A new interpretation of the fully keyed sordellinas of Settala’s collection


Introduction Since the publication of the complete study around the sordellina and the Baldano’s manuscript by TARRINI, FARRIS and VAN DER MEER(1) this Italian court smallpipe has witnessed a return of interest, especially in the past few years. An excellent example of this is the phenomenal research conducted by MONTBEL and TOMASSI, leading in 2019 to the public presentation of their reconstruction of Settala’s trimelodic sordellina ((2). MONTBEL also published in 2015 two articles about his research about Settala and his well-known instrument depicted on his portrait of 1646 (3) (or later), by Nuvolone(4).

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