Canzon duodecima 'La Scotta' (Soderini, Agostino)

Contents

Performances

Recordings

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Synthesized/MIDI

For 2 Flugelhorns, Bass Trombone and Tuba (Rondeau)

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Michrond (2020/3/8)

Publisher Info. Michel Rondeau, 2020.
Performers MIDI
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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Sheet Music

Scores and Parts

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Agarvin (2020/3/4)

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Agarvin (2020/3/4)

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Agarvin (2020/3/4)

Editor Allen Garvin (b. 1969)
Publisher. Info. Hawthorne Early Music, 2020.
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Arrangements and Transcriptions

For 4 Lutes (Höger)

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Anton Höger (2013/1/19)

PDF typeset by arranger
Anton Höger (2013/1/19)

PDF typeset by arranger
Anton Höger (2013/1/19)

Arranger Anton Höger
Publisher. Info. Anton Höger
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Misc. Notes In French lute-tablature (d, a, g, D-lutes) . If performed I would look forward about a small reference to my efforts.
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For 4 Guitars (Höger)

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Hoeger (2015/12/4)

Arranger Anton Höger
Publisher. Info. Anton Höger
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Misc. Notes If performed I would look forward about a small reference to my efforts.
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For 2 Flugelhorns, Bass Trombone and Tuba (Rondeau)

PDF typeset by arranger
Michrond (2020/3/8)

ZIP typeset by arranger
Michrond (2020/3/8)

Arranger Michel Rondeau (b. 1948)
Publisher. Info. Michel Rondeau, 2020.
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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PDF typeset by arranger
Michrond (2021/9/1)

ZIP typeset by arranger
Michrond (2021/9/1)

Arranger Michel Rondeau (b. 1948)
Publisher. Info. Michel Rondeau, 2021.
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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General Information

Work Title Canzon duodecima 'La Scotta'
Alternative. Title
Composer Soderini, Agostino
I-Catalogue NumberI-Cat. No. IAS 1
Key F Ionian mode
First Publication. 1608 in Canzoni a 4 e 8 voci libro primo, Op.2
Composer Time PeriodComp. Period Renaissance
Piece Style Renaissance
Instrumentation 4 intstruments; canto, alto, tenor, bass

Navigation etc.

  • According to Grove Music, these had dedications to "a family of the Milanese nobility in accordance with the Lombard custom of the time". The 4-part canzonas were instrumental, and of the 8-voice canzonas, three are "really ‘motetti e canzoni’; of the two ensembles used, the first consists of instruments and the second of voices. The last two motets in eight parts, however, are for voices only."