Cocquiel-manuscript

fol. 107 v- 108 r

342.

.
.
. #
&C

. J

?C

Fuga

. .
.
& #
#

J
. .
.

J
?

& # . J

#
n

#
&

? # # #

13

& #

17

 .
. J
&

21

? #
n

&

25

&

##

I I n n

? # #
28

# n

#


#
J

Cocquiel-manuscript
fol. 108 v- 110 r

343.

Fuga

& C
Fga

?C

& #

?
#

&

b


n

b 3

&
43
3 j

?
3
4 J

13

3 3 3
3 j n3 j j
J
J
J

?

&

17

& 43

?
43

21

3 3 C . j
#

j # j C
J J

# . j #

. J

3 3 3

j j # j j
j

J
J J J b J
3

# C #
# j C # #
J

& #
j

j

#
j
j

25

&
j

j
?

28

&4

33

? 43

&

39

&

45

. .

J
j
j

ww
w
ww
w
Verte cito

&

50

w
&C w

55

? C w

w
.

w.

ww
w
w
w

Cocquiel-manuscript
fol. 110 v- 112 r

344.

#
Fuga
I?
?C

&C

& #
J

& #

& #

13

& #

17

? # #

#
J

#
#

I
#

# #

j
#
&

21

& #
#

w
?
# # w

25

w
w
ww
w

& 4

# # #

? 43

31

&

# #
#

? #

36

&

? #

41

&

#
#

46

&

&

51

&

& # C #.

#
?
C w

55

J
#

w #

ww

ww
w
w
w

Cocquiel-manuscript
fol. 112v- 113v

345.

&b C
Fuga

? C
b
&b

n
# b b

# n n b
n

# #
.

b
J
n

b
& b # n b
i
j

? b

# n n

i?

# n

11

& b # .

J
? b #
b

16

& b # n

j
#
? b .

21

& b #

?b

26

b
# n b

# n n b

[anonymous *]

j

n

# n b

# n

# n n b

* This piece appears to be a Ricercar 2di toni by Christian ERBACH (ca.1570-1635)

and was already published by Ernst von Werra in Denkmler der Tonkunst in Bayern, vol. IV/2,
Breitkopf & Hrtel, Leipzig, 1903.
The copy in the Cocquiel-ms is an incomplete and inaccurate version.

*b b in ms

n
. J

& b #

# n
? b n b

31

# n
b
j b

.
.

& b .
b
Jj

? . b
b

36

# n n b b

J
j

b
# .
. J

j .
j

.
& b # n . b #

?b

41

& b # n

?
b

46

# n n b

# n n b

# . # j

n b

.
?b

&b

51

& b

? b #

55

# n

j
j .
.

b
. j . n

#
#
#
w
b w
w

n ww
w

Cocquiel-manuscript
fol. 114 r- 116r

346.

? C . .

# # . n

Cornet

Fantasia

?C

[ Cornet ]

. .

j
?

&

. ?
& # .

? # . # &

13

# .
j

#
# #

? . .

J
&

17

 .
? . .

&

21

25
n

&

b . ? b
b b

b
&
bb
J
b
? b n J b J b J b J b b
J
J J
bb

J J J
J
*ms=b b
n*

28

? bb n
b

n n

? bb
b

32

n i b

&

b . J n . .

.
n

.
J
J
J J
j

.
? b b

. n w
b
n *
J
b
& b b .

38

*bass: G in ms

bb b . n . J n .
J
&
J

43

? b b
b

n?

..

J

. j
J n
J

b J .
b
& b

48

J . . . J . J n . J . . . . . J
J

? b b J

b
J
J

i.
*

. . .

.
b

J
. . J .
n
& b n. J
J . . J
*b" b in ms
j

? b b .
b

J i
J

53

bb

b . J n n . . . n
b
n
& b

58

? b
bb

b b n
b
&

62

? b b
b

b b n
b
&

65

? b b
b

..

n? n ?

n . n
J

nnn
nnn


. .
? 12 J J J .
J J
8

68

? 12
8

. . # .
J

j J . . .
J
J J

. .

j .
.

.
J

&

j
j

j j . . .

& J

J
j
j

.
.
.
j

? .. j # . .. .. # .. .. . . . . j
J J
J . .

72

j
.
.
J

j j .

&
J

j
.. . . . . . . .
? . . . . # .
J . J
J J

76

&

.
. .. . j
? . . . .. .. ..
.
. .
. .

80

J ..
. . . .
.
. .

Cocquiel-manuscript
fol. 116 v- 118 r

347.

? C
b
Cornet

? C
b

? # .
b
j
n #

b .

&b

?b

j
..

j
..

..

j
..
[Cornet]

&

# n #

#
#
n
j
b
n .
w..
.
.

n n

#
j
j
n

&b

10

&b

13

? b n# n n #

n . # n #

# n

&b

17

? b

n # j

n #

j # n ?

.
n

n
n
& b

?b


n

n
J

20

&b

23

n
n
j
j
j
n
n .
# # n

?b

&b
j

? b n # n

26

&b

29

?b

#
J

n

&b
j
n
.

n
n

# #

? b

32

n . # .

n # n .
&b

? b

35

. # j

..
..

3
&b 4

38

? b 43 n # # n #

&b

42

n . #

j
? b # n

# n

n
n

&b

46

?
b

n
n

#
#

.
&b

50

?b

J

b .

&b

54

? b n

&

58

?b

# .
&b

? b .

62

&b

66

J
J # n

j
j

j
j

J
? b #

n
J

&b J

71

?
b

# n
J

&b
?b
&b

84

?b

j . #

& b J

? #

n
b

75

79

J #

#
n #

J #

# .

j
..
#.

L F:

* Jacobus La Fosse (1671-1721) ??

Cocquiel-manuscript
fol. 118 v- 120 r

348.
Volspel *

&C

Fga

?C

&

j .

&
# #

?
#

& # .
#

10

&
.
.
?

13

* Volspel = Full

j
# .

#
n

j

J #

&

? #

16

& # .

19

&

&

ww
w

w
w

& 68

28

? 68

Allegro

# J

25

22

J
J

verte cito

&

&

32

&

& #

35

.. . .

.
.

&

..

? j

38

&

41

..

..

? b j

.
& #

44

..
.
.
.
u

L F:

* Jacobus La Fosse (1671-1721) ??

Cocquiel-manuscript
fol. 120 v- 123 r

349.

#
#

# ..

.
J

[ Largo ?]

b 3
& b C 4 .
? b bC 43
7

b
b
&

..

? bb

Trompet bas

# #

bb

b . n
b
&

17

? bb

& b

Vivace

Largo

* no # in ms.

22

? bb

Vivace

. #n
.
* *

&

J
? b j
b
J

12

* f#1 in ms

b
n

.
J
& b
J

27

? bb

[ Largo ?]

j
j
.
#

bb .

&

32

? bb

b
& b #

? bb

[ Vivace ]

&

41

.
bb n .

37

j
n ..
J

j
b ..
J

j
..
J

? bb
b
& b ..

45

j
..
J

j
n ..
J

j
#
J

? b
b

b
b
&

49

? bb

[ Largo ]

b
& b #

n

? bb *

55

* In the ms. this series of 28 notes

starts already in bar 54 i.o. 55

* reconstruction
by the editor

b
&b

60

? bb

n .. #

n
I

bb #

&

65

? bb

bb j
#
&
#
J
? b j

? b b 68

[ Largo ]

76

b
& b 68 . .

j

J
[ Vivace ]
n # b J

& b #

81

71

? b
b

# n

68

Verte cito

68

#

#
. n .
n. #.

. #
b j

& #
J
n
n J
? bb

87

b .
& b ..

? bb .

n.

b
&b

92

97

? bb

n
# .

j
bb n .

&
.
.

102

? b
b

.
.

b.

.
#.
#

j

J

b j . n .
.
b
&
n
.
J

.
? bb .

107

b
b
&

112

? bb
bb #
&

117

#
#
#
J

j
# n ...
J
#
#

? bb j

j j

L F:

* Jacobus La Fosse (1671-1721) ??

Cocquiel-manuscript
fol. 123 v- 125 r

350.

j
j

#

.
.
C

&
.


J
Fga
. .
?C
J
J

Volspel *

*"Volspel" = Full

#
.
*. .
& *

*in the ms.: c1 & b1

are 1 octave lower

.
J
&
j
# . #
.

?


J

J

J

..

&

13

.
?

j j

J

# j
J J

#
J

j
.

&

J
j

.

17

&

21

? .

..
.

j
.
.
J

#
J
#

# .

&

J
J

25

#
28

J

&

j


J

..
J

. J .

.
J

j
# .

J
j

.
.
J J

J
J
I?
.
& .

32

&

35

? b

# .

&

38

?
.
J

b ..
&

41

? b

j
.
.
i?

# .
.
J
J

j b #
J
J

j
.

J
i

j
.

# b

j
b

J
n i
b

b
J

b
&

44

?
&

48

# ..

? . . b
J
J
I?
&

51

b # .

b.

# .

r b

j b . n
.
J
J *better ommit
g

b .

b b

j

.
J

. .

b *

.
j
#

.
.

& .
J
J

54

j
j .
.
.

..
&

57

j

J

w
? # w

& #

60

ww
w

L F:

* Jacobus La Fosse (1671-1721) ??

Cocquiel-manuscript
fol. 125 v - 130 r

351.

&b C

Fantasia

? C
b w

.
J
j n

.


*
. J

*tenor better d

.
b

&
?
b

j


. j

. .

j
& b . .
Jj


.
? b

10

& b n
b
?b

14

n
#

& b

n i
? b

18

& b
n

22

?b

& b

? b

. j

26

&

? b

30

& b

?b

34

b
& .
J
? b .
J

38

.
J

. J
n

.
J

. j
I n
?

& b

j
b
.

?b

43

& b
?
b

47

*bass = F in ms.

b
&



?b

51

&
.


*
J

?b

55

*alto = f1 in ms.

&

j
j

?b

60

& J

? b

64

& b .

68

?b

j

J

b
&

?b

72

&

# n

?
b

76

&b

?
b

80

. j

. j

n

b
& b
? b
& b b
? b b

90

&

?b

.
. n
J

. J

85

94

n?
i?

b
b

b
b

#
b


& b .
J
J

? b

98

j
n .

J
i
n

& b

?
b

102

j j

&

106

& b

109

?b

& b

? b

* *

112

n
. J
n

**in ms. f-e

&

116

.
? b w

#
.

J
j
j

.
# n .
j
w w

j

.

? w
b

w
& b

120

& b

124

? .
b

&

127

? b

.
& b

130

?
b

. j

&b

n

?b

137

j
n .

.
J

& b .

? b .
. J
J

133

n?

.
.

n?

J
j
.

& b
n

?b

141

w w
w

w
w
. w

J
j
.

? .

b
& b w

145

&

?

.

149

*tenor: a in ms.

& b
. j

?b w

& b
.

n
.
w
w
w

153

158

?b

ww
w
w
( www )

A. Kerckhoven
*

* at the organ
better ommit A

Cocquiel-manuscript
fol. 130 v- 131 r

352.

b*
&bb C

Fantasia

? b C w
bb

. n n w
i
w
w w
w

w
i?
n w

ww

b n n n w n

w.

* Key signature : see note at the end

b
& b b n

? b w
bb

b w

*
w n w

j n
b
b
b
n

.
&

? b b w*
b

14

*alto: no b
before the e1

bb

& b w .

.
w

w*

*sopr. in ms. f1
i.o. a1

w
w
*

*tenor: no b
before the e

b
& b b .n #
J
j n

? b b #

*bass: no b
before the e

n n *
w
n

.

n b n
*

*alto: no b
before the e1

*bass: no b
before the e
gap in ms.

? b b . n
b
26

*bass: no b
before the e

w
b

b n

*tenor: no b
before the b

20

w.
n w *
.
w
w n n b n w

ww

n
J

n . j
w *

*alto: play quarter

i.o. half

n b n

*

. j

#
n
*sopr.: no b
before the b1

*tenor: no b
before the b

n n

J
n

b
& b b .

j
j

? b n n
bb

30

b
b
& b

34

n n

? b n
bb

.
*

b n
b
& b
? bb

b * n

n n

*
n

n b

* n

*tenor: no b
before the b

j
n

#
n *
n

alto: e b1 would
be better than a

*better ommit
this G ?
38

*sopr.: no b
before the b1

. n . n
J

. J
n

*sopr.: no b
before the b1

b n

n *

*bass: no b before the E

(anyway, VdK's keyboard
didn't have an E b!)

& b b n n n n n n . . n n
*
J n *
w
w
? bb w
b w
.
w

42

*alto: no b
before the e1

*ms.:
c1 i.o. B

* The Cocquiel-manuscript has no key-signature at the clef;

the key is definitely c-minor, all flats were written directly before the notes in the score.
As a result, a number of flats are missing (forgotten?).
It is not at all certain that c-minor was the original key of this piece. For more explanation see nr. 352bis.

n n

A: kerck:

Cocquiel-manuscript
fol. 130 v- 131 r

352b. * [see note at the end]

&b C

Fantasia

w
n?

? C w
b

# w

& b n

? w
b

b w
ww
w # w w

j #
b
n

.
&

? b w

14

& b w .

20

n n # n w#

w .

w.
nw *
.
w # n n n w #
*sopr. in ms. g1
i.o. b1

w
n

b #

.
w

gap in ms.

# n *
n . j
w
# w

.

n b #

? b . #

w
w

& b .n J #
j n

?b

26

. n # w
w
w w
w
ww

n
J

*alto: play a
quarter i.o. half

# n n # j n

n
*
. j #

#
J #
*sopr.: no n
before the c2


j j

n
n

n #

?


b

& b .

30

b
&

34

# n

& b #

n n
*

? b # #

j
. n

alto: f1 would
be better than b

*better ommit
this A ?

38

#
n *
n

n n

. n . #
J

. J
n

*sopr.: no n
before the c2

& b n # n # # n . . # n #
J *
w
w
?b w
.
w
w

42

*ms.:
d1 i.o. c#1

n
#

# #

A: kerck:

It is not at all certain that c-minor was the original key of the piece as given under nr. 352a. *
The Cocquiel-manuscript has no key-signature at the clef;
the key there is definitely c-minor, but all flats were written directly before the notes in the score.
As a result, - and possibly because of a clunsy transposition - a number of flats are missing.
* 17th c. flemish organs - on which A. van den Kerckhoven played - were still mesotonic tuned (at least 4 pure thirds; the c-minor key sounds very
unconvenient on such instruments).
It is possible that copiist J. Cocquiel (1741 !) has transposed this piece;
therefore the editor presents here a (re-)transposed version in d-minor.
In addition we would like to point out that on 17th c. flemish organ-keyboards, the scission between bass and treble was not allways between c1 and c#1,
some organ manufacturers put the scission between c#1 - d1 or even between d1 - e b1.
This might be relevant for pieces requiring solo-halfstops, as can be found among the Cornet-Fantasia's (f.i. nr. 354).

Cocquiel-manuscript
fol. 131 v- 136 r

353.
Pro Duplici Organo

&

##

[ Boven ] *

w
w

Fantasia

? ## C

&

##

&

##

j
.

? ##

12

? # # . J
#
& #

16

. j

ww
ww
w

&

##

? ##
&

22

##

* Better ommit
this D ?

*C# = whole
note in ms.

n
j
# . j
. j # #

.
J
J

w
w
.
.
I

n #

? ## #

19

w . j
. J

.
. . w
*

*
j

n
I

#
*

*bass = d in ms.

? # #

"Boven" (Dutch) : upper manual, Gr.Org.

"Onder" ( id. ) : lower manual, Choir / Positif

##
&

. J

w

26

? # #

# n
. J
n

. J

Onder
j
##
.

& #

? # # .

31

Onder

*bas d =
quarter in ms.

&

36

##

.
J

? # #

. .
J
J

Boven

. J
Boven

##

j
j .

.

n*

? ## #

&

41

*alto better b?

##
&
.
? ## &

[ Onder ]

45

[ Onder ]

## n .
&

49

#
& #

n
n

?

#

[ Boven ]

. n

[ Boven ]

##

& n
j j
.

? # # n #

53

j j

j j

&

? ##

Onder

57

##

[ Onder ]

##

& n

? ## .
J #

62

##

& #
? # # . J

66

I
# n
J
J

[ Boven ]

Boven

Onder

Onder

##

& n
n

? ##

70

[ Boven ]

[ Boven ]

j
74
##
j

& J

j




? ##
J n
J

[ Onder ]

[ Onder ]

Boven
## n

&

n
n

. # j

? ##


J

78

n
j
j

[ Boven ]

# #
&
. j
? ##

82

[ Onder ]
j j
# j

*

*alto= e1
in ms.

&

##

Boven

j
? # # J

87

Onder

j
. . # j

[ Boven ]

j j
n

j

##

&

? ##

91

##

&
#

? # # #*

94

* & * : better ommit the # ?

##
&

Onder

? ##

97

##

&

n

? ## #

100

&

103

##

##

&

##
&

106

? ##

&

Boven

#
& #

? # #

110

Boven

*alto: b1 in ms.

j
. # j * *

**ga in ms.

##

&

jJ

? # #

Onder

114

Onder

##

? # #

J
&

118

[ Boven ]

#

j


[ Boven ]

&

j
.

? # #

122

##

Onder
##

&

J
n

? ##

125

&

128

##

? # #

##

&

? ##

131

Boven

Boven
n

n #

Boven

Onder

n
134
#

& # .
? # #

Onder

[ Boven ]
}

# n . #
J

Onder

##
j

&

j
j
j

? ##

J
[ Onder ]

137

[ Onder ]

j
j

j
n # J J
J
n

n
J
Boven

Onder

Boven

##

n #
? ##

&

140

&

143

##

Onder

j
n n

[ Boven ]

[ Ped. ]

&

##

? ##

pedael

Onder n

www

? # # ww
w
146

Boven

www
w

r
j
j. n
j

J
J
J
n

n
Boven

Onder

Boven

## n
ww
&
w

149

? ## w
w

boven

w
w

[ Ped. ]

##
&
pedael*

? ##

152

w
w
w

w
w
w

* "Pedael" certainly doesn't mean that the 16th's have to be played on the pedals
(wich was impossible on the flemish small pull-down pedal-boards);
perhaps its suggests that the bass G (m.144) or D (m.152) should be hold on the pedal.

ww
w
w
w

w
w

A: Kerckhoven --

Cocquiel-manuscript
fol. 136 v- 139 r

354.

b
&bb C

Fantasia

? bb C
b
8

. # .
n

w .

? bb n
b

? bb

n w

25

b n

*&
** : see notes at the end

&

b n
n
&bb
.
n

..

# n # w.

n . n

n
.

30

? b b w
b

n w

b * . . . . .
b
n
. . w
& b
2
th in ms.,
but d1 is dotted

20

? b b w
b
w *c = 16

n w
n

[solo-stop ad lib.**]

b
& b b n

14

b
&bb

n
w
#

w
? bb w
.
n
b

? b n w .
bb

. n

.
n

 . .

n n . J
n
n
n
. n

? bb w

b
n
w
b
&bb

34

bb

& b

38

? b b n b * n
n
b
*tenor = en in ms.

n . J

n
w

ww

&

nn #

n ww

cfr. meas. 105

b
& b b .

45

b
&bb

n n j
.

n . n n
w
i

? b b . # w n
b
51

# w

w
w

n n . . n . n

? bb
b w

n w

w n

bb n n
b
.
&

55

? bb

n
w
b

n .

b

& b b n n n n .

58

? b b
b

w
n

 . . .
b
. b . . . j
& b b n.

w
n
? b b n n

n
b

61

? b n
bb

66

? b
bb

b .
&bb

71

? b b n
b
b
&bb

75

*c1 = half note

in ms.

? b b n
b

&

.
*

*d1 in ms.
i.o. e b1

n n.

n #
n

n n

n n .

w
n

& b b n . . . n. . n

79

? b b n
b
b
& b b n.

83

? bb

#
n
b

#
n

b n

. n b j n
& b * n n

? b b n n
n

86

bb

* no b in ms.

b . .
b
& b

j
j

? bb

n
b

90

bb n . . n
b
&

94

? b b
b

. n n .

b b n n n
b
n
& b

* no b in ms.

n n n .

97

? b b *
b

n n
n

n
n

n n
bb n

n
n
&
n n

100

? b b
b

bb n n n .
b
&

103

? bb

w n

n
n

? b b
bb
&

i
n n

? b n
bb

108

#
n

? b b
b

n?

j
n

.
b
J

n n .

i?
n

n n

i
bb b
&
.

117

? b b n w
b

. J n n .

b .
b
& b

112

n n

b n
b
nn n b
& b
n

120

? b b ww
b

w
n

n
bb b n n n n
&

124

? bb n
b w

. . . .
n w

b
& b b n . J n . J . . n . . n n w
ww
w

ww
w

ww

ww *

127

? b b ww
b w

* if on solo-stop:
better ommit g1

n ww
w

A. Kercho:

* Did A. van den Kerckhoven write this piece in c-minor? The present c-minor version could be a later
transposition. See notes as to nr. 352 / 352bis.
Concerning nr. 354 : as key-signature there are only 2 flats at the clefs.
A large part of this piece is in g-minor, but it starts and ends in c-minor.
So we used the conventional key signature for a c-minor key.

** In addition to piece nr. 354 :

If one likes to play the soprano as a solo-voice, this work requires a 2-manual instrument.
Even when - using a single-manual organ - the trebble-stop (Cornet?) is pulled only from measure 10,
the keys c1 & d1 (middle of the keyboard) are to be touched as well in the solo as in the accompaniment,
which excludes the execution on a single-manual.

The Cocquiel-manuscript, fol. 136 verso (partially)

Cocquiel-manuscript
fol. 136 v- 139 r

354b.

&b C

Fantasia

?b C
8

? n w.
b

. # .
n

w.

? b n

25

? b n

# w

n .
b
n

&

*&
** : see notes at the end

..

30

? b w

n w

* . .

. n . . . . w

b
&

2
th in ms.,
but e1 is dotted

.
#

20

? b w
w *d = 16

n w
#

[solo-stop ad lib.**]

14

&b

n
w
#

w
?b w
.
#

& b n

&

#
.

# . n
. n

# # # w .

.
n

.
n
n # n . J
&b
n
. n

?b w

n
w

34

&b

38

# n

? b # n *

*tenor = f # in ms.
cfr. meas. 105

& b .

45

&b

n . J

#
w

ww

&

n# #

# ww

n n . j

n . # n
w

? b . # w #

51

# w

w
w

n n . . n . n

?b
w

n w

n
w

& b n.

55

? b w

n .

# n

b
n

&
n .

58

? b

w
#

 . . .
.
n

b
. b . . . j
&

#
w
#
? b n

61

66

&b

71

? b #
&b

75

? b #

*d1 = half note

in ms.

&

*e1 in ms.
i.o. f1

. .

&
.
n
n

? b #

& b n.

? b # #

n n . .

#

n n.

# n#

79

83

n #

w
#

n. .

#
n

n n

n
j n

J
n

. n b

& *
#
n

? b #

86

* no b in ms.

.
. .

.
b
n

&
n
. n j

. j # #
w
?b

#
n #

90

. . #

n
&b

94

? b

n # # .

n # # #
b
n
&
n #

97

? b *

* no b in ms.

#
n

# #

n
n #
n
n
&b

100

? b

# .

& b n

103

?b

w #

n
#

108

? #
b

&

# n

#
n

I?

? b

n #

.
&b

n #
n

117

? b # w

J n # .
j
n n #
n

. b
J

&

112

# n
#n n b
b

&

120

? b ww

w
#

I I

n
n
&b

124

? b #
w

. . . .
# w

& b # . J # . J . . # . . n # w
ww
w

ww
w

w
w

ww
*

127

? b ww
w

* if on solo-stop:
better ommit a1

# ww
w

A. Kercho:

* See nr. 354a : did A. van den Kerckhoven write this piece in c-minor? It is possible that copiist
J. Cocquiel (1741 !) has transposed this piece; therefore the editor presents here a (re-)transposed version
in d-minor. (See also notes as to nr. 352 / 352bis.)

** In addition to piece nr. 354 :

If one likes to play the soprano as a solo-voice, this work requires a 2-manual instrument.
Even when - using a single-manual organ - the trebble-stop (Cornet?) is pulled only from measure 10,
the keys d1 & e1 (middle of the keyboard) are to be touched as well in the solo as in the accompaniment,
which excludes the execution on a single-manual.

The Cocquiel-manuscript, fol. 139 recto (partially)

Cocquiel-manuscript
fol. 139 v- 140 v

355.

#
& C w
?# C
&

Fantasia

?# w

& .
#

#
?#
#

17

# .
I

#
#
J J
? # ww
&

12

. j
#
w

#


w

j
w.
#

.
.
J

#
& . J
.
w

?#
J

22

I?

w
. j . j
? #

&

27

# #

? # w# I I ..
&

32

# #

& w
# #
?#
I

37

w #
#

w
#
#

&

j

#
#
#
?#

w #

#
.
&

42

*sopr.= a#1 in ms.

47

?# w

I
# w

&

j j
w
? # w

w
&

52

58

w.
w

. j
. J

#


.

J
}I

? # j . . .
.

.
J
J
J
J
J

. j
#

# ww
w

A: Kercho:

356.

?C

fantasia

?C

? b.
b

&

[ Cornet? ]

10

j
.
b
.

Cocquiel-manuscript
fol. 141 r- 143 v

# # #

i
.

&

*
?
b

.
(
)
b

*f=quarter in

b b
b b
&
ms. i.o. half

15

&
j
.

? #
#

18

23
? #

&

.
.

.
i?
[ Cornet ]

. J

. j

* # . # * .
* *
#
J
i

**tenor e & d
in ms.

*missing in ms.

*F in ms. *G in ms.

&

28

i
i

b

b

. b

b
.

J

i
i

&

32

b .

i
i
.

i i

b b

&

35

? .

*bass = A in ms.
i.o. c

. b . J

.
b

&
J
J
J

38

*
j

j
. .
#

*e-f-g in ms.

? .

43

? b

&

& b

48

? #

j
. #

j #

i
i
? b
&
J

. b #
#

j # #
&
I
j
? . b

J
i

53

I
#

b b

&

b
b .

.
?

b
J

. J i
*

57

* D in ms.

i b b

&

62

? bb

n ? i?

#
#
&

65

i?
68
b

&

.
? . b

i
&

71

I?

? #

# I # .

#
.

n?

? b

75

&

80

. #
. J
j
. b
b

.
. . j J

? .

. #

& J b

84

& b

87

&

j
. . b

.
J
j
.

.
i
J
.

b


.

n
I

&

90

? b .

n
I .
I

& b

w
w

93

?
w

w .

.
w*

* e in ms.
i.o. d

# ww
w

A: Kerckhoven

Cocquiel-manuscript
fol. 144 r- 146 r

357.

&C
?C

Fuga

#
#

&
# # # #
#
n

&
n

?
* #

*bass: d
in ms.

.
#

#
#
I
#

& #
#

&

11

# # # # # # #

n?
n?

?
w
&

#
#

& #

15



&
*

. . J #

#
?
.

J
*sopr.: e
I?
in ms.

19

&


j
j

#
?

23

. j
# #
&
#
n
?
? . & j #

. # n #

J

26

&

30

n
#


#
n

*
j
j
j

# # #
j
j

# #
*

.
#

*# in ms.

& # .. b
n

b

?

33

*better n

# #
#

n # w
#

.
& #

37

*bass: G in
ms. i.o. B


& #

40

# .

# ?

&

#
#
I
I
? ? ?

43

& #

46

j
j

.
# w.
#
#

j
# # *

w.

w
*c# in ms.

w
}

& #
#
#
j
. * j

? #w

50

*sopr.: better half note

*tenor: c#1 in ms.

j
#

j
* w # j
* f1 in ms.

&
#

# j j

54

n
j j

w
& # #

. J
#

58

#
& .
I
J

? # . . #

J
n

62

&

66

n n

&

? #

69

&
#
#

72

? .

.#

&

j # # # I
*.

#
*
? #

75

*tenor: c1 in ms.

&
? # *

79

. #
.
n
**
.
#

*A in ms.
** a in ms.

*bass: 1 half note

b# in ms.

#
.

#
#

w
#w
w
w
A: kerckhoven --

Cocquiel-manuscript
fol. 146 v - 148 r

358.
[]
j
j

.
? # C .


J
J

fantasia

?# C

? # .
[

?#

?#

[ Cornet ? ]

&

#
&
[

? #
#

j
& .

12

# # #

? # w

# # . [ .]
&
#

#
[ ]
R

*in ms. bass

1 half note A

[ ]
.

16

? # #

*this chord better

on 3rd time?

editors suggestion

.
.

n n

&

20

?# w

&

23

?#

&

27

.
[

? #

# .

&
[

30

? #

&

33

?#

[ .]
?
J

&

*
.

*g=quarter
in ms

*better d-f#
than f#-d

[ ]
# . *

. j
&
*d2 in ms

38

? #
#

&

42

&

[ ]
# .

? #

[ ]
? #

50

&

? .

j
.
. J

*g=quarter
in ms.

?#

? #

46

#
*tenor better a
on 4th time

*id.E in ms
*E in ms

# # #
&

54

?# w
w

&

57

# [ ]

? # # .

.
#

J
j
.

.
#
.
*

*better f#?
(fits in short octave-keyboard!)

I
# # n

&

61

?# w
w

*
*tenor=
c# in ms.

# [ ]
&

? #

64

&

68

*better f#

*quarter in ms.

? # .

[ ]

72
# .
J
&

?#

A: Kerckhoven

&C
Preludium *

?C w

& .b
J

? # w

# n

n
j
j

w
w

J
n
nj

b
..

J
n
n b
#

&
J
j

? #

# . .

j
.
Fuga

. .
#

.
w

*all a 3rd higher in ms.

(soprano-clef forgotten?)

& #

13

Cocquiel-manuscript
fol 148v-149v

359.

*quarter a1 in
ms. i.o. rest

. . b

. .

. .

. . *
& b # #

n
J J

17

*alto : b1 in ms.
i.o. g1

& b
J J
?

# ..
J # J
J
#?

. .
*This Preludium is identic
21

to the Versus nr. 44

&
*

. .

25

w
#

*a1 in ms. at 1st

time i.o. at 3rd

& b b
. .

b #

?
. . . . . .
*

29

*f in ms.
i.o. c

&

. .

. .

? b . J . . . #
. .
. J

33

&
b

38

. .

#?

& . . # . . b b b
n
#?

b
#
? # . . . . #

42

& www

45

?

w
b

# www
w

w
A: Kerckhoven

Cocquiel-manuscript
fol. 150 r- 152 v

360.

&C

Preldium

?C
w

ww
w

*d = quarter in ms.

ww
w

. j

I #

b

# b

. j
w

I
I

& www
j
ww
?
#
w
J
i?
J
i? i?
7

w

&
#

#
.
? w
J
4

Fga verte cito

&

11

Fga

b
.
b

n?

& # b # #
. J

16

& b
? b
b

21

i
b

# .
J
b

b b #


& b
#
*
J

.
#

?
*

b
n?

i
*whole note in ms.

26

*in alto: also a half n. d1

(ommitted here)

# # b
b

j
j

? b
#
&

30

&

i


.

i?

33

& b

36

j

?
#
b
#

i n
i

&

39

n
i
I

& # #

J
J
#

42

&

46

#
J

b
#

& #

j

b
b w
?
w

49

&
j b

? b .

53

. b J
J J
#

n
b
#

?
#

& #

56

# b
&

59

? #

lower in the ms.

n
.

j
. .
*
b * * *

* f-e-f are one 8va

j
b

*alto e1 in ms.
i.o. c1

& #
b .

n?

62

*this eighth
forgotten in ms.

&

66

*in ms.:
c1-b-a

b # b

b
b

*in ms.:
a-g-f

n
#

b
&

.
#

b b

70

j
b
&

# # j
i?

#
?

73

i
&
? *. b*

77

** 2 eights in ms.

. b.

&
.
j

? b .
J

81

.. . ..
b.

.. . . .
. . .
J

. .

.
.

.
.

.
J
i

. i

#
. . b. .
. . .
b . b

.
. .
* *

**2 eights in ms.

[sic]

& . . .
j .

? *

85

*tenor a in
ms. i.o. f

.
.
. . b

. . # .
. . . J .
j
. . . .

b

b

.
&

# .

#
?

89

&
b b

b
*

92

*bas=c in ms.

&

n
n ? i?
*
b
#

#
?

95

*in ms.: f1-g1-a1

i?
i

&

#
J
*
J
j
i

?
w
w

bw
w

99

*in ms. d1 starts

alr. at 3rd time

[Thema]

n
n
i
i

& . # .
J
j
w

? w b

w
w #

103

b #

& #
j
? . # w

107

I
j
ww
b # b
ww
I
#

w
b

i
w
J

A: kercho:

Cocquiel-manuscript
fol. 153 r- 155 r

361.

#
& C

* no key sign.
in ms.

w
w

? #* C
w

j
. #

#
.

I
J

.
.

J
J

#
&

?#

#
& .

J

?#

J
w
? #
w

Fga verte cito

&

#
&

18

&

*A in ms.
i.o. B

13

.
&

#
&
&

.
?

#
&

?#

25

. j

? #
&

29

22

# .

&

? #

32

&

. j

?#

36

#
&

39

?#

n* #

I
#
*no in ms.

&

?#

42

* no # in ms.

.
* *
J
? #
&

45

*no # in ms.

&
? #

49

*# here in ms.

.
J
.

. J
I?
#

# n
&
# #

#
? # n

J

54

# n

#
#

? #

&

57

#
.
J

n
#
# n
.

*
*no dot in ms.

#
J

n

.
.

#

#

j

?#

&

60

n
*
# .

&

j
#

? # .

64

*no # in ms.

&

67

?# w

w
.

? # . ww
J w
&

70

&

73

# ww
w

ww
w

ww
w

*no # in ms.

n
ww
w

n n

?#
n

n
# n
n

n
&

76

?# w
ww
# w
& ww

ww
w

ww
w

? # n

79

. # ww

w
ww
w

*no # in ms.

ww
w

ww
w

A: Kerckhoven

Cocquiel-manuscript
fol. 155 v - 156 v

362.

&C

# #

?C

&

&

&

&

*
# #

&

10

& # j

*e2 = quarter in ms.

*g1 = eighth in ms.

. #

. #
?
J
& #

13

&

16

# n

#
?

*a quarter c1 in
ms. i.o. rest

&

19

? #

#
& # #

R
r

.
?
#

#
#

22

&

25

#
*

*f#1 = quarter
in ms.

# .

&

28

R
n
*

&

31

*4 16ths a third
lower in ms.

&

34

& #
r

&

37

& #

40

&

*
*

&

43

&

46

*
*a nd e1 in ms.

ww

w
w

Papen

Cocquiel-manuscript
fol. 157 r- 158 r

363.

&C
?C

Fga

j # #
[ ]

# .
&

j
j
# n .
J

[event. Trumpet bass]

&

.
.#

&

J
J

13

&

17


&

20

*alto = b1 in ms.

n?

# #
&

23

&
?

27

&

b

*

?


&

31

35

j j

#

*f1 = half in ms.

i.o. quarter

? b b
#

&

38

..
.

..
.

#
#

? #

& #

41

? # #

n
&

44

. . .

48

? .
&

52

&

w .

? .

& # *

56

? #
*ms.: a1 nd c2

&

59

. j w

ww

w
w

Papen

Cocquiel-manuscript
fol. 158 v- 160 v

364. *
*

. b

&b C

Fga d'un Italien *

?b C

*4 16th's in ms.

*This c1 stays in ms.

wrongly in meas. 4 i.o. 3

&
*

J

?b

*alto: f1 in ms.
i.o. a1

*
& b

#
J J
J J

?b

*alto d1 in ms.

#
? b
& b

13

& b

16

? b

.
.
& b 46 . . . J
.

? b 46
J

20

*This piece appears to be an incomplete and inaccurate copy of the

Canzona Quarta (from: Secondo Libro, 1637) by G. Frescobaldi.

w
ww
w

.* .

.
.
.

.
.
.
.
* c2 in ms., tied
to next c2

.
. .

b

. J ..
&
.

.
.
.

}.
.* .
..

? b ..
. J
.
*tenor: c in

24

ms. i.o. d1

.* }.
.
.

&

.
.

.
.

. ..
.

? b .

b ..
J

28

*sopr.: g2 in
ms. i.o. e2

& b c

32

?b c

. . . .

.
.

*in ms.: tenor forgotten

in whole meas. 32

& b .
b
?
b

36

[ sic ]
j
. *b in ms. .
40
*

& b #
. . #
?b
*
*bass c1 in ms.
i.o. a

*whole meas. 41
forgotten in Cocquiel-ms.

& b

*
? b

*
*fin ms

. .

*f1 in ms. whole

note i.o. half

. #

. .
j .

.
.
# .
. # b

44

*1st 16th=
f in ms

. *

*in ms. a1 i.o. g1

. b .

*ef in ms

b b

.
.
. b

b b

#
n *
# J

4 16ths are third

to high in ms

*E in ms

*in ms n before c1
i.o. b

. n

. #

& b

?b

J
*f1 in ms

47

& b #

50

? b . .

.
b
&

53

? b *
& b *
*

56

?b

*c2 &
*a1 in ms.

*b=16th in ms.

#
b

*in ms. c2
i.o. b1

*4 n. third
higher in ms.

The 13 last measures of Frescobaldis composition are missing in the Cocquiel-manuscript.

Original score of this Canzona : see appendix, nr. 364b.

ww
w
w
w

Finis

The original composition

by G. Frescobaldi :
Canzona Quarta

[ 364b. ]

Girolamo Frescobaldi
(1583-1643)

. b
.

&b c
?b c

b
& . w

J
.

?b

& b
J J
?

b

j w
.
#

J J
.

?b
& b

13

& b

16

?b

.
w

.
.
& b 46 . . . J
.

? b 46
J

20

ww
w
w

. .

.
.
.
. .
.
.

..
..

.
. . . .

& b
.

J
.
.

.
.
.
. .
..
? b ..

. J
.

24

.
.
.

&

.
.
.

? b .

28

&b c w

.
.

. J .

b ..

.
.
.
.
.

. .
? c
.
.

32

& b .
b
?
b

36

w.

. b

.

. . . #
. # .
b
. #.

b b
.

.
.
&

j. .
j

?b
w
b b

40

& b w

? b

44

w

#
n
# J

.
b

. #
&

?b

47

& .
#
#
#
b
b

? b . .

50

b
&

54

ww

? b

& b 46 .
.
.
? b 46

59

. b

w

w

.
.
. .
.

. .
. ..

}.

.
.
.

b .
.
.
.

? b b

.
& b .

63

& b c
.
? b n c

68

U
W
W

ww
w

W
W
W