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  • Amor Patris Et Filii - Violino Flauto e Violoncello

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    Олена Самарська
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    This document appears to be a musical score titled "Amor patris et filii" composed by Matteo Fanni Canelles. It contains musical notation across 23 lines with various instruments and time signatures indicated. The score includes sections labeled "Adagio" and "Variazione" and concludes with the composer's name.

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    Amor-patris-et-filii_violino-flauto-e-violoncello (1)

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    This document appears to be a musical score titled "Amor patris et filii" composed by Matteo Fanni Canelles. It contains musical notation across 23 lines with various instruments and time signatures indicated. The score includes sections labeled "Adagio" and "Variazione" and concludes with the composer's name.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    14 views2 pages

    Amor Patris Et Filii - Violino Flauto e Violoncello

    Uploaded by

    Олена Самарська
    This document appears to be a musical score titled "Amor patris et filii" composed by Matteo Fanni Canelles. It contains musical notation across 23 lines with various instruments and time signatures indicated. The score includes sections labeled "Adagio" and "Variazione" and concludes with the composer's name.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 2

    Amor

    patris et filii
    Discantus e variazione dal codice di Aquileia XIV sec.

         
    Matteo Fanni Canelles

                 


             

    Adagio 7

    Violino/flauto

        
      

    Violoncello

         
                           

    3 7

                      
        
    7

             
       
                 

     
      
    5 7
    3

                  
    
      
                
     


    7 3

                             
     

    8

                      
      
    

       
                                   

    10

            
                        

     

    Matteo Fanni Canelles


    
               
      
    VARIAZIONE

              
    13 7

                     
        


       
        
              
    7

           
    15 5
    3

          
        
       
     

         
          
      
          
    17 3 3

                     

      
                  
       
    19
    7

                      

     

     

                        
     
    7


           
    21
    5

                
    7

         

     
    

      

     
     
                    
      
    23
    3

                       

      
    3


    

    3 5

    2 Matteo Fanni Canelles

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