Slightly adapted for a treble recorder from the original score for flute

In my opinion, this is one of the most beautiful pieces of music ever conceived for a recorder.

Arranged from the original score for choir and strings

Arranged from the original score for four wind instruments and continuo: see the related entry for more information.

Arranged from the original score for strings and continuo.

It may conveniently be performed by lower recorders; that is, 4 tenors, 2 basses and one or two great basses. This instrumentation suits very well the mood of the piece.

This is the third movement - followed by the second - of the Sonata (Concerto) XV, originally conceived for treble recorder, two violins, and continuo.

This is the second movement of the concerto in F major for treble recorder, strings and continuo transposed and arranged.

Arranged – with editorial divisions – from the original score in C minor for tenor, oboe, strings and continuo.

Adaptation from the original score for Baroque lute and treble recorder.

The transcription of the original tablature for Baroque lute is included as well.

Arranged from the original score for solo harpsichord.

Transposed arranged for treble recorder from the original score for voice and continuo.

These are the theme and variations of an English tune printed in Eyck’s collection. I transposed Eyck’s work to fit it to a treble recorder and added its proper continuo part found in a contemprary source; that is, Nicolas Vallet, Apollos soete lier (Amsterdam 1642). The continuo realization is mine.

This is an arrangement of the Concerto in Bb major for 3 oboes, 3 violins and continuo.

The original score is in A minor and very well fits a recorder in G, although the piece is also playable on a common treble recorder easily. We also provide two transposed versions: one in G minor, more suitable for a treble recorder, and one in D minor, suitable for a recorder in C (soprano or tenor).

In the D minor version, a bass recorder part is also provided.

Originally, this sonata in A minor was thought for a tranverse flute or a voice flute (recorder in D), but it can be played on a recorder in C as well as is. Transposed in D minor, it fits a treble recorder.

Transposed and arranged from the original score for oboe and continuo in C minor.

Transposed and arranged from the original score for strings and continuo.

This is a loose arrangement of the original sonata for treble recorder and continuo by Bigaglia.

Arranged from the original score in G minor for generic orchestral instruments.

This beautiful Italian song works very well as a recorder exercise. Although it modulates from F to F#, Eb and E major, it is perfectly playable on recorders and allows the players to practice unusual chromatic passages.

I strongly recommend it even to people who usually do not appreciate pop music.

Transposed and arranged from the original score for strings and continuo.

Arranged from the original score for violin and harpsichord in A major.

Transposed and arranged from the original score for strings and continuo.

This is the transcription of the first edition of Jingle Bells, published in 1857: it is easy to notice that the music has been changed through the years making the original composition almost unrecognizable. The lyrics as well show some archaic forms that have been updated over time.

As Ruth van Baak Griffioen points out in her study Jacob van Eyck’s Der Fluyten Lust-hof 1644-c1655 (Utrecht 2005):

Boffons is unique in Der Fluyten Lust-hof in being a set of variations not so much on a melody as on a bass line and the harmonic sequence it suggests. The bass line is a common variant of the standard passamezzo moderno […] Variations written on this bass had been called ‘Bouffons’ for nearly a hundred years before Der Fluyten Lust-hof was printed.

My work sets van Eyck’s melody on the passamezzo harmony, moving it through the four parts with the addition of some counterpoint.

Arranged from the original score for strings.

Arranged from the original score for oboe and continuo in Bb major.

Arranged from the original score for oboe and continuo in Bb major.

Transposed and arranged from the original score for strings in C minor.

Arranged from the original score for strings.

This is an arrangement of the Concerto in G minor for oboe, strings and continuo

This is an arrangement of the Quartet in G minor for recorder, violin, viola and continuo.

Transposed and arranged from the original score for keyboard in B minor

Arranged from the original score for soprano, violin and continuo in Bb major

Arranged from the original score for strings.

Arranged from the original score for strings.

Arranged from the original score for strings.

Arrangement of the original score in A major for solo harpsichord (or generic keyboard).

Transposed from the original score for flute, strings and continuo in G major and arranged for recorder and concertato harpsichord.

Transposed from the original score for flute

From the original score in G major for flute, violin and continuo

Bach’s authorship of this work is doubtful. It was possibly composed or revised by his son Carl Philipp Emanuel Bach.

Originally for violin, cello and strings.

In our arrangements, the solo parts have to be played by single recorders, while the orchestral parts may be doubled ad libitum.

Arranged from the original score for violin and continuo in D major.

Arranged from the original score for oboe, violin, viola, cello and harpsichord (piano)

The original score is in E minor and seamlessly fits four treble recorders if transposed to G minor. The bass recorder line originally belongs to two violas in unison. This part is ad libitum and can be omitted if the harpsichord manages to play it when the bass line rests.