- Instant Harmony

T H E RECORDER EDUCATION JOURNAL Divisions on a Ground for the recorder: A Bibliographic Essay David Lasocki
Diminution, or division to a ground, is the
concordance of quick and slow notes. The
manner of expressing it is thus: A ground,
subject, or bass (call it which you please) is
pricked [i.e., written down] in two several
papers: one for him who is to play the ground
... the other for him who plays upon the viol,
who, having the said ground before his eye (as
his theme or subject) plays such variety of
descant and division thereupon as his skill
and present invention do then suggest unto
him. In this manner of play (which is the
perfection of the viol, or any other instrument,
if it be exactly performed) a man may show the
dexterity and excellency both of his hand and
invention, to the delight and admiration of
those that hear him.
Christopher Simpson, The Division-Violist:
or An Introduction to the Playing upon a Ground
(London, 1659), 21.1
In England during the Baroque period - as
expressed less colorfully but more precisely in
New Grove 2-aground was "A melody,
usually in the bass and hence often called a
ground bass ... recurring many times in
succession, accompanied by continuous
variation in the upper parts. The term 'ground'
may refer to the bass melody itself, to the
process of repetition in general, or to a
composition in which it occurs."2 A slightly
more philosophical definition is due to
Andreas Habert "A 'ground' is a beginning
point for the unfolding idea and boundary of a
series of variations, composed or improvised;
the 'ground' appeared as a bass melody, a
harmonic model that always remained the
same or was lightly altered, or a melody in the
upper part."3 The concept of the ground goes
back to Renaissance dances, in which the
musicians had to keep repeating the music
indefinitely for the sake of the dancers, and
presumably varied the melody in order to
alleviate their own boredom.
The term division was used in England
10
during the same period to denote a technique
of variation in which the notes of the ground
are divided into shorter notes. 4 In practice, it
could also be a real or imagined melody above
the ground bass that was divided in this
manner. As Simpson noted, divisions were
often improvised. For example, James Paisible,
the most celebrated recorder player in
England, was advertised as giving "an
extempore performance ... to a ground" in a
London public concert in 1705.5 But divisions
on grounds were also written down. As
Simpson put it (p. 21): "Invention is a gift of
nature, but much improved by exercise and
practice. He that hath it not in so high a
measure as to play extempore to a ground may,
notwithstanding, give both himself and
hearers sufficient satisfaction in playing such
divisions as himself or others have made for
that purpose - in the performance whereof he
may deserve the name of an excellent artist. For
here the excellency of hand may be shown as
well as in the other, and the music perhaps
better, though less to be admired, as being
more studied." By the late Baroque, a ground
had become a device for creating a long,
unified movement. In the hands of lesser
masters, divisions on a ground bass had the
understandable tendency to be monotonous.
But a Purcell could vary and overlap the
phrase structure over the repeated bass,
producing considerable rhythmic and
harmonic variety.
What follows is a bibliographical essay
about divisions on a ground for the recorder in
the late Baroque period. It draws some of its
inspiration from two sources that may be
inaccessible to readers: Peter Holman's
excellent edition The Division Recorder, now
unfortunately out of print, and a magisterial
article in German by Habert. 6
Divisions on a ground are already found in
two of the earliest recorder tutors. Humphry
Salter's The Genteel Companion (London, 1683)
boasts on its title page that it features #a
collection of the best and newest tunes and
grounds extant" It includes UMr. Reddins
Ground," LlOld Simon the King," and LlMr.
Fardinels Ground" as well as a variant of the
last called LIThe Kings Health." These
grounds were by no means original recorder
music. The first comes from a set of suites
attributed only to "Reading" - perhaps t1;1.e
royal violinist Balthasar or Valentine
Reading7- in Christ Church Library Mus. MS
940, and it turns up a year later in The
Division-Violin (London: John Playford, 1684).
The continually varied bass, presumably
original, is presented only in the manuscript
(and Holman's edition).
"'Old Simon the King" was probably
already circulating in a violin version, as it is
also found in the 1684 edition of The Division­
Violin. With its rather crude bass line, it is an
example of what Holman calls the Llrustic
style," or in other words, the unsophisticated
harmonic and melodic manner of country
fiddlers. Habert argues that such sets of
divisions should therefore not be interpreted
as figured basses: an appropriate performance
would be with no realization of the bass­
perhaps even without bass-and alternating
or combining the melody instruments of a folk
ensemble (violin, shawm, recorder, viola da
gamba, dulcian, double bass, cittem, bandora).
LlMr. Fardinels Ground," on the other
hand, is a transposition of a sophisticated
violin piece - a set of variations on the folia,
presumably written by the French violinist
Michel Farinel (1649-1726), who is reputed to
have visited England from 1675 to 1679.8 It too
was printed in The Division-Violin. "The King's
Health" was a series of divisions on the folia
set to words by Thomas D'Urfey and
published as a song sheet in 1682.9 (For more
on the folia, see below.)
A second recorder tutor, Robert Carr's The Delightful Companion, 2nd ed. (London, 1686), includes #An Italian Ground," which again made its way into The Division-Violin, but not before the 1695 edition, and may therefore have been an original recorder ground. All the recorder grounds in Salter and Carr have the advantage of being copiously ornamented in the Frenchified style of the day. to A few other recorder grounds are found in
English prints and manuscripts of the period.
The celebrated Italian violinist Niccola
Matteis, resident in London from about 1670,11
included a few recorder divisions in his
collections of violin airs published in the
1680s, and he indicated that some of the violin
airs could be performed on the recorder (for
details, see the bibliography). A Collection of
Musicke in Two Parts by Gottfried Finger and
John Banister II (London, 1691) features three divisions on grounds by Finger. John Channing's commonplace book, dated 1697 (British Library, Add. Ms. 35043, f. 123v), includes a #Solo for the Flute" by Finger that is actually a division on a ground. Yet when all is said and done, it is The
Division Flute that we think about in
conjunction with recorder divisions. Published
by the leading London publishers of the day,
John Walsh and his colleague Joseph Hare,12
as late as 1706-08, it is in effect a retrospective
collection, containing pieces that go back more
than thirty years. To help us discuss it better,
here is a table of contents:
I/l Readings Ground 3/4 F: I V-I ii-V-vi V­
I
1/2 Pauls Steeple C/ g: i VII VI7-iv V III VII i-iv-V i 1/3 Faronells Ground 3/4 g: i V i VII III VII i V / i V i VII III VII i-VI 1/4 Old Simon the King 9/4 F: I I IV V; 11­
(V) IVV [1] 1/5 Tollets Ground 9/4 C: I-V 1-V I-~ V-I 1/6 Green Sleeves to a Ground 6/4 d: VI VIIi V VI VII i-V I 1/7 Johney Cock thy Beavor 6/4/ C: I V-ii I V IV-I V-ii-viI I 1/8 Division on a Ground [Solomon Eccles] C/ d: i i VII VII i V ~- Vi 1/9 A Division on a Ground by Mr [Solomon] Eccles [q a: i-v ~-iv-V .... 1/10 A Division on a Ground by Mr [Gottfried] Finger 3/4 g: i V ~-iv V-i iv-VII III­
VI iio-V i 1/11 A Division on a Ground by Mr In° [i.e., John] Banister [1] 3/4 G: I V vi V IV I-IV ii-V I I/12 A Division on a Ground by Mr Banister [II?] [Holman pronounces the text "'hopelessly corrupt"] C/F: I viiO vi-ii V IV iii iii-V I II/l A Ground by Mr Finger 3/4 F: IIV7­
v~~-v4~-V7I
II/2 A Division to a Ground by Mr Solomon Eccles 6/4 B-flat I V I-~-V I Il/3 A Division on a Ground [Eccles?] 3/4 F: I ii V I II/4 A Ground by Mr Solomon Eccles [Ii A
new ground called Fagots"] 3/4 C: V-I ii-V IV­
iii V-I
Il/5 A Division on a Ground [Finger] 3/4
F: I V-I vi-natur~-iv> V I ~ V I ll/6 An Italian Ground 3/4 d: i iv VII ill IV7~ Vi
Il/7 Chacone by Mr Morgan [no bass]
Il/8 A Chacone [by Jean-Baptiste Lully; no
bass]
Il/9 Division by Mr [William] Hills [no
bass]
11
Il/I0 Division by Mr [William] Gorton [no
bass]
[followed by four Preludes and nine
Cibells, all without basses]
As we have seen, four of these grounds were
already found in Salter and Carr in the 1680s
(1/1, II/3-4, II/6). Three further grounds (1/2,
1/5, 1/7, and 1/11) go back at least to that
decade, as they are found in the first edition of
The Division-Violin (1684). Most of the
remainder (1/6, 1/8-1/10, 1/12, IT/2-4, and IT/
6) tum up in the fourth edition of the second
part of The Division Violin ([1705]). The violin
versions can all be studied conveniently in the
facsimiles of The Division Violin published by
Performers' Facsimiles.13 In fact, the only
grounds that may not have originated for the
violin are 1/10, IT/I, and Il/5-all written by
Finger, who wrote a considerable quantity of
original recorder music. IT/5 had already
appeared in A Collection of Musicke (see above).
IT/I is found a little earlier in the composer's
sonatas for alto recorder and continuo, Op. 3
(Amsterdam, 1701), where it is described as
"Sonata X, Ciacona."
The grounds and their divisions vary a
great deal in age and sophistication. A couple
of the grounds (1/2, 1/6) are variants of the
passamezzo antico or romanesca, which are chord
patterns dating back to dances of the 16th
century:
Romanesca: ill vn i V IT vn i V i
Passamezzo antico: i vn i V ill vn i V i
II/Sis similar to liThe Carman's Whistle,"
found in an Elizabethan harpsichord setting
by William Byrd. Quite why the carman
(carter) should have been whistling such an
angular tune is hard to fathom.
The rustic style is found in 1/4 as well as 1/
7. Habert argues that several other grounds are
based on country melodies (1/2, 1/5-6),
although some of their divisions are more
artistic. A similar mixture is found in a few
grounds by Solomon Eccles (1/8, Il/2, IT/4),
which may have been intended to represent
the country style in the theater.
It is worth pointing out that four grounds at
the end of the second part of The Division Flute
are presented without basses-which must
have been a common manner of performance,
especially by amateurs. The Chaconne (IT/8) is
simply the upper part of an orchestral
Chaconne that concludes the second art of
Jean-Baptiste Lully's opera Phaeton (1683),
transposed up a minor third.14
The most splendid recorder settings to a
ground were written by Henry Purcell, the
greatest composer in England during the
second half of the 17th century. His early work
U3 parts upon a Ground," written around
12
1678,15 survives in an almost complete version
for three violins and a fragmentary version for
three recorders, having apparently been
conceived for this double instrumentation from
the beginning.16 Peter Holman argues that its
style relates more to the contrapuntal consort
tradition developed in the Private Musick at
Court than the French-influenced orchestral
idiom of the Twenty-four Violins, and its
ground bass is actually taken from
Christopher Simpson's Compendium of Practical
Music (London, 1667), where it illustrates
canonic writing over a ground. Actually, the
work, which has a neutral title, alternates three
different styles - French chaconne-writing,
canons, and florid divisions - and thus sums
up" the various traditions of Court music.
Purcell's later "Two in one upon a Ground,
Chaconne for flutes," part of the incidental
music for the play Dioclesian (1691), is a canon
at the unison throughout, at an interval of two
measures, over an elaboration of the
passacaglia.
The passacaglia and chaconne constitute
an important family of triple-meter variations
in the Baroque period. The two types have a
complicated history, well set out in the articles
about them in New Grove 2.17 By the late
Baroque, the terms were sometimes used
interchangeably, and both tended to make use
of a ground bass and/or harmonic scheme.
Generally, the passacaglia tended to be in the
minor key (i V6 iV76 v i) but could also be in the
major (I IV V I), with a descending-tetrachord
bass. It had a fairly slow tempo. The chaconne,
on the other hand, was generally in the major
(e.g., I V vi V); when it moved to the first
inversion of the dominant (I V6 vi V), then it too
had a descending-tetrachord bass. The tempo
was faster, at least in Italy (ciacona).
We have already seen that the tenth
" sonata" of Finger's Op. 3 (Amsterdam, 1701)
was a "Ciacona" i it is based on a kind of
double descending tetrachord (F B-flat-E A-D
G-C F). The third (and last) movement of
sonata no. 8 in that collection is also a
"Ciacona" marked Vivace. It begins in D minor
with the descending bass D-C-B-flat-A, then
switches half-way through to F major with the
descending bass F-E-D-C. At the end of Jean­
Pierre Freillon-Poncein's method for the oboe,
recorder, and flageolet, La veritable maniere
(Paris, 1700), is found a "Passacaille Ii deux
parties pour la Flutte" in E minor (pp. 71-73),
in other words a French-style passacaglia for
alto recorder and basso continuo (unfigured).
Benedetto Marcello's set of twelve recorder
sonatas, Op. 2 (1712), ends with a grand
"Ciacona," 161 measures long, on the
descending bass F-E-D-C. Since this chaconne
is in the same key as the twelfth sonata, which
II
begins in F major and ends in 0 minor, it was
presumably intended as the last movement of
this sonata.
The folia originated as a Portuguese dance
by the late 15th century.18 The name means
"mad" or "empty-headed," and a witness
writing in 1611 described the dance as so fast
and noisy that the dancers seemed out of their
minds. The earliest folias were in 3/4 meter,
but the melody and harmonic changes often
switched between 3/2 and 6/4 meter. The
harmonic scheme was generally: i V i VII i V i
VII i V i, the harmonic rhythm varying a great
deal. By 1672, when Lully composed the first
known example of the new type, the folia had
changed somewhat The harmonic scheme had
now become i V i VII ill VII i V / i V i VII III VII
i-Vi, in a regular harmonic rhythm. The meter
was 3/4 with alternations of emphasis on the
first and second beats of the bar. The key was
almost always 0 minor, and the tempo was
slow and dignified.
Besides the transposition of Michel
Fariners violin divisions on the folia, already
mentioned above, there are four other settings
of the later folia for the recorder. The least
known is the anonymous "Partite di Follia per
Flauto" in an early eighteenth-century
manuscript collection of Sinfonie di variij autori
for alto recorder and basso continuo
(Biblioteca Palatina, Parma, CF-V-23, ff. 63­
72). This setting retains the original key of the
folia, 0 minor. So too do the trio setting by
Johann Christian &::hickhardt, which
constitutes the six piece in his collection of trio
sonatas for two alto recorders and basso
continuo, op. 6 (Amsterdam, [1710]), and the
solo setting by Paolo Benedetto Bellinzani,
which appears as the fourth movement of the
twelfth sonata in his collection of sonatas for
alto recorder and basso continuo, Op. 3
(Venice, 1720).
The famous setting of the folia for the
Recorder is of course that by Arcangelo Corelli.
It is a transposition into G minor of the twelfth
of his collection of violin sonatas, Op. 5, which
were first published in Rome in 1700. The
recorder arrangement came out in London
only two years later, and was presumably the
work of a professional player such as John
Banister II or Robert King, who had been
jointly responsible for importing the violin
edition. 19
Finally, there are a few other recorder
examples of grounds from around 1700.
William Croft's third "sonata" from a
collection of "sonatas and solos" published in
1700 is in fact a set of divisions. The ground (I
V6 I-IV-viJV V / I V6 vi6-IV-V43 I) is twice
repeated exactly, four times varied, once
ornamented, and twice contrasted with a
strain that goes to the dominant (I V I-vii6 I-vii6
vi-V/V-vii6 Vi6-V/V43 V), finishing with a giga
variant George Bingham, who served in the
Private Musick at Court between 1689 and
1696, seems to have then moved to
Amsterdam, where he published four
collections of Airs anglois (English airs)
between 1702 and 1706.20 Three of these
volumes collectively include several grounds
over sophisticated basses by Finger, Gottfried
Keller, and Thomas Williams, all presumably
originally written for the recorder.
Facsimiles and Modern Editions
The Division Flute
The First Part of The Division Flute Containing a
Collection of Divisions upon Several Excellent
Grounds for the Flute; Being Very Improveing and
Delightfull to All Lovers of That Instrument.
London: John Walsh & Joseph Hare, 1706. The
Second Part of The Division Flute Containing the
Newest Divisions upon the Choisest Grounds for
the Flute, as also Several Excellent Preludes
Chacon's and Cibells by the Best Masters. London:
John Walsh, Joseph Hare, & P[eter] Randall,
[1708].
Facsimiles:
Of both parts: Ed. Alvaro Marias.
Colecci6n Musica Facsimil Serle a nfunero
MFa 7. Madrid: Arte Tripharia, 1984.
Of both parts: Basel: Musica musica, 1979.
First part New York: Performers'
Facsimiles, 1986. Performers' Editions 18515.
Second part New York: Performers'
Facsimiles, n.d. Performers' Editions 17316.
Editions:
The Division Recorder, Books One and Two. 2
vols. Ed. Peter Holman. New York: Shattinger­
International Music Corp., 1979. Includes 1/1­
12 and II/1-6 as well as some other divisions
mentioned below. Holman based the edition
not only on The Division Flute but on all other
surviving versions of the pieces. The preface
presents a historical account of the ground
bass in England, and gives brief advice on
performance practice and improvising from a
figured bass.
The Division Flute: a Collection of Seventeen
Compositions Originally Published in 1702 [sic]
by John Walsh: for Alto Recorder or Flute and
Continuo. Ed. William Hullfish. Brooklyn, NY:
Anfor Music 1980.
The Division Flute I (1706) Containing a
Collection of Divisions upon Several Excellent
Grounds = Divisions for Altblockjlote und Basso
Continuo. Ed. Andreas Habert OCR: Habert
and Michael Reidick. Winterthur: Amadeus,
1987. BP 710.
The Division Flute II (1708) Containing the
Newest Divisions upon the Choicest Grounds =
13
Divisions flir Altblockjlote und Basso continuo. Ed.
Andreas Habert. Winterthur: Amadeus, 1987.
BP 711.
The Division Flute flir Altblockjlote und Basso
continuo. 2 vols. Ed. Johannes Bommann.
Schonaich: Musikverlag Bommann, 199-. MVB
11-12.
Selections:
Variaciones sobre bajos obstinados (1706) para
jlauta dulce contralto (flauta travesera, oboe, violin)
y teclado 0 guitarra = Divisions on Grounds
(1706) for Alto Recorder (Flute, Oboe, Violin) and
Keyboard or Guitar. Serie didactica de musica
antigua = Didactic Series of Early Music.
Buenos Aires: Ricordi Americana, 1977.
Includes IT/6, IT/5, II/I, 1/10, IT/9, 1/3, and 1/
II.
Greensleeves y otras vanaciones (1706) para
jlauta dulce soprano 0 tenor (flauta travesera, oboe,
violin) y teclado 0 guitarra = Greensleeves and
Other Divisions (1706) for Soprano or Tenor
Recorder (Flute, Oboe, Violin) and Keyboard or
Guitar. Ed. Mario A. Videla. Serle didactica de
musica antigua = Didactic Series of Early
Music. Buenos Aires: Ricordi Americana, 1977.
Includes only 1/6, 1/6, and 1/2, transposed
down a fourth.
The Division Flute (1706): Divisions flir
Altblockjlote und Basso continuo. Ed. Hans
Martin Linde. Mainz: B. Schott's SOhne, 1968.
OFB 18. RMS 2026. Edition Schott 5737. PI. no.
41895. Comprises only 1/3, If2 (called A
Division to a Ground"), and IT/5 (erroneously
called upauls Steeple").
The Division Flute for Altblockjlote
(Sopranino) und Basso Continuo = for Treble
Recorder (Sopranino) and Basso Continuo: ]ohney
Cock thy Beavor; A Division on a Ground by
Valentine Reading. Ed. Manfred Harras. Kassel:
Barenreiter, 1988. BA 8087. Comprises 1/7 and
1/1.
Divisions upon a Ground for Altblockjlote und
Basso continuo. Ed. Siegfried Petrenz. Celle:
Moeck, 1987. Das Blockfloten Repertoire. Ed.
Moeck 2552. Includes 1/11, 1/10, and 1/5.
The Division Flute for Sopranblockjlote und
Basso continuo = for Soprano Recorder and Basso
Continuo: Greensleeves to a Ground; A Division on
a Ground by Mr Finger. Ed. Manfred Harras.
Kassel: Bdrenreiter, 1987. BA 8082 Comprises
1/6 and 1/10.
Sololiteratur des Hochbarock flir Altblockjlote =
CEuvres baroques pour jlute abec alto seule. Ed.
Bernard Thomas. Kassel: Barenreiter, 1989. BA
8259. Licensed from Dolce Edition, Brighton,
1990. Comprises IT/10 and II/9.
U
1/6:
Greensleeves to a Ground: Twelve Divisions on
the Tune for Descant Recorder and Harpsichord.
14
Ed. Carl F Dolmetsch. BCR: Arnold Dom1\' t:>ch.
London & New York: Schott, 1939. A.P.338.
R.M.S. 58. S. & Co. 5006.
Greensleeves to a Ground for Treble Recorder
and Keyboard = flir Altblockflote und Klavier. Ed.
Arnold & Carl Dolmetsch. London: Schott,
1957. 6102. Ed 10596.
Greensleeves to a Ground from The Division
Flute, 1706. Ed. George Hunter. Provincetown:
Provincetown Bookshop, 1981. 6.
Green Sleeves to a Ground for Flute (Recorder/
Violin), with a Ground for Lute (Guitar/Keyboard),
with the Violl [sic] da Gamba. Munich: Tree­
Editions, 1983.
Included in Meister der Variationen im Barock
flir Sopran- und Altblocktlote = Baroque Masters of
Variation for Descant and Treble Recorder, vol. 1.
Ed. Gabor Kallay. Budapest Editio Musica,
1996. Z. 14136.
1/10:
Gottfried Finger. Tempo di menuetto; The
Division Flute (1706) no. 2, Divisions for Treble
Recorder and Keyboard. Ed. Freda Dinn.
London: Schott, 1957; Mainz: Schott, 1967.
RMS 860; 5.& Co. 6108.
Division on a Ground by Mr Finger: The
Division Flute (London, 1706) for Treble Recorder
and Basso Continuo. Ensemble Series, IV. Tokyo:
Collegium Musicum Tokyo, 1976.
IT/5:
Divisions on "The Carman's Whistle," Treble
Recorder and Harpsichord (Piano) = Altblockjlote
und Cembalo (Klavier). Ed. Carl Dolmetsch. BCR
Joseph Saxby. London: Universal Edition,
1968. II flauto dolce, Dolmetsch Recorder
Series. UE 14024 L.
IT/6:
Included in First Repertoire Pieces for
Recorder: Treble/Alto. Ed. Steve Rosenberg. BCR:
Webb Wiggins. London & New York: Boosey &
Hawkes, 1985. 7109. B&H 20746.
Salter, Genteel Companion
Humphry Salter. The Genteel Companion; Being
Exact Directions for the Recorder: With a
Collection of the Best and Newest Tunes and
Grounds Extant. London: Richard Hunt and the
author, 1683. Includes: Division Flute If1 (pp.
34-35), 1/3 (pp. 40-41; another version as liThe
Kings Health," extra pp. [4-5]), and 1/4 (pp. 38­
39).
Facsimiles:
New York: Performers' Facsimiles, n.d.
Editions:
Holman, Division Recorder, 1/1, If3, and 1/
4.
Divisions upon a Ground flir Altblockjlote,
Gitarre und Bassinstrument (Basso continuo). Ed.
"Aria con divisione," pp. 112-13. Fourth part
"Minuetto con sua Divisione," pp. 20-21.
Other Ayres and Pieces for the Violin Bass-Viol
and Harpsichord Somewhat More Difficult and
Artificial then [sic] the Former. Compos'd for the
Practice and Service of Greater Masters upon those
Carr, Delightful Companion Robert Carr.. The Delightful Companion. 2nd ed. Instruments. The Fourth Part. N.p.: n.p., n.d.
Expanded edition:
London: John Playford and John Carr, 1686. Includes" An Italian Ground" (early version of Other Ayres and Pieces for the Violin Bass Viol
and Harpsechord Somewhat More Difficult and
Division Flute, 11/6) (sig. C/D). Editions: Artificial Than the Former: Composed for the
Holman, Division Recorder, II/6.
Practice and Service of Greater Masters Upon
Divisions upon an Italian Ground aus The
Those Instruments ... The Fourth Part. The Book
Delightful Companion, 1686, for Altblockflote
Enlarged and Perfected with a Second Treble.
(oder Sopranblockflote) und Basso Continuo. Ed.
London, 1685.
Hans Martin Linde. Mainz: B. Schott's SOhne,
"Aria For the Flute" (with one division), pp.
1965. Originalmusik fUr Blockflote OFB 15.
3S-39.
5344. PI. no. 41046.
Facsimiles:
Divisions upon an Italian Ground: London
Ayrs for the Violin ... the First Part; Other Ayrs
1689 [sic]: for Gitarre und Altblockflote bzw. Laute
... the Second Part; Ayres for the Violin ... The
(in franz. Tabulatur) und Altblockflote. Ed.
Third and Fourth Parts; and Other Ayres and
Hartmut Dentier. Cologne: Gitarre + Laute
Pieces ... The Fourth Part. Published collectively:
Verlagsgese11schaft, 1983. G+L 140.
Ridgewood, NJ: Gregg Press, 1966.
Divisions upon a Ground for Altblockflote,
Ayrs for the Violin, Supplement.
Gitarre und Bassinstrument (Basso continuo). Ed.
Famborough, Hampshire: Gregg International
Publishers, 1972.
Johannes Klier. Celle: Moeck, 1986. Das
Blockfloten Repertoire. Ed. Moeck 2551.
Editions:
Includes An Italian Ground" (see also under
Ground after the Scotch Humour and Other
Salter above).
Divisions for Alto Recorder and Continuo. Ed.
Bernard Thomas. Divisions from the 16th to the
Nicola Matteis
ISth Centuries. Brighton: Dolce Edition, 1996.
Includes: Ground after the Scotch Humour,
Ayres for the Violin to wit Preludes, Fuges,
Allmands, Sarabands, Courants, Figues, Fancies,
Gavotta con divisioni (transposed up a tone),
and "Aria con divisioni For the Flute," as well
Divisions, and Likewise Other Passages,
as four violin divisions.
Introductions, and Fuges for Single and Double
Stops with Divisions. Somewhat More Artificial.
For the Emproving of the Hand upon the Base Viol
Gottfried Finger
or Harpsichord. The Third and Fourth Parts. N.p.:
A Collection of Musicke in Two Parts. Consisting
n.p., n.d.
of Ayres, Chacones, Divisions, and Sonata's, for
The"Aria for the Flute," pp. 38-39, has a
Violins or Flutes. By Mr. G. Finger. To Which is
"Variata" that is close to the original and
Added A Sett ofAyres in Four Parts, By Mr. John
indeed more like a variant than a division.
Banister. London: Printed by J. Heptinstall for
" Aria con Divisioni For the Flute," pp. 52­
Mr. John Banister, 1691.
[Included in Second Treble part]
53.
Division / Ground Bass in Qaut [Finger],
"Ground after the Scotch humour," pp. 60­
61. 3/4 F: I I-ii; V-I ii;-V I See Holman,
pp.l0-ll 6/S C: I-V l-viiJV-V I-IV-I V-I
Division Recorder, 11/7. Not actually part of "a
Ground in Gamut [Finger], p. 11 C/ G: 1­
suite marked 'for the flute,'" as Holman
V-I-Vvi,r-V/V-VI-IV-V7 V-I
Division / Ground [Finger], pp. 12-13
claims - only the third of the three pieces in F
(early version of Division Flute, IT/5)
major that begin with this Ground is marked
in that way - but it is included in the "Table of
Editions:
the most easy ayres in ye book that may be
Holman, Division Recorder, II/S, 11/9, and
play'd with the flute as well as the violin."
11/5.
This table also includes: Third part
"Gavotta con divisioni," pp. 16-17; "Aria con
British Library, Add. Ms. 35043, f. 123v. John
divisione," pp. 46-47; Aria con divisione per
Channing's commonplace book, dated 1697.
far la mano," pp. 76-77 (goes down to d');
"Solo for the Flute" by Finger.
Aria," pp. SO-SI (two phrases; in each case
C/ F: I-V-I-V vi-ii;-V-I IV-viio7-1 V 1://: IV/V­
the division appears before the simple
V vi-V V/V-VI-V-I-V vi-ii;-V-IIV-viio7-1 V-I
melody); "Aria sminuita per far la mano," pp.
Editions:
84-S5; "Sarabanda / siminuita," pp. 104-05;
Holman, Division Recorder, IT/17.
Johannes Klier. Celle: Moeck, 1986. Das Blockfloten Repertoire. Ed. Moeck 2551. Includes Mr. FardineYs Ground and Mr. Reddins Ground (see also under Carr below). 1/
1/
1/
15
Airs anglois
50 airs anglois dont les 20 premiers sont aun
dessus seulles 10 suivants a2 dessus & les 20
dernier aun dessus & une basse. Choisis & mis en
ordre par George Bingham.... Amsterdam:
Estienne Roger, [1702].
45. Ground Mr. Tho. Williams (in ree only)
ree, Ix:. Cd:iiv-VTI-vV-III-VIIV-V-iV-i
50. A Ground Mr. G. Keller (in ree only)
ree, Ix: C F: I-V-vi;-vii/V-V i-i4-V-I
Facsimiles:
With intro. by Paul Raspe. 2 partbooks.
Brussels Royal Conservatory of Music Series,
5. Peer, Belgium: Alamire, 1992.
Editions:
Nos. 45 and 50 included in Holman,
Division Recorder, IT/II and IT/12.
40 airs anglois aun dessus & une basse & trois
sonates, les deux premiers a2 dessus & Ie troisieme
aun dessus & une basse, choisis & mis en ordre par
George Bingham, livre second.... Amsterdam:
Estienne Roger, [1702].
5. A Ground Seigr. Godfrido Finger ree, Ix:
3/4 a: i V i-V-i V i V i-i4-V i
19. A Ground Seigr. G. Finger ree, Ix: 3/4
C: I-V-I V vi-ii V I V-ii vi-i i4-V-I
Chacone Mr. G. Finger 2ree
Facsimiles:
With intro. by Paul Raspe. 2 partbooks.
Brussels Royal Conservatory of Music Series,
6. Peer, Belgium: Alamire, 1993.
Editions:
Nos. 5 and 19 included in Holman,
Division Recorder, IT/13 and IT/14.
40 airs anglois [pour la flute] aun dessus & une
basse. Dont les 16 premiers sont de Monsieur
Finger & les 24 suivants de M' George Bingham ...
livre troisieme. Amsterdam: Estienne Roger,
[1703].
6. A Ground Adagio 3/4 d: i v ~-iv V
10. Chaconne F
16. Chaconne G Fine delle Arie del Signe
Godfrido Finger
Facsimiles:
With intro. by Paul Raspe. 2 partbooks.
Brussels Royal Conservatory of Music Series,
7. Peer, Belgium: Alamire, 1994.
Editions:
No. 6 included in Holman, Division
Recorder, IT/15.
40 Airs anglois aun Dessus & une Basse Composez
par M' George Bingham Livre Quatrieme Dedie a
messieurs ses diciples; on a adjoute ace livre une
Chacconne de Monsieur Finger. Amsterdam:
Estienne Roger, [1706].
Separate sheet
Ciaccona del Signore G. Finger
16
3/4 F: I V i4-IV V I i4 V I / / f: i v ii7-V/V V i
ii7 V i / / F: I V i4-IV V I i4 V I
Facsimiles:
2 partbooks. Brussels Royal Conservatory
of Music Series, 8. Peer, Belgium: Alamire,
1997.
Editions:
Finger's chaconne included in Holman,
Division Recorder, IT/16.
Henry Purcell "Two in one upon a Ground" from Dioclesian. Z.627 (16). Published in: The Vocal and
Instruments Musick of the Prophetess, or the
History of Dioclesian. London: John Carr for the
author, 1691. "Chaconne for Flutes, in the
Third Act" 3/4 c: i v VI..:IV V i V (i)
Facsimile:
Basel: Musica Musica, n.d. (with "3 parts
upon a Ground").
Editions:
Chaconne for Two Treble Recorders and
Keyboard from "Dioclesian." Ed. Walter G.
Bergmann. London: Schott, 1948. S. & Co. Ltd.
5408a. Schott's Reeorder Series, 23.
Holman, Division Recorder, IT/I0.
Chaconne c-moIl Two in one upon a Ground for
Blockfloten Quartett (AAAB) =for Recorder
Quartet (Tr Tr Tr B). Ed. Johannes Bornmann.
Schonaich: Musikverlag Bornmann, 1995?
MVB26.
113 parts upon a Ground. playd 2 notes higher
for F[lutes]." Z. 731. British Library, Ms. RM
20h 9.
Facsimiles:
Basel: Musica Musica, n.d. (with "Two in
one upon a Ground").
Editions:
Chaconne "Three Parts upon a Ground" for
Three Treble Recorders and Continuo = for drei
Altblockfloten und Basso Continuo. Ed. Layton
Ring. London: Schott, 1953; rev. 1983. OFB
1002.
Fantazias and Miscellaneous Instrumental
Music. The Works of Henry Purcell, XXXI. Ed.
Thurston Dart London: Novello, 1959. 2nd ed.
Ed. Michael TiImouth with additional material
provided by Alan Browning, and Peter
Holman. London: Stainer & Bell, 1990. Pp. 52­
60.
Chaconne for drei Altblockfloten und Basso
continuo. Ed. Bernhard pauler. Winterthur:
Amadeus, 1982.
Three Parts upon a Ground: for drei
Altblockfloten und Basso continuo. Ed. Dieter
Haag. CelIe: Moeck, 1985. Blockfloten
Repertoire; Ed. Moeck Nr. 2539.
Fantazia Three Parts upon a Ground for
Blockfloten-Quartett (AABB) =for Recorder
Quartet (Tr Tr Tr B). Ed. Johannes Bornmann.
Schonaich: Musikverlag Bommann, 1995.
MVB 27.
Passacaglia and Chaconnes
Gottfried Finger. Dix sonates a 1 flute & 1 basse
continue ... opera terza. Amsterdam: Estienne
Roger, [1701]. No.8, third movement,
IlCiacona," marked IIVivace."
Facsimiles:
Ann Arbor, W: Early Music Facsimiles,
197-.
New York: Performers' Facsimiles, n.d.
Performers' Facsimiles, 169.
Editions:
Included in Funf Sonaten for Altblockflote und
Basso continuo, op. 3/6-10. Ed. Ernst
Kubitschek. Vienna: Doblinger, 1991. Di1etto
musicale, 1128; D.17 696.
Included in Zehn Sonaten for AltblockflOte
(Flote, Oboe) und Basso continuo, op. 3 = Ten
Sonatas for Treble Recorder (Flute, Oboe) and Basso
Continuo. Ed. Bernhard Piiuler. OCR Christine
Geverl Winterthur: Amadeus Verlag, 2000.
Camera flauto Amadeus, 148-149; BP 328­
329.
William Croft
Six Sonatas or Solos, Three for a Violin and Three
for the Flute with a Thorough Bass for ye
Harpsicord, Theorboe or Bass-Viol Compos'd by
Mr Wm Crofts & an Italian Mr. London: Walsh
& Hare, 1700. Previously sold by John Young,
1699. No.3 in G major.
Edition:
Included in Sonaten alter Englischer Meister,
for Altblockflote und Basso continuo II = Sonatas
by Old English Masters, for Treble Recorder and
Basso Continuo, II. Ed. Hugo Ruf. Kassel:
Barenreiter, 1971. Hortus musicus, 209.
Jean-Pierre Freillon-Poncein
La veritable maniere d'apprendre a jouer en
perfection du haut-bois, de la flute et du flageolet.
Avec les principes de la musique pour la voix et
pour toutes sortes d'instrumens. Paris: Jacques
Collombat, 1700. "Passacaille a deux parties
pour la Flutte" (pp. 71-73).
Facsimile:
With Amand Vanderhagen, Methode
nouvelle et raisonnee pour Ie hautbois (Geneva:
Editions Minkoff, 1974).
On Playing Oboe, Recorder, and Flageolet.
Trans!. with an introduction by Catherine
Parsons Smith. Publications of the Early Music
Institute. Bloomington: Indiana University
Press, 1992. The musical examples are given in
facsimile.
Editions:
Passacaille and Two Menuets for Alto Recorder
and Basso Continuo. Ed. David Lasocki. OCR
Robert Paul Block. Tokyo: Zen-On, 1978. R-
152.
Benedetto Marcello Suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo ... opera seconda. Venice: Gioseppe Sala, 1712. XII suonate a flauto solo con il suo basso continuo per violoncello 0 cembalo ... opera seconda. Amsterdam: Estienne Roger, [1715]; (plate 368). Ciaccona (ESF no. C766) [apparently
intended as a finale to Sonata No. 12 (ESF no.
C767)].
Facsimiles:
Of Roger edition: New York: Performers'
Facsimiles, 1988. 39831.
Of both Sala and Roger editions (the latter
photographically reduced in an appendix):
Suonate a flauto solo, Venezia 1712. With preface
by Marcello Castellani. Florence: Studio per
edizioni scelte, 1980. Archivum musicum:
Collana di testi rari, 37.
Editions:
Ciacona opus 2 no. 12 for Alto Recorder and
Basso Continuo. Ed. David Lasocki. OCR: Robert
Paul Block. Tokyo: Zen-On, 1980. R-159.
Included in Zwolj Sonaten for Altblockflote
oder Querflote und Basso continuo, op. 2 = Twelve
Sonatas for Treble Recorder or Flutes [sic] and
Basso Continuo. Ed. Willy Hess. Winterthur:
Amadeus, 1982. Camera flauto Amadeus, 40­
43; BP 2056-2059.
Included in 12 sonate per flauto e basso
continuo, op. 2. 2 vols. Ed. Istvan Ma.ruissy.
Budapest: Editio Musica, 1989. Z. 13 476-Z. 13
477.
Folias See Salter and Division Flute, I/3, above. Johann Christian Schickhardt Sonates pour la chambre adeux flutes et une basse continue ... sixieme ouvrage (Amsterdam: Estienne Roger, [1710]). No.6, D minor. Edition:
Variations on La Folia, Opus 6 No.6, for 2
treble recorders and basso continuo. Ed. David
Lasocki. OCR John Madden. London: Nova
Music, 1979. N.M. 107.
Paolo Benedetto Bellinzani Sonate a flauto solo con cembalo, 0 violoncello ... opera terza (Venice: Antonio Bortoli, 1720). No. 12, 4th movement, D minor. Facsimile:
Florence: Studio per edizioni scelte, 1979.
Archivum musicum: Collana di testi rari, 9.
Editions:
Sonata in d, Opus 3 no. 12 (including
Variations on La Follia), for Treble Recorder (Flute)
and Basso Continuo. Ed. David Lasocki. OCR
17
John Madden. London: Nova Music, 1979.
N.M.l23.
Included in 4 sonate per flauto e basso
continuo, op. 3. Ed. Istvan Manassy. Budapest
Editio Musica, 1984. Z. 12 792.
Anonymous
"Partite di Follia per Flauto," in Sinfonie di
variij auton, for alto recorder and basso
continuo (Biblioteca Palatina, Parma, CF-V­
23, ff. 63-72).
Sonate d-Moll for Altblockflote und Basso
continuo, op. 3/12: mit Variationen iiber "La
Follia" = Sonata D minor for Treble Recorder and
Basso Continuo, op. 3/12: with Variations on "La
Follia." Ed. Martin Heidecker. OCR Siegfried
Petrenz. Vienna: Universal Edition, 1991. UE
18744.
Facsimile:
Sinfonie di varij autori. Florence: Studio per
edizioni scelte, 1982. Archivum musicum:
Collana di testi rari, 48.
Arcangelo Corelli
Six Solos for a Flute and a Bass ... Being the Second
Part of his Fifth Opera ... the Whole Exactly
Transpos'd and Made Fitt for a Flute and a Bass
with the Aprobation of Severall Eminent Masters.
London: Walsh & Hare, 1702. No.6, G minor.
Facsimile:
Presentation par Susi Mohlmeier &
Frederique Thouvenot; publiee sous la
direction de Jean Saint-Arroman. Courlay: J.M.
Fuzeau, 1998. Facsimile Jean-Marc Fuzeau;
Collection Dominantes; 5558.
Editions:
La follia: Arrangement for Recorder and
Figured Bass ... Published circa 1710 by John
Walsh. Ed. Colin Sterne. New York: Hargail
Music Press, 1956. HCA-14.
La Follia, Opus 5 Number 12, for Alto Recorder
(Flute or Oboe) and Piano. Ed. Bernard Krainis.
BCR Paul Maynard. New York: McGinnis &
Marx, 1957. Music for Wind Instruments by
18th Century Masters, No.9.
La follia, for Altblockflote und Basso continuo.
Ed. Hans Martin Linde. Mainz: Schott, 1972.
Originalmusik fUr Blockflote, 121.
La Follia, Op. 5 No. 12. Ed. Masahiro Arita.
BCR Chiyoko Arita. Tokyo: Zen-On, 1977. R­
145.
Follia pour flute abec alto et basse continue, op.
5, no. 12. Ed. Jean Claude Veilhan. Paris:
Alphonse Leduc, 1983. A.L.27 006.
Included in 6 Sonatas from Opus 5 for Treble
Recorder and Basso Continuo = for Altblockflote
und Basso continuo. 2 vols. Ed. Gwilym Beechey.
Mainz: Schott, 1993. ED 12303-ED 12304.
Included in Meister der Variationen im Barock
for Sopran- und Altblocktlote Baroque Masters of
Variation for Descant and Treble Recorder, vol. 1.
Ed. Gabor Kallay. Budapest Editio Musica,
1996. Z. 14136.
Included in 6 Sonaten for Altblockflote und
Basso continuo. Ed. Winfried Michel. Miinster:
Mieroprint, 1998. EM 2021.
Included in 12 Sonaten for Altblockflote und
Basso continuo, Opus 5. Ed. Martin Nitz. New
York: Heinrichshofen, 1982-84. Noetzel
N4092-N4094.
18
Notes
1. Facsimile, New York: Performers'
Facsimiles, n.d. All recorder players interested
in improvising or composing divisions on
grounds should read Simpson. See also
William Hullfish, "Divisions: The Art of
Improvising Your Own," Divisions 1
(September 1978): 4-13; "The Division Flute:
An Introduction to Playing Upon a Ground,"
NACWPI Journal 27, no. 2 (Winter 1978-79): 4­
23; and "Improvising Divisions upon a
Ground," The American Recorder 21, no. 2
(August 1980): 73-78; and Matthias Maute's
article in this issue.
2. The New Grove Dictionary of Music and
Musicians, zoo: ed., s.v. "Ground," by Richard
Hudson; online version at http:/ /
www.grovemusic.com.
3. Habert (see n. 6), 96-97.
4. New Grove 2, s.v., "Division," by Frank
Traficante.
5. David Lasocki, "Paisible, James," in A
Biographical Dictionary of English Court
Musicians, 1485-1714, compiled by Andrew
Ashbee and David Lasocki assisted by Peter
Holman and Fiona Kisby (Aldershot and
Brookfield, VT: Ashgate, 1988), II, 861.
6. "Wege durch die Division Flute: Zur
Variationspraxis in der englischen Kunst- und
Volksmusik des 17. Jahrhunderts," Basler
Jahrbuch for histonsche Musikpraxis 11 (1987):
89-138.
7. See A Biographical Dictionary, II, 948.
8. New Grove 2, s.v., "Farinel, Michel," by
Marcelle Benoit with Erik Kocevar.
9. Modem editions of both Fardinel's violin
divisions and liThe King's Health" are found
in Richard Hudson, The Folia, the Saraband, the
Passacaglia, and the Chaconne: The Historical
Evolution of Four Forms that Originated in Music
for the Five-course Spanish Guitar, vol. 1: The
Folia (Neuhausen-Stuttgart Hanssler-Verlag;
American Institute of Musicology, 1982), nos.
88-89.
10. See Marianne Mezger, "Performance
Practice for Recorder Players," Leading Notes:
Journal of the National Early Music Association 7
(Spring 1994): 13-16; "Vom Pleasant Companion
zum Compleat Flute Master. Englische
Blockflotenschulen des 17. und 18. Jh.," Tibia
20, no. 2 (1995): 417-30; and "Henry Purcells
Chaconne Two in One upon a Ground aus dem
dritten Akt der Prophetes or the History of
Dioclesian, London 1690," ibid., XXXIII-XXVI
(Die gelbe Seite).
11. New Grove 2, S.v., "Matteis, Niccola (i)," by
Peter Walls.
Hudson, The Folia, the Saraband, the Passacaglia,
and the Chaconne, vol. III: The Passacaglia; and
vol. IV: The Chaconne.
18. The information in this paragraph is taken
from New Grove 2, S.v. "Folia," by Giuseppe
Gerbino and Alexander Silbiger.
19. David Lasocki, "Professional Recorder
Players in England, 1540-1740," 2 vols. (ph.D.
diss., The University of Iowa, 1983), I, 396.
20. A Biographical Dictionary, I, 150-51.
Dr. David Lasocld is the Head of Reference Services in
the Cook Music Library at Indiana University and one
of the world's leading woodwind scholars (see his Web
site: http://php.indiana.edu/-lasocki/).
12. See David Lasocki, "The London Publisher
John Walsh (1665 or 1666-1736) and the
Recorder," in Sine musica nulla vita: Festschrift
Hermann Moeck zum 75. Geburtstag am 16.
September 1997, ed. Nicholaus Delius (Celle:
Moeck, 1997), 343-74.
13. The Division-Violin: Containing a Choice
Collection of Divisions to a Ground for the Treble­
Violin. Being the First Musick of this Kind Ever
Published (London: John Playford, 1684);
facsimile, New York: Performers' Facsimiles,
n.d. (Performers' Editions 47115). The Second
Part of the Division Violin Containing the Newest
Divisions upon Grounds for the Violin .... the
Fourth Edition (London: Walsh & Hare, [1705]);
facsimile, New York: Performers' Facsimiles,
n.d. (performers' Editions 38116).
14. See J.B de Lully, Phaeteon: tragedie lyrique en
5 actes et un prologue; paroles de Quinault;
representee pour la Ire. fois a Versailles, Ie 6
Janvier 1683, et aParis, Ie 27 avril de la meme
annee, al'Academie Royale de Musique;
reconstituee et reduite pour piano et chant par
Theodore de Lajarte (paris: Theodore
Michaelis, n.d.; reprint, New York: Broude
Brothers Limited, 1971), pp. 151-55.
15. This discussion is based on Peter Holman,
"Compositional Choices in Henry Purcell's
Three Parts upon a Ground," Early Music 29, no.
2 (May 2001): 251-61.
16. On the problems of reconstructing the
missing measure, see Layton Ring, "The
;Missing Bar' in Purcell's 3 Parts upon a
Ground," The Consort 52, no. 2 (Autumn 1996):
92-95; and Alec V. Loretto, "Those Two
Purcell Missing Bars," The Recorder Magazine
21a, no. 2 (Summer 2001): 49-52.
17. New Grove 2, s.v. "Chaconne" and
"Passacaglia," by Alexander Silbiger. See also
19