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• Ouverture en sol mineur : extraits = Overture in G minor : excerpts / Johann Bernhard Bach
• The fairy queen : semi-opera, Z. 629 : airs et danses, extraits = airs and dances, excerpts / Henry Purcell
• Concerto, op. 10 no 2 en sol mineur, RV 439 : La notte = Concerto, op. 10, no. 2 in G minor, RV 439 : La notte / Antonio Vivaldi
• Ouverture en fa majeur = Overture in F major / Guillaume Dumanoir
• Fantaisie Les pleurs d'Orphée aillant perdu sa femme / Anonyme = Anonymous
• Concerto pour clavecin en fa mineur, BWV 1056. Largo = Harpsichord concerto in F minor, BWV 1056. Largo / Johann Sebastian Bach
• Suite en la mineur pour flûte à bec, TWV 55 : extraits
• Suite in A minor for recorder, TWV 55 : excerpts / Georg Philipp Telemann
• The fairy queen : semi-opera, Z. 629. Act V: Chaconne : Dance for Chinese man and woman.

• Prelude, fugue and ciacona in C, BuxWV 137 (5:22) ; Ciacona in e, BuxWV 160 (5:28) ; Canzonette in G, BuxWV 171 (2:15) / D. Buxtehude
• From the Neumeister collection. Jesu meine Freude, BWV 1105 (1:56) ; Machs mit mir, Gott, nach deiner Güt, BWV 957 (1:25) / J.S. Bach
• From the Arnstadt congregational chorales. Lobt Gott, ihr Christen, allzugleich, BWV 732 / J.S. Bach (1:20)
• Toccata, adagio and fugue in C, BWV 564 / J.S. Bach (14:54)
• Magnificat noni toni, BuxWV 205 (2:47) ; Toccata in D, BuxWV 155 (7:30) / D. Buxtehude
• Fugue on the Magnificat, BWV 733 / J.S. Bach (4:10)
• Nun komm der Heiden Heiland, BuxWV 211 / D. Buxtehude (1:48)
• Toccata and fugue in d, BWV 565 (8:38) ; Nun komm der Heiden Heiland, BWV 659 (4:12) / J.S. Bach
• Praeludium in g, BuxWV 149 / D. Buxtehude (7:57).

• Individuelle und regionale Unterscheidungsmöglichkeiten in Divertimento-Kompositionen / Hubert Unverricht
• Gattungsbewusstsein und Terminologie / Ludwig Finscher
• Zur Praxis von Nachtmusiken durch Studenten und Kunstpfeifer / Walter Salmen
• Zu den Funktionen von Unterhaltungsmusik im 18. Jahrhundert / Herbert Seifert
• Zur Bedeutung des "sinnlichen Ergetzens" für die Satztechnik des Divertimentos / Nicole Schwindt-Gross
• Haydns frühe Ensemble-Divertimenti / James Webster
• Anmerkungen zu Mozarts "Serenadenquartett" / Wolf-Dieter Seiffert
• Musikalische Syntax in Menuetten Mozarts / Manfred Hermann Schmid
• Divertimento, Cassation und Serenade in den böhmischen Ländern des 18. Jahrhunderts / Rudolf Pečman
• Serenade, "Avertissement" und Parthia mit Einbeziehung der Polonaise in her Münchner Stadtmusik des ausgehenden 18. Jahrhunderts / Robert Münster.

• Vorwort
• Abkürzungsverzeichnis
• Analyse
• Defending a Fonte in Peril : The Minuet of K. 331 / Robert O. Gjerdingen
• Fonte in Mozart's Piano Sonatas, and the : 'Possibly Corrupt Minuet' K. 331 / David Jayasuriya
• Methoden computergestützter melodischer Analyse : am Beispiel italienischer Streichquartette / Stephanie Klauk, Frank Zalkow
• Wie beginnt man eine Durchführung? : Zu einem zentralen Aspekt von Francesco Galeazzis Sonatentheorie / Rainer Kleinertz
• Leopold Koželuhs Klaviersonaten und die galante Musikästhetik Stilistische Simplizität und formale Komplexität / Markus Neuwirth
• Computergestützte Visualisierung von Tonalitätsverläufen in Musikaufnahmen Möglichkeiten für die Korpusanalyse / Christof Weiss, Meinard Müller
• Joseph Martin Krausʼ formales Denken : Individuelles zwischen Mannheimer Schule und Wiener Klassik / Marie Winkelmüller-Urechia
• Aufführungspraxis
• Die longue durée von italienischen Idealen des Concerto grosso : in der klassischen Epoche : zwischen Concertone und Sinfonia concertante / Luca Aversano
• "Uber die Pflichten des Ripien-Violinisten" : Die Praxis des Orchestermusikers im 18. Jahrhundert / Greta Haenen
• "Es ist der Mühe werth" : The Performance and Reception of Pleyel's Op. 1 String Quartets / Simon P. Keefe
• Joseph Zyka's Trois Duos : An Homage to the King / Mara Parker
• Die Entlehnungspraxis im Solokonzert in der zweiten Hälfte : des 18. Jahrhunderts im Lichte der Luigi Boccherini zugeschriebenen Konzerte für Violoncello und Orchester / Christian Speck
• Edition
• Die Mailänder Sinfonie und ihre Komponisten : Zu Biographie und Werk von Giovanni Battista Serini / Silvia Del Zoppo
• Die Mailänder Sinfonie ausserhalb Mailands : Francesco Pasquale Ricci zwischen der Lombardei und Europa / Matteo Giuggioli
• Luigi Boccherinis Flötenquintette op. 17 (G 419-424) : Zur autographen Violine 1 in der Handschrift Paris, Bibliothèque nationale de France, Ms. 16735, mit besonderer Berücksichtigung des Flötenquintetts in G-Dur (G 423) / Walter Kurt Kreyszig
• I quartetti op. 1 e op. 2 di Antonio Capuzzi : II processo di pubblicazione da Vienna a Londra, e da Venezia a Vienna / Simone Laghi
• The Production of Giovanni Battista Cirri : A Catalogue of His Works / Elisabetta Righini
• Personenregister

• 1. Contexts
• 2. Sonata Form as a Whole: Foundational Considerations
• 3. The Medial Caesura and the Two-Part Exposition
• 4. The Continuous Exposition
• 5. The Primary Theme
• 6. The Transition (TR)
• 7. The Secondary Theme (S) and Essential Expositional Closure: Initial Considerations
• 8. S-Complications: EEC Deferral and Apparent Double Medial Caesuras (TMB)
• 9. The Closing Zone (C)
• 10. The Development (Developmental Space)
• 11. The Recapitulation (Recapitulatory Space-- Recapitulatory Rotation)
• 12. Non-Normative Openings of the Recapitulatory Rotation: Alternatives and Deformations
• 13. Parageneric Spaces: Coda and Introduction
• 14. Sonata Form in Minor Keys
• 15. The Three- and Four-Movement Sonata Cycle
• 16. Sonata Types and the Type 1 Sonata
• 17. The Type 2 Sonata
• 18. Rondos and the Type 4 Sonata
• 19. The Type 5 Sonata: Fundamentals
• 20. The Type 5 Sonata: Mozart's Concertos (R1: The Opening Ritornello)
• 21. The Type 5 Sonata: Mozart's Concertos (Solo and Larger Expositions: Solo 1 + Ritornello 2)
• 22. The Type 5 Sonata: Mozart's Concertos (Development and Recapitulation: From Solo 2 through Ritornello 4)
• Appendix 1. Some Grounding Principles of Sonata Theory
• Appendix 2. Terminology: "Rotation" and "Deformation".
• (source: Nielsen Book Data)

Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults, " any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation, " in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.
(source: Nielsen Book Data)

• Su le sponde del Tebro. Sinfonia / Alessandro Scarlatti (Richard Burnett, organ ; Alan Hacker, clarinet)
• Flute Concerto in G major / Giuseppe Tartini (Neil McLaren, flute ; Cambridge Baroque Camerata)
• Keyboard Sonata in D minor, K.417/L.462/P.40 / Domenico Scarlatti (Maggie Cole, harpsichord)
• Chamber Concerto in F major, RV 100. Allegro / Antonio Vivaldi (Andrew Watts, bassoon ; Nouveau Quatuor)
• Flute Sonata in G minor, Op. 2, No. 3 / Pietro Antonio Locatelli (Nigel North, lute ; Lisa Beznosiuk, flute)
• Sonata No. 5 for 2 Bassoons / Joseph Bodin de Boismortier (Andrew Watts, bassoon ; Frances Eustace, bassoon)
• Cello Sonata in D major. Allegro moderato / Michel Corrette (members of Nouveau Quatuor)
• Trio Sonata in G major, BWV 1039 / Johann Sebastian Bach (Preston's Pocket)
• Der getreue Music-Meister : L'hiver in D minor, TWV 41:d1 / Georg Philipp Telemann (Richard Burnett, spinet ; Alan Hacker, clarinet)
• Flute Concerto in E minor. Allegro ma non tanto / Johann Joachim Quantz (Neil McLaren, flute ; Cambridge Baroque Camerata)
• Flute Sonata in A minor, Wq. 128, H. 555. Vivace / Carl Philipp Emanuel Bach (Nigel North, lute ; Lisa Beznosiuk, flute)
• Clarines y trompetas / Gaspar Sanz (Barry Masson, baroque guitar)
• Keyboard Sonata No. 50 in G minor / Carlos de Seixas (Robert Woolley, harpsichord)
• Trio Sonata in G minor, Op. 2, No. 5, HWV 390a. Larghetto / George Frideric Handel (Preston's Pocket)
• Trio Sonata No. 2 in G major. Con spirito / Thomas Augustine Arne (Nouveau Quatuor).

• King Arthur. Chaconne / Henry Purcell (3:43)
• La Calisto. Sinfonia (3:51) ; Non è maggior piacere (2:51) ; Ninfa bella che momora (3:21) / Francesco Cavalli
• Passacaglio à 4 / Biagio Marini (1:21)
• La Calisto. Mio foco fatale / Francesco Cavalli (1:51)
• Sinfonia quarta / Salomone Rossi (:51)
• Ciacona / Tarquinio Merula (2:30)
• Concerto en mi mineur pour flûte traversière, cordes et basse continue / Georg Philipp Telemann (10:00)
• Sonata prima : La Bernabea / Giovanni Pandolfi Mealli (7:16)
• Simphonia V (chaconne) en ré majeur / Nicolas Clérambault (5:35)
• Les caractères de la danse : suite de ballet / Jean-Féry Rebel (8:10)
• Die Fechtschule : ballet / Johann Heinrich Schmelzer (7:22)
• The fairy queen. Prelude (1:06) ; King Arthur. Trumpet tune [i.e. Symphony] (1:40) ; The fairy queen. First music (1:41) / Henry Purcell
• Concerto comique : Les sauvages / Michel Corrette (8:46)
• Don Quichotte chez la duchesse. Tambourins / Joseph Bodin de Boismortier (1:30)

• King Arthur. Chaconne / Henry Purcell (3:43)
• La Calisto. Sinfonia (3:51) ; Non è maggior piacere (2:51) ; Ninfa bella che momora (3:21) / Francesco Cavalli
• Passacaglio à 4 / Biagio Marini (1:21)
• La Calisto. Mio foco fatale / Francesco Cavalli (1:51)
• Sinfonia quarta / Salomone Rossi (:51)
• Ciacona / Tarquinio Merula (2:30)
• Concerto en mi mineur pour flûte traversière, cordes et basse continue / Georg Philipp Telemann (10:00)
• Sonata prima : La Bernabea / Giovanni Pandolfi Mealli (7:16)
• Simphonia V (chaconne) en ré majeur / Nicolas Clérambault (5:35)
• Les caractères de la danse : suite de ballet / Jean-Féry Rebel (8:10)
• Die Fechtschule : ballet / Johann Heinrich Schmelzer (7:22)
• The fairy queen. Prelude (1:06) ; King Arthur. Trumpet tune [i.e. Symphony] (1:40) ; The fairy queen. First music (1:41) / Henry Purcell
• Concerto comique : Les sauvages / Michel Corrette (8:46)
• Don Quichotte chez la duchesse. Tambourins / Joseph Bodin de Boismortier (1:30).

• Contexts
• Sonata form as a whole : foundational considerations
• The medial caesura and the two-part exposition
• The continuous exposition
• The primary theme
• The transition (TR)
• The secondary theme (S) and essential expositional closure (EEC) : initial considerations
• S-complications : EEC deferral and apparent double medial caesuras (TMB)
• The closing zone (C)
• The development (developmental space)
• The recapitulation (recapitulatory space, recapitulatory rotation)
• Non-normative openings of the recapitulatory rotation : alternatives and deformations
• Parageneric spaces : coda and introduction
• Sonata form in minor keys
• The three- and four-movement sonata cycle
• Sonata types and the type 1 sonata
• The type 2 sonata
• Rondos and the type 4 sonata
• The type 5 sonata : fundamentals
• The type 5 sonata : Mozart's concertos (R1, the opening ritornello)
• The type 5 sonata : Mozart's concertos (solo and larger expositions : solo 1 + ritornello 2)
• The type 5 sonata : Mozart's concertos (development and recapitulation, from solo 2 through ritornello 4).

Elements of Sonata Theory outlines a fresh approach to analysing the sonata. Both building on and departing from earlier methods of analysis, this study provides a comprehensive and in-depth examination of the sonata genre. After establishing the normative features of the sonata, the authors examine how individual sonatas from Beethoven, Haydn, and Mozart both adhere to and deviate from those standards to a variety of effects. Co-authored by a music theorist and a musicologist, this book both provides a groundbreaking foundational theory and offers fresh insights on individual works from the Western cannon.
(source: Nielsen Book Data)

• Sonata op. 5, no. 2 in C minor/major for harpsichord, two violins & cello (1756) / Avison
• Harpsichord sonata no. 2 in E minor (1756) / Arne
• Trio sonata op. 2, no. 3 in F (1732) / Handel
• Trio sonata no. 2 in G (1757) / Arne
• Sonata op. 9, no. 1 in A for violin, cello & basso continuo / Abel
• Harpsichord concerto op. 10, no. 4 in C minor (1778) / Stanley.

• Introduction
• THEORIES AND TERMINOLOGY. Formal Punctuations: Perioden and Sätze ; Hauptruhepuncte and Haupttheile ; Eighteenth-Century Approaches to Expositions : Riepel and Koch ; 5: Other Eighteenth-Century Approaches to Expositions : Galeazzi, Kollmann, and Neubauer ; Modern Terminology
• EXPOSITIONS. Standard Punctuation Form ; Two-part Expositions ; Division Following the Home-Key Dominant ; Division Following the New-Key Dominant ; Expositions with Two Half-Cadential Breaks ; Division Following Arrival on Tonic ; Uncommon Divisions
• THE ENTIRE MOVEMENT. The Movement's Second Half ; Analyses

Ever since the nineteenth century, descriptions of musical form have tended to rely heavily on architectonic analogies. In contrast, earlier discussions more often invoked the metaphor of a journey to describe the structure of a composition. In Journeys Through Galant Expositions, author L. Poundie Burstein encourages readers to view the form of Galant music through this earlier metaphorical lens, much as those who composed, performed, improvised, and listened to music in the mid-1700s would have experienced it. By elucidating eighteenth-century ideas regarding musical form and applying them to works by a wide range of composers - including Haydn and Mozart, as well as a host of others who are often overlooked - this innovative study provides an accessible new window into the music of this time. Rather than dissecting concepts from the 1700s as a mere historical exercise or treating them as a precursor of later theories, Burstein invigorates the ideas of theorists such as Heinrich Christoph Koch and shows how they can directly impact our understanding and appreciation of Galant music as audiences and performers.
(source: Nielsen Book Data)

• Keyboard suites no. 4 in D minor, HWV 437. Sarabande / Handel (3:27)
• Overture no. 3 in D major, BWV 1068. Air / J.S. Bach (5:48)
• The 4 seasons. Violin concerto in F minor, op. 8, no. 4, RV 297. Largo / Vivaldi (2:20)
• Berenice, HWV 38. Minuet / Handel (3:26)
• Oboe concerto in D minor. Largo / Marcello (5:12)
• Concerto grosso in A minor, op. 6, no. 4, HWV 322. Larghetto affettuoso / Handel (3:12)
• Keyboard concerto in F minor, BWV 1056. Largo / J.S. Bach (3:24)
• Concerto grosso in G minor, op. 6, no. 8. Adagio - Allegro - Adagio / Corelli (3:41)
• Orfeo ed Euridice. Dance of the blessed spirits / Gluck (6:30)
• Adagio in G minor / Giazotto (7:37)
• Water music. Suite no. 1 in F major, HWV 348. Air / Handel (2:11)
• Herz und Mund und Tat und Leben, BWV 147. Jesus bleibet meine Freude (3:29) ; Concerto for 2 violins in D minor, BWV 1043. Largo ma non tanto (7:41) / J.S. Bach
• Serse, HWV 40. Ombra mai fu / Handel (3:15)
• Canon and gigue in D major / Pachelbel (4:55)
• Concerto grosso in B minor, op. 6, no. 12, HWV 300. Aria: Larghetto e piano / Handel (4:14)
• Was mir behagt, ist nur die muntre Jagd!, BWV 208. Sheep may safely graze / J.S. Bach (4:32).

• Ciaccona (3:14) / Andrea Falconieri
• Sarabanda HWV 437 (3:07) / George Frideric Handel
• Ricercata segunda (1:25) / Diego Ortiz
• La suave melodia (3:10) / Falconieri
• Passacalio aÌ⁰ 3 & aÌ⁰ 4 (3:38) / Biagio Marini
• Diverse bizzarrie sopra la vecchia sarabanda o pur ciaccona (4:17) / Nicola Matteis
• Canon (3:41) and gigue (1:25) for three violins and basso continuo / Johann Pachelbel
• Adagio (2:59), allegro (2:22), presto (1:41) / Georg Philipp Telemann
• Imitazione delle campane (1:55) / Johann Paul von Westhoff
• Ground after the Scotch humour (1:50) / Matteis
• Concerto grosso no. 5, G minor: Adagio (3:02), vivace (1:38), adagio (2:45), allegro (1:40) / Francesco Geminiani
• Gagliarda napolitana (1:51) / Antonio Valente
• Passacalle aÌ⁰ 3 (2:56) / Falconieri
• Tambourin (1:44) / Jean-Marie Leclair
• Greensleeves to a ground (4:40) / Anon.
• La guerra cosiÌ⁰ nominata di sua maestaÌ⁰ (0:46) (from Sonata in A major "La guerra") ; Imitazione del liuto (2:26) (from Sonate a violino solo, Sonata II) / Westhoff
• Air (5:01) (from Overture BWV 1068) / Johann Sebastian Bach.

• Suite from The Mad Lover (London, ca. 1701 / John Eccles (9:35)
• Barbara Ninfa ingrata : cantata à voce sola con violini : from Cantate e Duetti (London 1721) / Giovanni Bononcini (14:49)
• Concerto no. 10 in F major : from twelve concertos for two violins, viola and cello-- opera nona, (London, 1766) / Charles Avison (5:52)
• From, A treatise of good taste in the art of musick (London, 1749). Song 1 : The lass of Peaty's mill (4:43) ; Songs 2 : The night her silent sable wore (4:25) ; Song 3 : when Phoebus bright (5:15) ; Song 4 : O Bessy Bell and Mary Gray (2:21) ; Sonata III for two violins and b.c., : The last time I came over the moor (4:07) / Francesco Geminiani
• From, 24 English songs HWV 228 : (in The Musical miscellany, J. Watts 1730 - British musical miscellany, J. Walsh, London 1735). The rapture (4:22) ; The sailor's complaint (spurious (3:08) / George Frideric Handel
• Ouverture in D minor op. 4 no. 2 : from, Nove overture a quattro, due violini, viola e basso-- op. 4 (Edinburgh, 1743) / Francesco Barsanti (5:27).

• Concerto in B flat major : La caccia, RV 362 : for violin, strings, and basso continuo / Antonio Vivaldi (7:27)
• Duetto IV for flauto traverso and harpsichord / Christoph Schaffrath (12:56)
• Sonata VI for violoncello and harpsichord / Benedetto Marcello (8:30)
• Concerto I for 2 flutes, 2 oboes, and basso continuo / Johann Christoph Pepusch (9:05)
• Sonata no. 4 for two violins and basso continuo / William Corbett (6:22)
• Six pieces from a collection of Boere danssen (6:27)
• Ouvertüre I for solo harpsichord / Conrad Friedrich Hurlebusch (11:55)
• Concerto in G minor for violin, strings, and basso continuo / Giuseppe Tartini (15:51).

• Solomon. The arrival of the Queen of Sheba (3:04) ; Concerto for harp in B-flat major (Maxine Eilander, harp) (11:52) / George Frideric Handel
• Suite from Abdelazar / Henry Purcell (7:04)
• Concerto for 2 cellos in G minor, RV 531 / Antonio Vivaldi (Christina Mahler, Allen Whear, violoncellos) (11:14)
• Sinfonia in D major from Cantata 42, "Am Abend aber desselbigen Sabbats" / Johann Sebastian Bach (6:47)
• Concerto grosso in F minor, op. 1, no. 8 / Pietro Locatelli (16:01)
• Concerto for oboe in D minor / Alessandro Marcello (John Abberger, oboe) (11:12)
• Concerto for 2 violins in A minor, op. 3, no. 8 / Antonio Vivaldi (Jeanne Lamon, Geneviève Gilardeau, violins) (9:35)

• Solomon HWV 67. Sinfonia / George Frideric Handel
• Flute concerto in D 'Goldfinch' RV 428 ; Concerto 'Alla rustica' RV 151 / Antonio Vivaldi
• Fugue á 4 BWV 542 ; 'Brandenburg' concerto no. 3 in G major BWV 1048 / Johann Sebastian Bach
• Canon and Gigue in D / Johann Pachelbel
• Symphony for strings in B flat Wq 182/2. Presto / Carl Philipp Emanuel Bach
• Concerto grosso in A op. 6 no. 11 / George Frideric Handel
• The four seasons. Spring RV 269 / Antonio Vivaldi.

• Badinerie : from Orchestral suite no. 2, BWV 1067 / Johann Sebastian Bach (William Bennett, flute ; English Chamber Orchestra ; Raymond Leppard) (1:37)
• Rondeau : from Abdelazer, or, The Moor's revenge, Z. 570 / Henry Purcell (1:16) ; Wir eilen mit schwachen : from Cantata no. 78 (arr. Raymond Leppard) / Johann Sebastian Bach (4:44) (English Chamber Orchestra ; Raymond Leppard)
• Adagio : from Oboe concerto no. 2 in D minor / Alessandro Marcello (Neil Black, oboe ; English Chamber Orchestra ; Raymond Leppard) (3:36)
• The arrival of the Queen of Sheba : from Solomon / George Frideric Handel (English Chamber Orchestra ; Raymond Leppard) (3:05)
• Andante : from Concerto for 2 mandolins in G major, R. 532 / Antonio Vivaldi (André Saint-Clivier, Christian Schneider, mandolins ; La Grande Ecurie et la Chambre du Roy ; Jean-Claude Malgoire) (1:14)
• Minuet : from Berenice / George Frideric Handel (English Chamber Orchestra ; Raymond Leppard) (3:49)
• Allegro : from Flute concerto in D major, op. 10, no. 3, R. 428 : Il cardellino = The goldfinch / Antonio Vivaldi (Eugenia Zukerman, flute ; English Chamber Orchestra ; Pinchas Zukerman) (3:56)
• Jesu joy of man's desiring : from Cantata no. 147 / Johann Sebastian Bach (Philharmonia Virtuosi of New York ; Richard Kapp) (3:26)
• Allegro : from Mandolin concerto in C major, R. 425 (Sol Goichberg, mandolin ; Eugenia Earle, harpischord continuo ; New York Sinfonietta ; Max Goberman) (3:02)
• Sinfonia : from Cantata no. 156 / Johann Sebastian Bach (Neil Black, oboe ; English Chamber Orchestra ; Raymond Leppard) (2:45)
• Bourree (1:23) ; Hornpipe (1:34) : from Water music / George Frideric Handel (La Grande Ecurie et la Chambre du Roy ; Jean-Claude Malgoire)
• Allegro (4:57) ; Andante (3:25) : from Le donne di buon umore = The good-humored ladies (arranged & orchestrated by Vincenzo Tommasini) / Domenico Scarlatti (Cleveland Orchestra ; Louis Lane)
• Air (2:46) ; [Menuet] (1:48) ; [Hornpipe] (2:48) : from Water music / George Frideric Handel (La Grande Ecurie et la Chambre du Roy ; Jean-Claude Malgoire
• Overture (3:12) ; Air (0:37) ; Rondeau minuet (1:47) : from The Gordian knot unty'd, Z. 597 / Henry Purcell (English Chamber Orchestra ; Raymond Leppard at the harpsichord)
• Air : from Abdelazer, or, The Moor's revenge, Z. 570 / Henry Purcell (English Chamber Orchestra ; Raymond Leppard at the harpsichord) (1:14)
• Largo : from Concerto for harpsichord in F minor, BWV 1056 / Johann Sebastian Bach (Judith Norell, harpschord ; Philharmonia Virtuosi of New York ; Richard Kapp) (2:40)
• Allegro : from Violin concerto in F major, op. 8, no. 3 : "Autumn" from The four seasons (Pinchas Zukerman, violin & conductor ; English Chamber Orchestra) (3:32)
• "Rondeau" [Allegro] : from Fanfares for trumpets, timpani, violins & oboes : suites de symphonies. Première suite/ Jean-Joseph Mouret (Gerard Schwarz, trumpet ; Philharmonia Viruosi of New York ; Richard Kapp (1:45).