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4

You may refer to the full Ryom listing, (see Wikipedia here), but RV 580 is definitely for four violins (and violoncello by the way), and since it is the only one for four violins (J. S. Bach transscribed and arranged it for four harpsichords), there is no uncertainty here. And yes, RV numbers are supposed to be unique. It is perfectly possible that someone ...


3

(Assuming you want the BWV number) This is tricky: It is a transcription for guitar of the partita for violin solo #1, BWV 1002, Tempo di borea. See e.g. youtube


3

The video starts with the Air from J.S.Bach's Orchestral Suite no.3 in D major BWV1068, better known as "Air on the G String".


2

This is by Haendel, who frequently re-used his material. One example is from the concerto for due cori #2 in F major, HWV 333, 5th movement "Allegro ma non troppo". Compare this on Youtube. Another use is in Ode for the Birthday of Queen Anne, Let rolling streams


2

I finally found it, after listening to a lot of arias: the music is taken from "Io son rea dell'onor mio", in Vivaldi's Argippo. This aria was discovered only in 2006, so it was not known at the time of Bezzina's recording.


1

Bad news first: If there is such a data base, I've not found it yet. But there is some hope: Buy a CD recording and take a look into the booklet. If it is not an extremely cheap series, chances are good, that you find the mentioned information there. (Especially for highly productive composers the year of composition or any background may not be known in ...


1

I'm surprised that no-one has thought to try dancing to this. Since Satie most likely did not intend the pieces for dancing, an attempt to do this would have probably appealed to his reportedly quirky and ironic humour.... Looking at this video, demonstrating the Saraband, I imagine that someone could dance a Saraband to the Satie pieces of that name. ...


1

The enclosed booklet offers this information (Frédéric Delaméa, 2012): Only the libretto of the Viennese Oracolo survives, and bears witness to an extensive process of revision which took the final version still further from the Giacomellian model with the insertion of arias derived from Zeno's original libretto, numbers from earlier operas from Vivaldi (...


1

As the booklet states, it relates to Nicola Mattei's treatise on continuo playing for the guitar, titled: The False Consonances of Musick (1682) It also quotes from this work You must not play allwayes alike, but sometimes Lowd and sometimes softly, according to your fancy, and if you meet with any Melancholy notes, you must touch them sweet and ...


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