 



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SONATA XI, in G Major 

Edited by M. Esposito 

Presto (J '- ii2> 



DOMENICO SCARLATTI 

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93 



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Edited by M. Esposito 

Presto (J. ^ loo) 



DOMENICO SCARLATTI 

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SONATA XrV, in C Major 

Edited by M. Esposito 

Allegro molto (J.= ioo) 



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Edited by M. Esposito 



DOMENICO SCARLATTI 

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Edited hy M. Esposito 



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¥. 



P — (•■ 



:tf* 



1^ 



•ir "tr 






i£r ^ 



*• 



S 



m 



m 



afc: 



^ 



S 



m 



% 



sempref 



S 



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/ 



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fe 



f' 



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i 



4 



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M 



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ffl 



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ffl 



m 



m 




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^^ 



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e 



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r 



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e 



5 4 5 



M L-920-3 



106 




M L-920-3 



107 



SONATA XVn, in A Major 



Edited by M. Esposito 



DOMENICO SCARLATTI 

(1683-1757) 



PIANO 



y 



Presto(J= 138) /, 



fe^W 



i 



f con brio 



51^:? 



1= 



^^! 



i 



m 



fei 



^=j J 



^^ 



#^ 



^ 

■^^ ^ ^^^ 



fcfe 



E 



^ 



2 1 



s 



^ 



f^& 



? 



^ 



^ 



iE^ 




*i 



^ 



VJ .>. ^.i 



^ 



i 



131 



7— J 



i 



^^i 



-<^^ — II' — 



— 3- 



1 3 1 



'J^J J^ J l ^ J J^J . 



i 




Copyright MCMMby Oliver Ditson Company 



M L-9:;l-5 



108 



§^^m 



^^k 



S 



^^ 



^ 



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e» 



1 „ iil 



m 



1^ 



^m 



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1 1 5 



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^ 



15 14 15 1 



i 



cresc. 



15 14 



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I 



$^ 



m 



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? 



5 ^ 

1 



*r=t^ 



^ 



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g=3=k 



IjjJjtlJ JlJ 



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i 



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cresc. 



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sempre legato 



^j^ 



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M L-921-6 



109 



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f'i. i r ff 



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77- 




M L-921-5 



no 




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a tempo 



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X L-921-6 



Ill 



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un poco dim. 



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2 



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331 



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M L- 921-6 



112 



SONATA XVm, in A Major 



Edited by M. Esposito 

Presto (Jri26) 



PIANO 



DOMENICO SCARLATTI 

(1683- 1757) 




3 1 



^M 



^^ 



3 2 4 2 3 5 



.3 2 



d -41 



P 



y^-P 



cr^'Sf. _ 



5^ 



^ 



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/♦ 



^ 




fe 



^ 



^ 



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3 4 



2 13 4 2 




Copyriffht MCMVlby Oliver Ditson Company 



M 1,-922-3 









113 


M ^r^rrrrtf 


fffrr 


t^il^ 


^ 




4 


f^fi 


fr Tfr T 


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W0 ^ 








1 








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us 


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H — 




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MI--922-3 



114 



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ML-!12;i;-'3 



115 



SONATA XIX, in D Minor 



Edited hy M. Esposito 



DOMENICO SCARLATTI 

(16S3-1757) 



PIANO 



P 



Allegretto tranquillo 

(J ---66) ;^^.^ (<^) 




4 5, 



^ ^ 




do!ce 



$• ^A: 



^ 






m 



^^ 



^ 




^m 



p 



J'^'^ffl 



Prig: J J) J ^ 





itedinU.SA 



Copyright MCMVIby Oliver Ditson Company 



ML-923-2 



116 



;fc 



a tempo 



m 



p 



^^ 



w 



12^ 



p 



^iP 



r^ 



If^ 



-4 — ^==^t 



^ 



2E 



i 



Jf cresc. 



i 



«L 



? 




Orig.j 



J Ju ji i i f'-r nr n Mr pr g 







ML -923-;? 



117 



THE CAT'S FUGUE 

(fuga del gatto) 



Edited by M. Esposito 



DOMENICO SCARLATTI 

(16S3-1757) 



PIANO 



Allegro moderato(J. = 96) 



m 



^ 



Ben marcato il tema 
A *. /I A ^\ 



^^ 



A A 



'3 2 



^m 



'it 



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"1 5 



P 



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45 5 

j.-^ — »r7:i 



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M 



H 



sempre legato 
A 



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Ldri7 7 7 



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-4 — L-a 



^o 1 



One day the favorite cat of Scarlatti walked over the keyboard producing'' by chance the following' notes; 
which the master used as the theme for a Pug-ue. 




Oliver Ditson Conipany 



ML-924- 



U8 



td 



1 5 



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d 



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ML-{>I4-5 



119 



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M I.-924-r> 



120 



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1. ^55 






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1 2 



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5 2 

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ML-9^-S 



121 



i 



5 r, 
1 



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3 2 






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sempre 



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f 



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5 3 
3 2 



w 



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n 



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3 0\ 



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w 



-tS- 



M L-924-5 



122 



Edited by M. Esposito 



FUGUE, in F Minor 

(studio) 



Alleg'ro moderato(J-ioo) 



2 :i 1 ; 2M ^ 



=^^ 



(simile) 



PIANO 



fe 



*^ *L 



'^ J jj j [fl fr 



m 



^m 



231 



JJJJC^T 



231 4 



00 



^ 



FRANCESCO DURANTE. 

(1684-1755) 



(sfnza ornamenfi) 

ir 



-&■ 



ir 



i 



^5= 



^ 



i^i — ^ 



J J * J 



3123 312 3 



bt. - ■ ? 



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312 312 
^ 3 "^ 3 



a 



321 321 
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*• 



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1/7^^ 



70000 



g 



3 ft!— » 



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(simile) 



(simile) 



13 2 4 



(sf/ica ornametiii) 



k ' 



231 

iir 2 *?&• 



S 



231 

'tr 2 ir 



^ 



231 



2=lz 



p # • # ^ 




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4 3 



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a 



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812 3 



312 



312 




Copyright Mt'MMby Oliver Ditson Company 



HL-9Z5-5 



123 




m 




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0-=. — ■=-0-=. — ^ » ^ I a 



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i 



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1 2 3 
3 4 5 



=?=f 



i 



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2 3 




M L-925-5 



124 




'^ % "tr ^ ^-^^ 





ML -92S-S 



125 



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312 3 



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312 3 



5 f 4 ^ 
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TOCCATA, in C Minor 



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BENEDETTO MARCELLO 

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M L-926-4 



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142 



Edited by M. Esposito 



ARIA 

from the SONATA in C Minor 



Andante sostenuto (J=6o) 



PADRE GIAMBATTISTA MARTINI 

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M L-929-3 



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Edited by M. Esposito 



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148 



PRELUDIO and FUGUE, in E Minor 



Edited by M. Esposito 

Allegro moderato (J = 96) 



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SONATA, in D Major 



Kditcd by M. Esposito 

AdaLMO C«>: 6.;) 



153 



RALDASSARE GALUPPI 

(1706-1785) 



34 

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M L-332-& 



154 



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169 



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Edited by M. Esposito 

(J -.152) 5. 



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(1749-1812) 



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f opyrrg-ht MCMVIby Oliver Ditson Company 



{8^3 basso) 



M L 9.'t4 - 4 



170 





1 4 2 




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M L <»34 - 4 




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MINUETTO 



J 73 



Edited byM.Esposito 



from the SONATA in G ^Major 

2 14 



GIOVANNI BATTISTA GRAZIOLI 

(1755-1.S20) 



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M L 9.1 ■> - 2 



174 



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TOCCATA,in Bb Major 



175 



Edited by M.Esposito 



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M L 936 - 6 



176 






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