∗ It is tempting to suppose, as Mr. Barclay Squire has suggested, that “Brando” and “Borea” are Italianized forms of “Brawl” (“Branle,” “Bransle”) and “Bourée.”Google Scholar

The “Brando” occurs in Sonata III, immediately after the Prelude, as a sedate Allegro in square time, beginning on the fourth quaver of the bar: also in Sonata IV (following a Saraband) as a Largo, the parts entering in canon. The “Borea” which occurs in Sonatas IV (immediately before the Chiusa) and V (between the “Pira” and “Arcicorrente”), is a fiery prestissimo movement in square time, with dotted rhythm, beginning on the last semiquaver of the bar. The “Pira” which occurs in all the sonatas except Sonata IV, is a solemn Adagio in square time. The “Arcicorrente” occurs in Sonata III as a Grave in 3/2 time, and in Sonata V as an Affctuoso in 6/4 time.Google Scholar

∗ It seems almost incredible that Aertssens should have acknowledged the fraud, to which he almost certainly must have been a party, by printing the genuine work three years later.Google Scholar