Entries 801 - 900 out of 2770 [28 pages]

[4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14]

Giorgio Pacchioni (1947 - ):  Varie partite sopra la Monaca - Op. 64, No. 6
scoring: A (Viola, Bc)
  2
William Shield (1748 - 1829):  The Bush aboon Traquair
source: A selection of the most favourite Scots-songs (London [1790]), No. 1
scoring: V or C (Harpsichord)

The score in its original key fits well a recorder in D. Transposed a tone down, in C major, fits better a recorder in C.


Version 2.00: revamped layout and added all the wanting files.

 10
Robert Valentine (1674 - c. 1735):  Sonata I in F major
source: La Villeggiatura à 2 Flauti - Ms. Sanv.D.145c: Parma, Biblioteca Palatina, No. 1
scoring: AA
 9
Robert Valentine (1674 - c. 1735):  Sonata VI in A minor
source: La Villeggiatura à 2 Flauti - Ms. Sanv.D.145c: Parma, Biblioteca Palatina, No. 6
scoring: AA
 5
André Chéron (1695 - 1766):  Sonate VII in F major - Op. 2, No. 7
source: Sonates en duo et en trio pour la flûte traversiere et le violon avec la basse-continüe. Op. 2 (Paris 1729)
scoring: AA (Bc)

This is the transposed version of the original trio sonata for two flutes or violins.

 8
Felix Mendelssohn (1809 - 1847):  Morgengebet - Op. 48, No. 5
source: Sechs Lieder (Im Freien zu singen), Op. 48 (1840)
scoring: SATB
  5
Robert Parsons (c. 1535 - 1572):  The Song called Trumpets
source: Ms. Add. 31390 (c. 1578), British Library, London
scoring: SSTTBB

Despite the fact that this piece was probably thought for viols, it fits six recorders very well.

I have to underline that all the performances I heard on the internet do not respect the relation between the tempus imperfectum and the prolatio written in blackened values (hemiolia). The relation should be: one semibreve (whole note) equals one dotted semibreve, whereas most performers double the speed throughout the triple-time section.

I have also included in the PDF file the facsimile of the original source, which is interesting under several aspects.


Version 1.02: corrected a note pitch in all the files.

   24
Johannes Touront (flourished 1450-75):  O florens rosa
scoring: ATB

Usually, I do not rate my own edition. I will make an exception in this case, since this early Renaissance piece deserves a full 5. Playing it has been challenging and demanding, but now I cannot stop listening to it. 

  30
Johannes Touront (flourished 1450-75):  O gloriosa regina
scoring: STT
  8
Floriano Canale (c. 1550 - post 1603):  La Gambara a 4
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 6
scoring: SATB
  8
Floriano Canale (c. 1550 - post 1603):  La Canobbia a 8, for double choir
source: Canzoni da sonare a quattro, et otto voci. Libro 1 (Venice 1600), No. 19
scoring: SSAATTBB

Version 1.20: Layout erneuert und Live-Performance hinzugefügt

  21
Nicolaus Craen (c. 1445 - 1507):  Ecce video celos apertos
source: Motetti A. Numero trentatre (Venice 1502)
scoring: GTB or STB

This wonderful piece is already textless in the original Petrucci print.


Version 2.00: revamped layout and added all the wanting files.

 30
Giovanni Paolo Cima (c. 1570 - 1630):  Ricercare a quattro
source: Camillo Angleria, La regola del contraponto e della musical compositione (Milan 1622)
scoring: SGTT or SATT

Version 2.00: revamped layout and added all the wanting files.

  14
Anonymous:  El Bisson - Pavana
scoring: ATBB

Divisions of the four parts are editorial.


Version 2.00: revamped layout and added all the wanting files.

  21
Ignazio Sieber (XVIII cent.):  Sonata XI in C major
source: Galliard and Sieber, XII Sonates à une flute & une basse continue (Amsterdam [1710]), No. 11
scoring: A (Bc)

This sonata is almost exactly Veracini's Sonata Quinta, which we have already published.

The point is to find out who plagiarized whom; in my opinion, it was Sieber. Federico Sardelli, in his fundamental essay Vivaldi’s Music for Flute and Recorder (Aldershot, Ashgate 2007), translated by Michael Talbot, points out that «the whole of the opening movement of Siber's first sonata [the 7th of the collection] is a close paraphrase of the first movement of the third sonata from Vivaldi's Op. 2. […] Further reminiscences of, and quotations from, Vivaldi's music occur in the course of the set» (p. 31).

Sardelli does not cite the case of the Veracini sonata; but putting together the two pieces of information, we may assert that Sieber was a plagiarizer, and in all likelihood we could find other stolen material among his six sonatas.

Thanks to Dirk for pointing out that this sonata and the Veracini one are almost identical.

 4
Anonymous:  Amorosi pensier, sospir ardenti, canzonetta a 3
source: Antonio Morsolino, Il primo libro delle canzonette a tre voci (Venice 1594), No. 1
scoring: SSB

The facsimile of the original source is available on Talis Qualis.


Version 2.00: revamped layout and added all the wanting files.

  12
Louis-Antoine Dornel (c. 1685 - 1765):  III Suitte in D minor - Op. 1, No. 3
source: Livre de simphonies contenant 6 suittes en trio pour les flutes, violons, hautbois, etc. (Paris [1709])
scoring: AA (Bc)
  38
Ignazio Pollice (flourished 1684-1705):  Sinfonia a 3 flauti in C major
source: Manuscrit musical 161. Manuscript preserved in Paris: Bibliothèque Municipale de Versailles
scoring: AAAB or GGGB (Bc)

The bass part suits a bass recorder. Furthermore, the recorder parts could have been conceived for three recorders in G; nevertheless, they may be played on both sizes of treble recorders

  36
Johann Heinrich Schmelzer (c. 1620 - 1680):  Sarabanda Variata
source: IMhs 8:18. Manuscript preserved in Uppsala: Universitetsbiblioteket, Carolina Rediviva
scoring: A (Bc)

Transposed and adapted from the original for violin in D major.

 8
Johann David Heinichen (1683 - 1729):  Concerto in C major - Seibel 211
source: Mus. ms. 240/3. Manuscript preserved in Darmstadt: Hessische Universitäts- und Landesbibliothek
scoring: GGGG or AAAA (2 Violins, Viola, Harpsichord)

One of the few concertos I know that employ four recorders, strings and continuo.

Although the size of the recorders is not stated in the source, clearly the concerto was thought for treble recorders in G. Transposed parts with F fingering are provided in our edition. Since the recorder parts are not difficult, they may be played on treble recorders in F as well.

  6
Adam Gumpelzhaimer (1559 - 1625):  Agnus Dei, Canon a 3
source: Compendium musicae, pro illius artis tironibus (Augsburg 1591)
scoring: CCC
  8
Adam Gumpelzhaimer (1559 - 1625):  Haec est vita aeterna, Canon a 3
source: Compendium musicae, pro illius artis tironibus (Augsburg 1591)
scoring: CCC
 7
Matthew Locke (c. 1622 - 1677):  Pavan
source: Little consort of three parts (London 1656), No. 25
scoring: STB

The bass line of these trios seldom fits a bass recorder. It would be better played by a bass instrument, such as a viol or a bassoon, with or without the accompaniment of a harmonic instrument. Despite these considerations, I have tried anyway to adapt the bass line to a bass recorder.

  15
Anonymous:  O edle Frucht, Motet
source: Trent Codex 88 (c. 1456-62)
scoring: TBB

Version 2.00: revamped layout and added all the wanting files.

  15
Traditional:  A Cat May Look at a Queen
source: Nursery Rhymes with the Tunes to which they are still sung in the Nurseries of England (London [1846]), No. 6
Edited and/or arranged by Edward Francis Rimbault (1816 - 1876)
scoring: SATB

  5
Giorgio Pacchioni (1947 - ):  Valzer Lacrime
scoring: SATB
  7
Traditional:  The Lady and the Swine
source: Nursery Rhymes with the Tunes to which they are still sung in the Nurseries of England (London [1846]), No. 5
Edited and/or arranged by Edward Francis Rimbault (1816 - 1876)
scoring: SATB

  3
Traditional:  Three Blind Mice
source: Nursery Rhymes with the Tunes to which they are still sung in the Nurseries of England (London [1846]), No. 4
Edited and/or arranged by Edward Francis Rimbault (1816 - 1876)
scoring: SATB

  4
Traditional:  The Frog and the Mouse
source: Nursery Rhymes with the Tunes to which they are still sung in the Nurseries of England (London [1846]), No. 3
Edited and/or arranged by Edward Francis Rimbault (1816 - 1876)
scoring: SATB

  5
Traditional:  Goosey Gander
source: Nursery Rhymes with the Tunes to which they are still sung in the Nurseries of England (London [1846]), No. 2
Edited and/or arranged by Edward Francis Rimbault (1816 - 1876)
scoring: SATB

  4
Traditional:  Girls and Boys
source: Nursery Rhymes with the Tunes to which they are still sung in the Nurseries of England (London [1846]), No. 1
Edited and/or arranged by Edward Francis Rimbault (1816 - 1876)
scoring: SATB

  2
Jacob van Eyck (c. 1589 - 1657):  Aerdigh Martyntje
source: Der Fluyten Lust-hof (1649-54), No. 7
scoring: C

Version 2.00: our edition now includes both the faithful transcription of the original 1649 and 1654 sources and a scored version, useful to understand how van Eyck worked out his variations.

8
Giacomo Fogliano (1468 - 1548):  Segue cuor, e non restare, frottola a 4
source: Frottole. Libro Septimo (O. Petrucci, Venice 1507)
scoring: AAAB or TTTB
  13
Jakob Friedrich Kleinknecht (1722 - 1794):  Trio Sonata in D minor
source: Mus. Hs. 237 (1770). Manuscript preserved in Karlsruhe: Badische Landesbibliothek
scoring: AA (Bc)

Dies ist ein Arrangement der Original-Trio-Sonate in c-Moll für Querflöte, Oboe oder Violine und Bc, die wir schon auf der EtCetera - Seite veröffentlicht haben.

 9
Giovanni Paolo Cima (c. 1570 - 1630):  Assumpta est Maria, for double choir
source: Concerti ecclesiastici (Milan 1610), No. 40
scoring: SSAATTBB (Bc ad libitum)

Version 2.00: revamped layout and added all the wanting files.

 

 10
Traditional:  Amazing Grace
scoring: SATB

With editorial divisions of the top part.


Version 2.00: revamped layout and added all the wanting files.

  13
Andrea Festa (XVI cent.):  Crudel, di che peccat'a doler t'hai, madrigal a 3
source: Il primo libro delle muse a tre voci (Venice 1562), No. 1
scoring: SST

Version 2.00: revamped layout and added all the wanting files.

  10
Johann Mattheson (1681 - 1764):  Sonata II in F major - Op. 1, No. 2
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AA
 11
Mauro Giuliani (1781 - 1829):  Maestoso cantabile - Op. 74, No. 11
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A or C (Guitar)

The original upper part fits a treble recorder. A part adapted for a recorder in C has been devised editorially.

Thanks to Roberto for helping me publish this piece of music.

  4
Joseph Bodin de Boismortier (1689 - 1755):  Concerto IV in B minor (D minor) - Op. 15, No. 4
source: VI Concertos pour 5 flûtes-traversieres ou autres instrumens sans basse. Op. 15 (Paris 1727)
scoring: AAAAA (Bc ad libitum)

The fifth part may also be played on a bass instrument with or without the continuo realization.

This edition contains the transcription of the original score as well as the transposed version for five treble recorders.


Version 1.50: as per Dan Laurin's kind request, I have added the continuo part ad libitum.

  13
Johann Mattheson (1681 - 1764):  Sonata VII in G major - Op. 1, No. 7
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 8
Johann Mattheson (1681 - 1764):  Sonata IV in C minor - Op. 1, No. 4
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 8
Johann Mattheson (1681 - 1764):  Sonata VI in Bb major - Op. 1, No. 6
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 7
Johann Mattheson (1681 - 1764):  Sonata X in F minor - Op. 1, No. 10
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 6
Johann Mattheson (1681 - 1764):  Sonata III in G minor - Op. 1, No. 3
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 11
Johann Mattheson (1681 - 1764):  Sonata V in C major - Op. 1, No. 5
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 10
Johann Mattheson (1681 - 1764):  Sonata IX in G minor - Op. 1, No. 9
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
   8
Johann Mattheson (1681 - 1764):  Sonata VIII in F major - Op. 1, No. 8
source: XII Sonates à 2 et 3 flutes sans bass. Op. 1 (Amsterdam 1708)
scoring: AAA
 7
Nicolas Chédeville (1705 - 1782):  Sonata IV in A major (G major) - Op. 13, No. 4
source: Il pastor fido (Paris 1737)
scoring: A (Bc)

The original score was conceived «pour la Musette, Viele, Flûte, Hautbois, Violon avec la Basse Continüe». Furthermore, at the beginning of this sonata it is written: «Le Dessus de cette sonate se peut jouer sur une musette du cinq en suposant la clef de G re sol sur la premiere ligne»; that is, you may read this sonata using the French clef. This is the common transposition a third up useful to adapt flute sonatas to the treble recorder in F; nevertheless, in my opinion, that would raise the cello part – especially in the third movement, where the cello is «obbligato» – too much, hence I preferred to transpose the sonata a tone down, in G major, for a recorder in C.

 10
Giorgio Pacchioni (1947 - ):  Sonata sopra la Ciaccona - Op. 64, No. 1
scoring: C (Harpsichord)
  11
Traditional:  The Wearing of the Green
scoring: SABB

Version 2.00: revamped layout and added all the wanting files, which also contain editorial divisions of the melody.

  19
Giorgio Pacchioni (1947 - ):  Varie partite e fuga sopra Italian Ground - Op. 64, No. 2
scoring: CC (Bc)
  5
Johann David Heinichen (1683 - 1729):  Concerto in G minor - Seibel 238
source: Mus. ms. 240/2. Manuscript preserved in Darmstadt: Hessische Universitäts- und Landesbibliothek
scoring: AAB (Harpsichord)

Arranged from the original concerto for oboe, flute and strings.

 14
Ernest Krähmer (1795 - 1837):  Übung in C major (F major) - Op. 31, No. 1
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 2
Ernest Krähmer (1795 - 1837):  Übung in B minor (D minor) - Op. 31, No. 67
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 6
Ernest Krähmer (1795 - 1837):  Übung in D major (G major) - Op. 31, No. 66
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 3
Ernest Krähmer (1795 - 1837):  Übung in E minor (A minor) - Op. 31, No. 65
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 5
Ernest Krähmer (1795 - 1837):  Übung in G major (C major) - Op. 31, No. 64
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 5
Ernest Krähmer (1795 - 1837):  Übung in A minor (D minor) - Op. 31, No. 63
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 6
Ernest Krähmer (1795 - 1837):  Übung in C major (F major) - Op. 31, No. 62
source: 100 Übungsstücke für den Csakan. Op. 31 (Vienna 1837)
scoring: C or A

The 100 exercises by Ernest Krähmer were conceived for the Csakan, an evolution of the recorder devised during the 19th century. They fit the traditional recorder, even if they are quite demanding.

Our edition presents the transcription of the original score, suitable for a recorder in C, and a transposed version for treble recorder.

 5
Mauro Giuliani (1781 - 1829):  Allegretto grazioso - Op. 74, No. 10
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: C (Guitar)

The original upper part does not fit any recorder size. A part adapted for a recorder in C has been devised editorially.

Thanks to Roberto for helping me publish this piece of music.

  10
Mauro Giuliani (1781 - 1829):  Tempo di Marcia - Op. 74, No. 9
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A (Guitar)

The flute line may be played by a treble recorder as it is. We have also included a flute (recorder) part transposed a tone up to Eb major. That part fits much better a treble recorder and may be played with an A=415Hz recorder leaving the guitar part as is, or with an A=440Hz recorder placing a capo on the first fret of the guitar.

Thanks to Roberto for helping me publish this piece of music.

 5
Johann Gottfried Keller (? - 1704):  A Ground [ciaccona]
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 50
scoring: A (Bc)
  28
Thomas Williams (flourished 1682-1729):  A Ground
source: 50 Airs anglois [… Book 1] (Amsterdam c. 1702), No. 45
scoring: A or SB (Bc)

A caption at end of the original upper line ascribed the piece to «Mr. Tho. Williams» and in fact dates and places we know about this minor musician are compatible with the attribution. Nevertheless, we like thinking that this composition has to be attributed to William Williams (1675 - 1701) instead, who composed a great deal of music for recorder.

The range of the recorder part is quite narrow and fits both a recorder in C and a treble recorder. For this reason I have also published a version transposed to G minor that suits better the treble recorder. The original score may be conveniently played by a descant and a bass recorder with or without the accompaniment of a harmonic instrument.

 

 6
Traditional:  My Bonnie Lies over the Ocean
scoring: SATB

Version 2.00: revamped layout and added all the wanting files.

  10
Traditional:  Auld Lang Syne
scoring: SATB

Editorial divisions of the soprano line.

 17
John Reading (1645 - 1692):  Dulce Domum, with divisions of the top part by Andrea Bornstein
scoring: SATB or SSTB
  16
Johan Helmich Roman (1694 - 1758):  Trio Sonata No. 3 in G minor
source: Statens musikbibliotek - The Music Library of Sweden, ms. BeRI 115
scoring: ATB

Transposed and adapted from the original score for two violins in E minor.

  11
Johan Helmich Roman (1694 - 1758):  Sonata No. 3 in G minor
source: Statens musikbibliotek - The Music Library of Sweden, ms. BeRI 115
scoring: A (Harpsichord)

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

   12
Johan Helmich Roman (1694 - 1758):  Trio Sonata No. 3 in G minor
source: Statens musikbibliotek - The Music Library of Sweden, ms. BeRI 115
scoring: AA (Bc)

Transposed and adapted from the original score for two violins in E minor.

  5
Giorgio Pacchioni (1947 - ):  Saltarello
scoring: SSB
  5
Claudio Monteverdi (1567 - 1643):  Lasciate i monti, lasciate i fonti
source: Orfeo (Venice 1609)
scoring: SSATB

This balletto from Monteverdi's Orfeo is supposed to be sung and played – among several other instruments – by a «flautino alla vigesima seconda» at the top part; that is, a descant (soprano) recorder. Nevertheless, the whole score seamlessly fits an SSATB group of recorders.

   9
Jacob Obrecht (1458 - 1505):  Rompeltier
source: Harmonice Musices Odhecaton A (O. Petrucci, Venice 1501), No. 25
scoring: ATTB or STTB

Version 2.00: revamped layout and added all the wanting files.

   17
Mauro Giuliani (1781 - 1829):  Menuetto - Op. 74, No. 2
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: C (Guitar)

Version 2.00: revamped layout and added a live performance.

 7
Mauro Giuliani (1781 - 1829):  Andantino grazioso - Op. 74, No. 8
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A (Guitar)

The flute line may be played by a treble recorder just transposing a few notes. The changes are notated on our edition.

We have also included a flute (recorder) part transposed a tone up to Bb major. That part fits much better a treble recorder and may be played with an A=415 recorder leaving the guitar part as is, or with an A=440 recorder placing a capo on the first fret of the guitar.

Thanks to Roberto for helping me publish this piece of music.

 7
Giorgio Pacchioni (1947 - ):  Oci ciornie - Variazioni per Flauto in C e Piano di una canzone popolare russa
scoring: C (Piano)

The recorder output of Giorgio Pacchioni is vast and outstanding. Please, browse it thoroughly.

La produzione per flauto dolce di Giorgio Pacchioni è vastissima e di qualità eccelsa. Invito tutti gli amici del sito a esplorarla con attenzione.

  4
Mauro Giuliani (1781 - 1829):  Sostenuto - Op. 74, No. 1
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A (Guitar)

The flute line may be played by a treble recorder just slightly adjusting it. All the changes are notated on our edition.


Version 2.00: revamped layout and added a live performance.

  7
Gottfried Finger (c. 1660 - 1730):  Allegro
source: 40 Airs anglois pour la flute […] Livre troisieme (Amsterdam c. 1704), No. 7
scoring: A or C (Bc)

The narrow range of the recorder part allows it to be played either on a recorder in C or on a treble recorder.

  3
Gottfried Finger (c. 1660 - 1730):  Chaconne
source: 40 Airs anglois pour la flute […] Livre troisieme (Amsterdam c. 1704), No. 10
scoring: A or C (Bc)

The narrow range of the recorder part allows it to be played either on a recorder in C or on a treble recorder.

  12
Gottfried Finger (c. 1660 - 1730):  Chaconne
source: 40 Airs anglois pour la flute […] Livre troisieme (Amsterdam c. 1704), No. 16
scoring: G or A (Bc)

Looking at the range and key of this Chaconne, we could hypothesize that it was conceived for a treble recorder in G; hence we also present a transposed version that fits a common treble recorder in F. Nonetheless, the original score in G can be smoothly played by a treble recorder in F as well.

 6
William Williams (1675 - 1701):  Sonata a 2 Flauti
source: 40 Airs anglois […] Livre second (Amsterdam c. 1702), No. 41
scoring: AA

The primary source lacks the second movement (Vivace), which has been taken from the manuscript RM.788.1191/S698 preserved at the Detroit Public Library. The Detroit manuscript, on the other hand, lacks the third movement (Largo).


Version 2.00: revamped layout and added all the wanting files.

  12
Johan Helmich Roman (1694 - 1758):  Sonata a Tre
source: Statens musikbibliotek - The Music Library of Sweden, ms. BeRI 101
scoring: ATB
 12
Johan Helmich Roman (1694 - 1758):  Sonata a Tre
source: Statens musikbibliotek - The Music Library of Sweden, ms. BeRI 101
scoring: AA (Bc)
10
Johan Helmich Roman (1694 - 1758):  Allegro
source: Ms. BeRI 2 – Drottningholmsmusiken (Royal wedding music) (1744), Statens musikbibliotek - The Music Library of Sweden (Stockholm), No. 7
scoring: SSAB
5
Johan Helmich Roman (1694 - 1758):  Poco Allegro
source: Ms. BeRI 2 – Drottningholmsmusiken (Royal wedding music) (1744), Statens musikbibliotek - The Music Library of Sweden (Stockholm), No. 6
scoring: SSAB
4
Johan Helmich Roman (1694 - 1758):  Andante
source: Ms. BeRI 2 – Drottningholmsmusiken (Royal wedding music) (1744), Statens musikbibliotek - The Music Library of Sweden (Stockholm), No. 5
scoring: SSAB
 8
Traditional:  Gaudeamus Igitur
Edited and/or arranged by Herbert Oakeley (1830 - 1903)
scoring: SATB

Version 2.00: revamped layout and added all the wanting files.

 5
Andrea Gabrieli (c. 1532 - 1585):  Angelus ad pastores ait, Motet a 7
source: Concerti: Libro primo et secondo (Venice 1587)
scoring: SATTTBB or SGTTTBB

Our edition presents the transcription of the original score in F and its transposed version in G.

   23
Giovanni Battista Stefanini (1574 - 1630):  Beata es Virgo Maria, Motet a 7
source: Promptuarii musici. Pars prima (Strasbourg 1611)
scoring: SSSAAAT or GGGTTTB

The transposed version may be performed by three treble recorders instead of the three recorders in G, or even two descant and one treble.

  29
Mauro Giuliani (1781 - 1829):  Allegretto spiritoso - Op. 74, No. 7
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A (Guitar)

The flute line may be played by a treble recorder just transposing a few notes. The changes are notated on our edition.

Thanks to Roberto for helping me publish this piece of music.

 6
Gottfried Finger (c. 1660 - 1730):  A Ground
source: 40 Airs anglois pour la flute […] Livre troisieme (Amsterdam c. 1704), No. 6
scoring: A (Bc)
  32
Edmund Angerer (1740 - 1794):  Kindersinfonie
scoring: SATB

The Toy Symphony or  Kindersinfonie has been attributed to Haydn or to Leopold Mozart for a long time. Only recently a thorough research attributed it to Edmund Angerer.

In my rendition of this masterpiece the nightingale, the quail and the trumpet parts are assigned to the soprano recorder.

  8
Johann Heinrich Schmelzer (c. 1620 - 1680):  Sonata IV
source: Sonate unarum fidium, seu a violino solo (Nuremberg 1664), No. 4
scoring: C (Bc)

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

  11
Mauro Giuliani (1781 - 1829):  Maestoso sostenuto - Op. 74, No. 5
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A (Guitar)

The flute line may be played by a treble recorder just transposing a note. The change is notated on our edition.

Thanks to Roberto for helping me publish this wonderful piece of music.


Version 1.50: as per Annet's kind request, the karaoke files have been added.

   17
Mauro Giuliani (1781 - 1829):  Menuetto - Op. 74, No. 6
source: Pieces faciles et agreables pour la flute ou violon et guitarre. Op. 74 (Vienna c. 1810)
scoring: A (Guitar)

The flute line may be played by a treble recorder just transposing a note. The change is notated on our edition.

Thanks to Roberto for helping me publish this piece of music.

 9
Pelham Humfrey (c. 1647 - 1674):  Wherever I am, and whatever I doe
source: Musica Antiqua, ed. by John Stafford Smith (Preston, London 1812)
scoring: A or AB (Bc or Guitar)

Our edition of the original vocal score may be found in the EtCetera site.

The variation and the continuo realization are editorial.


Version 2.00: added an arrangement for AB recorders and guitar.

  29
Jean-Paul-Égide Martini (1741 - 1816):  Plaisir d'amour
source: Airs du Droit du Seigneur et Trois Romances Nouvelles (Paris 1784)
scoring: SAB

Version 1.20: added a live performance.

   16
Anonymous:  Greensleeves
Edited and/or arranged by Andrea Bornstein
scoring: SATB
  13
Aurelio Virgiliano (XVII cent.):  Ricercar come di sopra
source: Il Dolcimelo (XVII cent.). Manuscript preserved in Bologna: Museo internazionale e biblioteca della musica, No. 6
scoring: G or A
 4
Antonio Lotti (c. 1667 - 1740):  Crucifixus
scoring: SSSAATTTBB
   7