As far back (at least) as Paladin's 2nd Libro Primo there seems to be a tradition(?) of the Galliard Antico switching to a major key for the Represse. section. In the Adrianssen it not only switches to major but alternates between the I and the V. This interestingly echos the Traditorella (see the Munich 266 ms) where the represse alternates between I and V. Getting back to Adr. there are dozens of variations on the Antico (per book!) and I get the idea that if it wasn't to be danced to then it was wallpaper music. (V. Gallilei boasts of hundreds in his Intavolatura) Rather fancy sometimes but background music in that I can't imagine anyone paying attention to all those variations beside the players themselves. And unless you can rattle through those passaggi like, say, Alan Holdsworth or John McLaughlin, it'll be hard to keep up with a spirited galliard dancer. So maybe it was player "fun" or even excercises; hard to say. They may even fit together as duets, trios or beyond. Once you had the progression memorized and a few tricks up your sleeve there's nothing stopping you from playing all night, solo or otherwise. So maybe it was "show off" music, too. The dances in 266 are a bit easier and I'm sure a good player like P.P. Borono or Marco would be able to keep up with even the rowdiest of dancers. Add a cittern or two, another lute or three and a gamba and you might even make enough noise to compete with the boots, babble and brandy. At this point the meantone argument becomes moot. And seeing your current note, you're right. I must have been thinking of the '92 Adr. The collections of Anticos in Phalese make an interesting progression from '63 through the Adriaenssens. You'll find yet more overlap between the '71 and the Adr '84. And how about that Passemezzo ficta? Is he just messing with us now? my slack 2 cents, Sean ps And those variations you first mentioned would be a nice texture under a gamba or fiddle solo.
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