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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Giovanni Lorenzo Baldano’s sordellina manuscript of 1600: a new approach to reconstruction by Peter Walker Giovanni Lorenzo Baldano (1576-1660) was a poet and magistrate from the Northern Italian town of Savona¹. A song either collected or composed by Baldano was quoted in “Fiera di Farfara”, an intermedio performed as part of the 1637 opera Chi Sofre Speri², but outside of this appearance his most prominent surviving work is a book of tablature for the sordellina.

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