The scoring of music in the Baroque period was rather fluid. Composers would often designate the instrumentation with weak nominations such as "two violins or the like". Anthony Rowland-Jones said it very well In the article "The baroque chamber-music repertoire" in The Cambridge Companion to the Recorder: "Playing the music well, in a lively, committed and persuasive manner, was more important than what instrument it was played on..."
In the early 17th century Venice was the center of the development of the canzona francese, so-called because its form was derived from the French chanson. In his Primo Libro delle Canzoni (1628), Frescobaldi said that his canzoni were "to be played by all sorts of musical instruments". The 17 Canzoni of Canale that I posted today are fine examples of this form and work well on recorders, so I present them as music for recroders, although a quartet of any instruments with suitable ranges will also enjoy exploring these works.
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Formerly a successful software engineer and then Mathematics instructor, I am now retired and keep busy as an amateur musician of early music. Archives
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