While looking through Winfried Michel and Hermien Teske's edition of
Der Fluyten Lust-hof (Winterthur: Amadeus Verlag, 1984) for information about van Eyck's titles, I noticed a Courant that I had missed in earlier searches for rising cadence gestures. No. 33 in vol. 1 is a rare Courant in duple meter (so the editors say, 61). The theme is firmly set on F5 as the upper end of the transposed Ionian ambitus, but the melody's lower end is less certain: it would appear to be A4 but that stretches down to G4 for the cadence of the first half (see *1), perhaps suggesting an implied octave F4-F5. In the variations, van Eyck does finish out the octave (at F4) and then further extends that down to C4 (see the boxes).
The overall point to be made about this is that van Eyck respects the "downward" focus of the tune by embellishing lower and lower and almost entirely avoiding the register above F5, despite the invitation of the G5 that opens the second half (see *2).
A curiosity is that van Eyck turns the obvious half cadence ("obvious" if one is thinking F major, that is) into PACs in G minor in the two variations, thinking more appropriate for a modal conception.
