Transposed from the original score for flute and continuo

This is an aria of the lost opera Diomedes by Gottfried Heinrich Stölzel. Since this arrangement was found in the Notebook for Anna Magdalena Bach (1725), until a few years ago it was believed to be a work by Johann Sebastian Bach.

The original score is found in a manuscript, together with other arias of Stölzel.

Transposed and arranged from the original score in Eb major for bass and strings.

Transposed and arranged from the original score for treble recorder, two violins and continuo in D major.

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

Arranged from the original score for two flutes (or treble recorders?) and strings.

This piece fits STB recorders as is without any further intervention.

Transposed and arranged from the original score for strings

Transposed and arranged from the original score for organ

Transposed from the original score for violin for a treble recorder.

The original score seamlessly fits a recorder in C

It fits the treble recorder as is

Transposed from the original score for two flutes.

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

Adapted for treble recorder

This is indeed the violinistic Sonata X in E major from Op. 1 by Geminiani transposed a third above and adapted for recorder by an unknown contemporary editor.

Astonishing and authentic concerto for treble recorder. One piece of music that exactly fits a treble recorder, since it was composed by a recorder player.

Transposed from the original score for two flutes.

This is a whole sonata in Italian style completely based on the Scottish tune Fygar - Rub her o’er with straw. This melody has been used by other composers, among them Haydn.

The original score was conceived for flute: ours is the transposition for treble recorder.

Arranged from the original score for violin and guitar

This demanding sonata has been transposed and adapted for a recorder in F from the original score for violin.

The narrow range of the upper part allows to play it on any kind of recorder. Furthermore, the easiness of the melody urges the creation of divisions, which I have provided for the treble recorder.

The bass part can be easily played on a bass recorder.

Transposed and arranged from the original score for voice and continuo

Arranged from the original score for voice and piano in F major

Transposed from the original score for violin in E minor

Matteis first presents the plain version and then his own divisions of the melody

Arranged from the original score for strings

Arranged from the original score for strings and soprano voice

Arranged from the original score for 2 violins, cello and continuo.

Adapted and transposed for treble recorder and harpsichord from the suite for lute BWV 997.

Arranged from the original score for strings

This is the second movement of a trio sonata in C minor for two violins and continuo.

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.