This edition can be played alternatively with cornet, recorder, flute, oboe, or trumpet with basso continuo.
The present sonatas are from the posthumous volume of Fontana's solo and ensemble sonatas' that was published in 1641 by Bartolomeo Magni. Fontana was among the first, along with Biagio Marini, to compose sonatas in distinctly instrumental idiom, derived mainly from violin style, but leaving open the possibility of performance by other instruments, most notably the cornetto.
Since it was expected, in the early 17th century, that cornetto players be able to perform virtually anything written for violin (including later works going as high as g3), it is reasonable to offer this modern edition for cornetto or for its spiritual descendant, the modern trumpet. Since the range of the pieces at hand suits other winds, there are even further options for authentic performance (though the oboe was developed somewhat after the music was written).
The present edition presents the originals exactly as given, with the following alterations: Barring has been regularised. A continuo realisation has been offered. Tempo suggestions have been added. in Sonata No. 3, the triple sections at M.51 and M.93 were originally written in 3/1 (semibreve tactus), though the time signature was given as 3/2. The editors have reduced the note values by half for easier reading. (All other note values are as in the original). The editors suggest that while strict adherence to the tempo proportions offered is possible, it will be very tempting to play fast sections even faster; and the editors see no reason why this should not be done. R.P. Block, Richard B. Hervig, Iowa City, Iowa USA, September, 1977