Pieces for Solo Recorder and Keyboard
NB: All pieces in this section are for Alto Recorder and Keyboard unless otherwise noted
- Solo recorder parts for all the items in the Concerto categories. (Not necessary if you get the versions with keyboard.)
- Concerto No. 1, BWV 1052, Adagio
- Concerto No. 2, BWV 1053
- Concerto No. 3, BWV 1054
- Concerto No. 4, BWV 1055
- Concerto No. 5, BWV 1056
- Concerto No. 7, BWV 1058
- Concerto No. 7, BWV 1058, version for soprano recorder & kbd.
- Concerto, BWV 1059
- Concerto for 2 Violins, BWV 1043
- Concerto No. 1 for 2 Harpsichords, BWV 1060, 3rd Mvt.
- Concerto No. 2 for 2 Harpsichords, BWV 1061
- Concerto No. 2 for 3 Harpsichords, BWV 1064
- Trio from Brandenburg Concerto No. 1, BWV 1046
- Trio from Brandenburg Concerto No. 1, BWV 1046, arr. for tenor or soprano recorder & keyboard
- Brandenburg Concerto No. 2, BWV 1047
- Brandenburg Concerto No. 3, BWV 1048, with added middle-movement choices
- Brandenburg Concerto No. 4, BWV 1049, for Alto in F or G
- Orchestral Suite No. 2, BWV 1067
- Solo recorder parts for all the items in the Organ categories. (Not necessary if you get the versions with keyboard.)
- Trio Sonata No. 1, BWV 525
- Trio Sonata No. 2, BWV 526
- Trio Sonata No. 3, BWV 527
- NB: A good arr. of Trio Sonata #4 by Bärenreiter exists. But if you’d still like such an arr. from VGRT (as with other such cases that fit our mission), please contact us.
- Trio Sonata No. 5, BWV 529
- Trio Sonata No. 6, BWV 530
- Chorale Prelude, “Das alte Jahr vergangen ist,” BWV 614
- Chorale Prelude, “In dir ist Freude,” BWV 615
- Chorale Prelude, “Herr Gott, nun schleuss den Himmel auf,” BWV 617, arr. for alto or bass recorder & keyboard
- Chorale Prelude, “O Mensch, bewein’ dein’ Sünde gross,” BWV 622
- Chorale Prélude, “Ich ruf’ zu dir,” BWV 639, arr. for bass recorder & keyboard
- Chorale Prélude, “Wenn wir in höchsten Nöthen sein,” BWV 641
- Præludium & Fugue, BWV 534
- Prelude from BWV 536
- “Dorian” Toccata, BWV 538 transposed to c dorian
- “Dorian” Toccata, BWV 538 transposed to a dorian
- Fugue from BWV 539
- Toccata from BWV 540
- Prelude and Fugue, BWV 541
- Fantasia and Fugue, BWV 542
- Prélude & Fugue, BWV 543
- Prélude from BWV 544
- Fugue from BWV 547
- Prelude from BWV 548 (“Wedge”)
- “St. Anne” Prélude, BWV 552
- Prélude and Fugue, BWV 553
- Prélude and Fugue, BWV 553, arr. for tenor or soprano recorder & keyboard
- Prélude and Fugue, BWV 556
- Prélude and Fugue, BWV 558
- Prélude and Fugue, BWV 558, arr. for tenor or soprano recorder & keyboard
- Toccata, Adagio, and Fugue, BWV 564
- Toccata, BWV 565
- Toccata, BWV 566
- Passacaglia and Fugue, BWV 582
- Chorale Prélude, Wachet auf, ruft uns die Stimme, BWV 645
- Chorale Prélude, Wo soll ich fliehen hin, or Auf meinen lieben Gott, BWV 646, arr. for bass recorder (or alto) & keyboard
- Chorale Prelude, Ach bleib’ bei uns, Herr Jesu Christ, BWV 649
- Chorale Prélude, Kommst du nun, Jesu, vom Himmel herunter, BWV 650
- Chorale Fantasia super Komm, heiliger Geist, BWV 651
- Chorale Prélude, Herr Jesu Christ, dich zu uns wend, BWV 655
- Chorale Prélude, Nun komm‘ der Heiden Heiland, BWV 659
- Two settings of Allein Gott in der Höh sei Ehr, BWV 663 & 664
- Chorale Prélude, Vor deinen Thron, tret’ ich, BWV 668, arr. for bass recorder and keyboard
- Chorale Prélude Allein Gott in der Hoh’ sei Ehr’, BWV 676
- Fughetta super: Allein Gott in der Hoh’ sei Ehr’, BWV 677
- Chorale Prélude, Diess sind die heil’gen zehn Gebot’, BWV 678
- Fughetta super: Diess sind die heil’gen zehn Gebot’, BWV 679
- Chorale Prélude, Nun freut euch, lieben Christen g’mein, BWV 734
- Solo recorder parts for all music in the Well-tempered Clavier and Keyboard Partita categories. (Not necessary if you get the versions with keyboard.)
- Prélude and Fugue No. 3, BWV 848
- Prélude and Fugue No. 6, BWV 851
- Fugue No. 7, BWV 852/2
- Prélude and Fugue No. 8, BWV 853
- Prélude No. 9, BWV 854/1
- Prélude and Fugue No. 10, BWV 855
- Prélude and Fugue No. 13, BWV 858
- Prélude No. 14, BWV 859/1
- Prélude and Fugue No. 15, BWV 860
- Prélude No. 17, BWV 863/1
- Prélude and Fugue No. 19, BWV 864
- Prélude No. 20, BWV 865/1
- Prélude No. 1, BWV 870/1
- Prélude and Fugue No. 2, BWV 871
- Prélude and Fugue No. 3, BWV 872
- Fugue No. 4, BWV 873/2
- Prélude and Fugue No. 6, BWV 875
- Prélude and Fugue No. 8, BWV 877
- Prélude and Fugue No. 9, BWV 878
- Prélude and Fugue No. 11, BWV 880
- Prélude and Fugue No. 12, BWV 881
- Prélude No. 13, BWV 882/1
- Prélude No. 14, BWV 883/1
- Prélude and Fugue No. 15, BWV 884
- Prélude No. 17, BWV 886/1
- Prélude No. 18, BWV 887/1
- Prélude and Fugue No. 20, BWV 889
- Prélude and Fugue No. 22, BWV 891
- Prélude and Fugue No. 23, BWV 892
- Prélude and Fugue No. 24, BWV 893
- Sarabande from Partita No. 1, BWV 825
- Menuet I & II from Partita No. 1, BWV 825
- Sinfonia from Partita No. 2, BWV 826
- Rondeaux from Partita No. 2, BWV 826
- Capriccio from Partita No. 2, BWV 826
- Partita No. 3 Complete, BWV 827
- First three Mvts. from Partita No. 5, BWV 829
- Solo Recorder Parts from the English Suites, Goldberg Variations, Misc. Keyboard, and Art of Fugue sections (not necessary if you get the versions with keyboard)
- Bourrée I & II from English Suite No. 1, BWV 806
- Four Mvmts. from English Suite No. 2, BWV 807, transposed to d
- Four Mvmts. from English Suite No. 2, BWV 807, transposed to c
- Prélude & Gigue from English Suite No. 3, BWV 808
- Gavotte I & II from English Suite No. 3, BWV 808
- Four Mvmts. from English Suite No. 5, BWV 810
- English Suite No. 6, BWV 811
- The Aria and Ten Variations
- The Aria
- Variation 1
- Variations 5 & 7
- Variation 13
- Variation 16
- Variation 17
- Variation 25
- Variation 26
- Variation 27
- Variation 28
- 2-part Invention No. 1 and 1A, BWV 772 & 772A
- 2-part Invention No. 4, BWV 775
- 2-part Invention No. 8, BWV 779
- 2-part Invention No. 12, BWV 783
- 2-part Invention No. 13, BWV 784
- 2-part Invention No. 14, BWV 785
- 3-part Invention No. 8, BWV 794
- 3-part Invention No. 9, BWV 795
- 3-part Invention No. 12, BWV 798
- 3-part Invention No. 14, BWV 800
- 3-part Invention No. 15, BWV 801
- Allemande from French Suite No. 1, BWV 812
- Three mvts. from French Suite No. 2, BWV 813
- French Suite No. 3, BWV 814 complete
- French Suite No. 5, BWV 816 complete
- Four Movements from French Suite No. 6, BWV 817
- Suite, BWV 819
- Præludium & Fugue, BWV 894
- Præludium from BWV 902
- Fantasia & Fugue (Unfinished), provided with a suggested ending, BWV 906
- Fantasia & Fugue, BWV 906, with a completion by F. Busoni
- Prelude, BWV 934
- Fugue on a theme by Albinoni, BWV 951
- Italian Concerto BWV 971
- Concerto after Alessandro Marcello, BWV 974
- Three-part Ricercare from Musical Offering, BWV 1079
- Contrapunctus 2
- Contrapunctus 6
- Contrapunctus 8
- Contrapunctus 9
- Contrapunctus 13, Rectus
- Contrapunctus 13, Inversus
- All Four Canons from the Art of the Fugue
- Augmentation Canon in Contrary Motion
- Canon at the Octave
- Canon at the 10th
- Canon at the 12th
- Solo recorder parts for the Solo strings and Lute Music categories. (Not necessary if you get the versions with keyboard.)
- Complete Suite No. 1, BWV 1007, choice of two different keys
- Complete Suite No. 2, BWV 1008
- Complete Suite No. 3, BWV 1009, transposed to F major
- Complete Suite No. 3, BWV 1009, in original key of C, for tenor or soprano recorder, doubling alto
- Complete Suite No. 4, BWV 1010
- Gavotte I & II from Suite No. 5, BWV 1011
- Gavotte I & II from Suite No. 6, BWV 1012
- Partita No. 1, BWV 1002
- Fugue from Sonata No. 2, BWV 1003
- First Four Movements from Partita No. 2, BWV 1004
- Fugue from Sonata No. 3, BWV 1005
- Gavotte en Rondeau from Partita No. 3, BWV 1006
- Prelude from Lute Suite, BWV 995 (also derived from BWV 1011)
- Suite, BWV 996
- Suite, BWV 997
- Prelude, BWV 999
- Gigue from Suite, BWV 1006a
- Solo recorder parts for the miscellaneous chamber music and miscellaneous vocal categories (not necessary if you get the versions with keyboard.)
- Sonata No. 2 for Violin & Keyboard, BWV 1015
- Sonata No. 5 for Violin & Keyboard, BWV 1018
- Sonata, BWV 1019a, 3rd Mvmt.
- Sonata, BWV 1021
- Sonata for Violin and Continuo, BWV 1023
- Sonata, BWV 1024
- Suite, BWV 1025
- Fugue, BWV 1026
- Sonata No. 3 for Viola da Gamba and Continuo, BWV 1029, transposed to c
- Sonata No. 3 for Viola da Gamba and Continuo, BWV 1029, transposed to d
- Trio Sonata, BWV 1038
- “Fuga canonica in Epidiapente”, from Musical Offering, BWV 1079
- Trio Sonata from Musical Offering, BWV 1079, Complete
- Solo recorder parts from the Cantatas category (not necessary if you get the versions with keyboard.)
- Chorus, “Ach Gott, wie manches Herzeleid,” from Cantata 3
- Verse 3, “Jesus Christus, Gottes Sohn”, from Cantata 4
- Opening Chorus, “Christ unser Herr zum Jordan kam,” from Cantata 7
- Aria, “Merkt und hört ihr Menschenkinder,” from Cantata 7
- Aria, “Des Vaters Stimme ließ sich hören,” from Cantata 7
- Aria, “Doch weichet, ihr tollen,” from Cantata 8
- Opening Chorus, “Meine Seel’ erhebt den Herren,” from Cantata 10
- Aria, “Gewaltige, ößt Gott vom Stuhl,” from Cantata 10
- Aria, “Achzen und erbärmlich Weinen,” from Cantata 13, two versions
- Aria, “Unsre Stärke heist du schwach,” from Cantata 14
- Aria, “Gott, bei deinem starken Schützen,” from Cantata 14
- Sinfonia from Cantata 29, Wir danken dir Gott wir danken dir
- Duetto, “Nun verschwinden alle Plagen,” from Cantata 32
- Aria, “Woferne du den edlen Frieden,” from Cantata 41
- Aria, “Ja tausendmal Tausend begleiten,” from Cantata 43
- Aria, “Wer ein wahrer Christ will heissen,” from Cantata 47
- Cantata 51, Jauchzet Gott in allen Landen, now complete
- Aria, “Höchster, mache deine Güte ferner,” from Cantata 51, arr. for tenor or soprano recorder & keyboard
- Aria, “Höchster, mache deine Güte ferner,” from Cantata 51, arr. for bass recorder & keyboard
- Aria, “Endlich, endlich wird mein Joch,” from Cantata 56
- Aria, “Ich bin vergnügt in meinem Leiden,” from Cantata 58
- “Ich hab’ vor mir ein’ schwere Reis’,” from Cantata 58
- Duet, “Gott, du hast es wohl gefüget,” from Cantata 63
- Aria, “Friede sei mit euch,” from Cantata 67
- Aria, “Mein gläubiges Herze,” from Cantata 68
- Aria, “Wenn kommt der Tag,” from Cantata 70
- Aria, “Lass’ der Spötter,” from Cantata 70
- Opening Chorus, “Alles nur nach Gottes Willen,” from Cantata 72
- Aria, “Kommt! kommt! eilet! kommt,” from Cantata 74
- Opening Ritornel from Chorus, “Gott, der Herr, ist Sonn’ und Schild” from Cantata 79
- Aria, “Die schäumenden Wellen,” from Cantata 81
- Aria, “Seht, seht! wie reißt, wie bricht, wie fällt,” from Cantata 92
- Aria, “Bethörte Welt!,” from Cantata 94
- Aria, “Ich traue seiner Gnaden,” from Cantata 97
- Chorus, “Was Gott thut, das ist wohlgethan,” from Cantata 99/100
- Aria, “Erschütt’re dich nur nicht, verzagte Seele” , from Cantata 99
- Aria, “Was Gott thut, das ist wohlgetan,” from Cantata 100
- Opening, “Es ist euch gut, dass ich hin gehe,” from Cantata 108
- Aria, “Jesus nimmt die Sünder an,” from Cantata 113
- Aria “Wo wird in diesem Jammerthale” from Cantata 114
- Opening chorus, “Mache dich, mein Geist, bereit,” from Cantata 115
- Aria, “Bete aber auch dabei,” from Cantata 115
- Aria, “Heil und Segen,” from Cantata 120 (See BWV 1019a in the “Miscellaneous Chamber Music” section)
- Aria, “Christi Glieder, ach, bedenket,” from Cantata 132
- Duetto, “Ich lebe, mein Herze, zu deinem Ergötzen,” from Cantata 145
- “Ich säe meine Zähren mit bangem Herzen aus,” aria from Cantata 146
- Aria, “Stürmt nur, stürmt, ihr Trübsalswetter,” from Cantata 153
- Aria, “Ich halte meinen Jesum feste,” from Cantata 157
- Aria, “Ja, ja, ich halte Jesum feste,” from Cantata 157
- Aria with Chorale, “Welt, ade!”, from Cantata 158
- Aria, “Lass mein Herz die Münze sein,” from Cantata 163
- Aria, “Gott soll allein mein Herze haben,” from Cantata 169
- Aria, “Schweig’, schweig’, nur schweig’”, from Cantata 178
- Aria, “Weichet nur, betrübte Schatten,” from Cantata 202
- Æolus’s aria, “Wie will ich lustig lachen” from Cantata 205
- Pallas’s aria “Angenehmer Zephyrus” from Cantata 205 arr. for alto recorder, doubling tenor, & keyboard
- Duet, “Zweig’ und Aeste zollen dir,” from Cantata 205
- Sinfonia from Cantata 209, Non sa che sia dolore
- Aria, “Dein Wachsthum sei feste”, from Cantata 212
- Aria, “Quoniam tu solus,” from Missa Brevis, BWV 233
- Aria, “Domine Deus” from Missa Brevis, BWV 234 for alto recorder doubling soprano or tenor
- Aria, “Deposuit potentes” from Magnificat, BWV 243, transposed to d
- Aria, “Deposuit potentes” from Magnificat, BWV 243, transposed to f
- Aria, “Gibt mir meinen Jesu wieder,” from the St. Matthew Passion, BWV 244
- Aria, “Aus Liebe,” from the St. Matthew Passion, BWV 244
- Aria, “Komm, süsses Kreuz”, from St. Matthew Passion, BWV 244
- Aria, “Ich folge dir gleichfalls,” from the St. John Passion, BWV 245, in two different keys
- Aria, “Erwäge, wie sein blutgefärbter Rücken” from St. John Passion, BWV 245
- Aria, “Zerschmettert mich ihr Felsen und ihr Hügel,” from an early version of the St. John Passion, BWV 245
- Terzetto, “Ach! wann wird die Zeit erscheinen, wann? ”from Christmas Oratorio, BWV 248, No. 5
- Aria, “Seele, deine Specereien sollen nicht mehr Myrrhen sein”, from the Easter Oratorio, BWV 249
- Aria, “Sanfte soll mein Todeskummer,” from the Easter Oratorio, BWV 249
- Aria, “Saget, saget mir geschwinde,” from the Easter Oratorio, BWV 249
- Non-Bach Solos Pre-Mozart, Part one, from Morley to C.P.E. Bach
- Four Scotch tunes from Calliope (1739) arr. for soprano recorder & keyboard
- Cantata, “Lagrime mie”, from Diporti di Euterpe, Op. 7, arr. for tenor or soprano recorder & keyboard
- Aria from the Cantata “Aure già che” from Arie a voce sola, Op. 8, arr. for tenor or soprano recorder & keyboard
- Cantata, “Che si puo fare” from Arie a voce sola, Op. 8, arr. for tenor or soprano recorder & keyboard
- Four English Country Dances, arr. for soprano recorder & keyboard
- Fourteen English Country Dances, arr. for soprano recorder & keyboard/guitar
- Sonata (Duet) TWV 40:125
- Sonata (Duet) TWV 40:126
- Sonata da chiesa a diversi stromenti, TWV 41:g5
- Sonata for Flute & Fondamento TWV 41h:4
- Aria, “Voli per l’aria chi può volare,” from Tra le fiamme, H. 170
- Sonata, Op. 1 No. 12, HWV 370, 1st Mvmt., two versions
- Concerto Grosso, Op. 6 #3, 3rd mvt.
- Polonaise from Concerto Grosso, Op. 6, No. 3 (with choice of 2 different keys)
- Concerto Grosso, Op. 6, No. 6, 4th mvt.
- Allemande from Concerto Grosso, Op. 6, No. 8
- Sinfonia from Acis and Galatea
- “The Arrival of the Queen of Sheba,” from Solomon
- Fugue from Suite for Harpsichord, HWV 429
- Fugue No. 5, HWV 609, from Six Fugues or Voluntarys
- Sonata K. 1, L. 366, P. 57
- Sonata K. 9, L. 413, P. 65
- Sonata K. 10, L. 370, P. 66
- Sonata, K. 18, L. 416, P. 74
- Sonata, K. 25, L. 481, P. 81
- Sonata K. 33, L. 424, P. 130
- Sonata, K. 51, L. 20, P. 151
- Sonata K. 55, L. 335, P. 117
- Sonata, K. 71, L. 81, P. 17
- Sonata K. 72, L. 401, P. 1
- Sonata, K. 96, L. 465, P. 210
- Sonata, K. 105, L. 204, P. 90
- Sonata, K. 107, L. 474, P. 98, arr. for alto in G with optional switch to alto in F
- Toccata K. 141, L. 422, P. 271—really hard, medium hard, and easier versions
- Sonata, K. 159, L. 104, P. 418
- Sonata, K. 162, L. 21, P. 162
- Sonata K. 182, L. 139, P. 207
- Sonata, K. 198, L. 22, P. 132
- Sonata, K. 201, L. 129, P. 252
- Sonata K. 208, L. 238, P. 315
- Sonata, K. 299, L. 210, P. 268
- Sonata, K. 320, L. 341, P. 335
- Sonata, K. 322, L. 483, P. 360
- Sonata, K. 371, L. 17, P. 264
- Sonata, K. 380, L. 23, P. 483
- Sonata K. 466, L. 118, P. 501, played by alto either @ 440 or fingered a half step higher by one @415
- Sonata, K. 490, L. 206, P. 476
- Sonata, K. 517, L. 266, P. 517
- Sonata K. 531, L. 430, P. 535, for alto in G, with optional switch to alto in F
- Sonata K. 531, L. 430, P. 535, for alto in F, with optional switch to alto in Eb
- Sonata, K. 535, L. 262, P. 539
- Sonata, K. 545, L. 500, P. 549
- Sonata, K. 547, L. S28, P. 551, two different versions
- 1st Movement from Sonata, F. 6
- Duet Sonata (Concerto), F. 10, 1st mvt.
- Nos. 8, 4 & 3 from Twelve Polonaises, F. 12
- Duet No. 5, F. 58, 1st Mvt.
- Trio
- Andante from Sonata, H. 24, Wq. 48, No. 1
- Sonata, H. 37, Wq. 52, No. 4, 3rd Mvt.
- Sonata, H. 186, Wq. 55, No. 4
- Sonata, H. 208, Wq. 57, No. 4
- Sonata, H. 512, Wq. 76, 1st mvt.
- Sonata, H. 514, Wq. 78
- Sonata, H. 551, Wq. 124
- Sonata, H. 555, Wq. 128
- Solo recorder parts from the non-Bach, pre-Mozart composer categories, Part 2: from Haydn to St.-Georges
- Symphony No. 45, “Farewell”, 1st Mvmt.
- Quartet, Op. 33 No. 2, “Joke,” Finale
- Quartet, Op. 33 No. 3, “Bird,” Finale
- The Minuets from Five Late Symphonies
- Quartet, Op. 77 No. 1
- Sonata, Op. 4
- Sonata, Op. 5
- Sonata (1769), arr. for alto @415 doubling alto @440
- Overture to Isacco, 1st Mvt.
- Minuet from Sonata for Flute and Harp
- All six Op. 1 Quartets
- Quartet, Op. 1, No. 1, arr. for Alto doubling Tenor or Soprano
- Quartet, Op. 1, No. 2
- Quartet, Op. 1, No. 3
- Quartet, Op. 1, No. 4
- Quartet, Op. 1, No. 5
- Quartet, Op. 1, No. 6
- Sonata Op. 1a, No. 1
- Sonata Op. 1a, No. 2
- Sonata Op. 1a, No. 3
- Concerto, Op. 2, No. 1
- Concerto, Op. 2, No. 2
- Concerto, Op. 3 No. 2, first mvt.
- Concerto, Op. 4, No. 1
- Concerto, Op. 4, No. 2
- Concerto, Op. 5, No. 1
- Concerto, Op. 5, No. 2
- Concerto, Op. 7, No. 1
- Concerto, Op. 7, No. 2
- Concerto, Op. 8, No. 2, first mvt.
- Sinfonia concertante, Op. 9, No. 1
- Sinfonia concertante, Op. 9, No. 2
- Sinfonia concertante, Op. 10, No. 1
- Symphony, Op. 11, No. 1
- Sinfonia concertante, Op. 13, No. 1
- Sinfonia concertante, Op. 13, No. 2
- Quartet concertante “au gout du jour,” no. 1
- Quartet concertante “au gout du jour,” no. 6
- “Ouverture” from L’Amant anonyme, 1st Mvmt.
- Duet, Op. Posthumous No. 2
- Duet, Op. Posthumous No. 6
- Solo recorder parts from Early Mozart (not necessary if you get the versions with keyboard.)
- 12 Sonate da chiesa, plus one alternative version
- K. 15p, (No. 15) from the “London Sketchbook”
- Sonata K. 60, formerly attributed to Mozart, 2nd Mvmt.
- Sonata da Chiesa, K. 68
- Sonata da Chiesa, K. 144
- Symphony No. 29, K. 201, 4th Mvmt.
- “Alla Turca” episode from Violin Concerto K. 219, 3rd Mvt., two versions, one for tenor or soprano and one for alto
- Sonata da Chiesa, K. 225
- Concerto, K. 238, 1st mvt.
- Sonata da Chiesa, K. 241
- Sonata da Chiesa, K. 244
- Sonata da Chiesa, K. 245
- Finale, Adagio-Allegro assai, from “Haffner” Serenade, K. 250
- Trio/Divertimento K. 254, 1st Mvmt.
- Sonata da Chiesa, K. 263
- Sonata da Chiesa, K. 274
- Sonata da Chiesa, K. 278, two versions
- Sonata, K. 279
- Sonata, K. 281, in two different versions
- Sonata, K. 282, 3rd Mvmt.
- Sonata, K. 283, 3rd mvt.
- Quartet, K. 285
- Quartet, K. 285, 2nd Mvmt., for stand-alone performance
- Sonata, K. 296
- “Paris” Symphony, K. 297, Finale, for alto recorder, doubling soprano or tenor, & keyboard
- Four Sonatas, K. 302-305
- Sonata, K. 302
- Sonata, K. 303
- Sonata, K. 304
- Sonata, K. 305
- 2nd Mvt. from Sonata K. 311
- Concerto No. 1 for Flute & Orchestra, K.313
- Concerto No. 2 for Flute & Orchestra, K.314
- Sonata da Chiesa, K. 328
- Sonata da Chiesa, K. 329
- Sonata da Chiesa, K. 336
- Symphony No. 34, K. 338
- Solo recorder parts from middle & late Mozart, Beethoven, Vorisek, Rossini & Schubert (not necessary if you get the versions with keyboard.)
- Minuet, K. 355 & Eine kleine Gigue, K. 574
- Quartet, K. 370
- Sonata, K. 377
- Sonata, K. 379
- Duet, K. 381
- Rondo, K. 382
- Quartet, K. 387, 1st Mvmt.
- 1st Movement from Quartet, K. 428
- Sonata K. 481, arr. for alto in F doubling alto in G
- Overture to The Marriage of Figaro, K. 492
- Trio, K. 498, 2 versions
- Quintet, K. 516
- 1st movement from Sonata, K. 521
- Trio, K. 563, 1st Mvmt.
- Quintet, K. 581, 1st Mvmt.
- Overture to Cosi fan tutte, K. 588
- Overture to The Magic Flute, K. 620
- Overture to La Clemenza di Tito, K. 621
- Concerto for Clarinet & Orchestra, K. 622
- Menuetto from Symphony No. 1
- Scherzo from Sonata, Op. 2, No. 3
- Lento assai from String Quartet No. 16, Op. 135, for bass recorder, doubling alto, and keyboard
- Gretchen am Spinnrade, D. 118, for tenor or soprano recorder & keyboard
- Piano Sonata, D. 571, fragment, with a new completion
- Sonata, D. 574, first mvt.
- Two Popular Pieces, choice of C instrument or alto versions
- No. 2 from Moments musicaux, D. 780, for tenor/soprano recorder & keyboard
- No. 5 from Moments musicaux, D. 780
- Adagio from Octet, D. 803
- “Scherzo” from Fantaisie for pf. 4-hands, D. 940
- Excerpt from “Lebenstürme”, D. 947 for pf. 4-hands (With switch to alto recorder @415)
- Excerpt from Piano Sonata, D. 958, 4th mvmt., choice of version for alto or bass recorders
- Solo recorder parts from the post-Schubert composer categories (not necessary if you get the versions with keyboard.)
- “Täuberln” Waltzes, Op. 1, 1-8, excepting No. 5, for alto recorder doubling C & D instruments
- Prelude & Fugue
- Two Movements from Trio, Op. 17, arr. for alto in F in one and alto in G doubling tenor in C in the other, and keyboard
- Cortège burlesque, for alto recorder @440 doubling alto @415 and sopranino @440
- “Paysage,” No. 1 from Pièces Pittoresques, first section only
- España, from the song arrangement, for soprano or tenor recorder, two versions
- Souvenirs de Munich
- Two Songs from Lieder und Gesänge aus der Jugendzeit
- Scherzo from Symphony No. 1, for alto in old pitch alternating with alto in modern pitch, soprano in old pitch, and tenor in modern pitch
- “Rheinlegendchen” from Des Knaben Wunderhorn arr. for alto doubling C instrument
- “Lied des Verfolgten im Turm,” from Des Knaben Wunderhorn
- “Das irdische Leben” from Des Knaben Wunderhorn
- “Revelge”, from Des Knaben Wunderhorn
- Excerpt from Symphony No. 3, 3rd Mvmt., arr. for bass recorder and keyboard
- Excerpts from Symphony No. 4 2nd Mvmt. arr. for tenor recorder with shift to soprano
- Symphony No. 4, 3rd Mvmt. (Requires many different sizes of recorders)
- “Das himmlische Leben,” finale of Symphony No. 4
- Adagietto from Symphony No. 5, for bass recorder—doubling alto—and keyboard
- Gnossiennes 1-6
- Gnossiennes 1-3
- Gnossiennes 1-3 for Tenor or Soprano
- Gnossiennes 4-6
- Le fils des étoiles, Prélude to the 1st Act
- Petite ouverture à danser (ca. 1897), two versions
- Pièces froides, Part 1—Airs à faire fuir
- Pièces froides, Part 2—Danses de travers, arr. for bass or alto recorder and piano
- Trois Morceaux en forme de poire: “Manière de commencement” (AKA Gnossienne No. 7), 2 versions
- Trois Morceaux en forme de poire: II (Enlevé-De moitié)
- “En plus” from Trois Morceaux en forme de poire
- “Tyrolienne turque,” from Croquis et agaceries d’un gros bonhomme en bois, for alto doubling tenor, soprano or voice flute
- “Danse cuirassée,” from Vieux sequins et vielles cuirasses
- Excerpts from Sports et divertissements arr. for alto recorder—doubling C instrument—& keyboard
- “Son binocle,” from Les trois valses distinguées du précieux dégoûté, for bass recorder (or alto) in two different versions.
- La belle excentrique (Fantaisie sérieuse)
Pieces for Solo Recorder, Keyboard Part in Preparation
- Aria, “Wer Sünde thut, der ist vom Teufel”, from Cantata 54
- Duet, “Wie will ich mich freuen,” from Cantata 146
- Aria, “Jesu, lass durch Wohl und Weh,” from Cantata 182
- Sonata K. 455, L. 209, P. 354 with alternative version for alto switching to either tenor or soprano
- Concerto, Op. 3 No. 1
- Concerto, Op. 3 No. 2, versions in Bb major and C
- Four Concertante Quartets “Au gout du jour”
- Duet, Op. Posthumous No. 3
- Duet, Op. Posthumous No. 4
- Duet, Op. Posthumous No. 5
- Sonata for Piano K. 309 1st Mvmt.
- Three mvts. from Divertimento, K. 334
- Symphony No. 36, K. 425, “Linz”
- Piano Concerto No. 23, K. 488, 1st Mvmt.
Pieces for Solo Recorder, No Keyboard Part Anticipated
- Brandenburg Concerto No. 6 complete
- Suite No. 1, 1st movement, BWV 1066
- Suite No. 3, 1st movement, BWV 1068
- Præludium from Suite No. 5, BWV 1011
- Sarabande from Suite No. 5, BWV 1011, two versions
- Gavotte I & II from Cello Suite No. 5, BWV 1011
- Tempo di Borea & Double from Partita No. 1, BWV 1002
- Andante & Allegro from Sonata No. 2, BWV 1003
- Largo & Allegro assai from Sonata No. 3, BWV 1005
- Prélude to Partita No. 3, BWV 1006
- Recorder parts from Eleven Concertos
- Recorder parts for Four Sinfonias Concertantes, one Symphony & one Overture
- Concerto No. 9, K. 271
- Double Concerto, K. 365
- Opening Ritornels from 6 Piano Concertos
- Four Great Symphony Movements
- A Late Symphonic Movement and an Early One
- Five slow movements from the Piano Concertos
- Concerto for Clarinet and Orchestra, K. 622 (See also “Pieces for Recorder & Keyboard”)
- “Paysage,” No. 1 from 10 Pièces Pittoresques, first section only, two different versions
- España rec. solo
- “Waldmärchen” from Das Klagende Lied
- 1st Mvt. from Symphony No. 1
- Finale from Symphony No. 1
- Symphony No. 2 “Resurrection” complete, arr. for one player alternating between SATB, sopranino, and alto recorder in G
- First three Mvts. from Symphony No. 3, arr. for one player alternating between Sopranino, Soprano at old & modern pitch, Alto at old & modern pitch, and in G, Tenor & Bass
- Three Movements, two for alto recorder & one for soprano
- 2nd Mvt. from Symphony No. 4
- Symphony No. 5, arr. for one player alternating between Soprano, Alto, Tenor & Bass and optional Sopranino
- 1st Mvt. from Symphony No. 6, requiring various recorders
- Andante moderato from Symphony No. 6 for Bass recorder doubling Alto Tenor and Soprano
- Scherzo from Symphony No. 6
- Fourth Movement from Symphony No. 6
- Symphony No. 7 complete, calling for a wide variety of recorders
- Symphony No. 8, excerpt from the 2nd Mvmt., two different transpositions
- Symphony No. 9 complete, requiring switches between S, A, T, B, & Sopranino recorders
- Symphony No. 10 (Unfinished)
- “Petit prélude à la journée”, from Enfantillages pittoresques
- Parade, “Ballet réaliste” (from the Orchestral version)
Recorder Duets
- Two Mvts. from Cantata 4, choice of two versions
- Aria, “Gewaltige, ößt Gott vom Stuhl,” from Cantata 10, arr. for alto & bass recorders
- Aria, “Höchster mache deine Güte ferner, from Cantata 51, arr. for soprano & bass recorders
- Opening Ritornel from Chorus, “Gott, der Herr, ist Sonn’ und Schild”, from Cantata 79, arr. for alto & bass recorders
- Aria, “Nichts ist es spät und frühe,” from Cantata 97, arr. for alto & bass recorders
- Duet based on an aria (vocal duet) from Cantata 110, arr. for alto & bass recorders
- Aria, “Quia fecit mihi magna,” from the Magnificat, BWV 243A, for alto & bass recorders, or, for soprano & tenor
- Aria, “Zerfliesse, mein Herze, in Fluten der Zähren,” No. 63 from the St. John Passion, BWV 245, arr. for alto & bass recorders
- Duets from Dufay to de Falla Volumes 1-3 (including items formerly in separate entries)
- Solos and Duets for Intermediate-plus Level Players
- Set of 24 Duets from Mediæval to Mahler, primarily for soprano & alto recorders
- Eight Duets for soprano & alto recorders
- Four Duets for alto & tenor recorders
- Three Duet Sets (Mostly from the British Isles) for soprano & alto recorders
- Two Duets featuring “al Rovescio,” by Bach and Haydn
- “Heth sold ein meisken garn om win”, duet for soprano & alto recorders
- Eight tunes from The Bird Fancyer’s Delight, arr. for soprano & alto recorders
- Two duets from Scherzi Musicali for soprano & alto recorders
- Two duets from Scherzi Musicali for alto & tenor recorders
- Wa is me, what mun I do!—8 English Country Dances for alto & tenor recorders
- 30 English Country Dances for soprano and alto recorders
- “O Ruddier than the Cherry” from Acis and Galatea
- “Minuet de Haendel” arr. for alto & tenor recorders
- All 6 Flute duets and all 3 Viola duets, F. 54-62
- All 6 Flute duets, F. 54-59
- All 3 Viola duets, F. 60-62
- Duet No. 1 for Flutes, F. 54
- Duet No. 2 for Flutes, F. 55
- Duet No. 3 for Flutes, F. 56
- Duet No. 4 for Flutes, F. 57
- Duet No. 5 for Flutes, F. 58
- Duet No. 6 for Flutes, F. 59
- Duet No. 1 for Violas, F. 60
- Duet No. 2 for Violas, F. 61
- Duet No. 3 for Violas, F. 62
- Duet based on Sonata for Piano with Violin, K. 380
- Duo, K. 423, arr. for alto & bass recorders
- Duo, K. 424, arr. for alto & bass recorders
- One Écossaise & Five Diabelli Variations, arr. for alto & bass recorders
- Menuetto from Symphony No. 1, arr. for alto & bass recorders
- Excerpts from “Quartettsatz”, D. 703, arr. for alto & bass recorders, or for soprano & tenor
- Excerpts from the “Wanderer” Fantasy, D. 760, arr. for alto & bass recorders
- Medley from the Piano Works of Schubert
- “Scherzo” from Octet, D. 803, arr. for alto & bass recorders
- Menuetto from Octet, D. 803, arr. for alto & bass, or, for soprano & tenor recorders
- Menuetto from Sonata, D. 894, arr. for alto & bass recorders, two versions
- 2nd Mvmt. of Trio No. 2, D. 929, arr. for alto & bass recorders
- “Scherzo” from Fantaisie for Pf. 4-hands, D. 940, arr. for alto & bass recorders
- Scherzo from Symphony No. 9, “The Great C major”, D. 944
- Excerpt from “Lebenstürme”, D. 947 for pf. 4-hands, arr. for alto and bass recorders, two versions, one with switch to alto @415
- Excerpt from String Quintet, D. 956, 2nd mvmt., arr. for alto & bass recorders
- Excerpt from Piano Sonata D. 958, 4th mvmt., arr. for alto & bass recorders
- Excerpt from Piano Sonata D. 958, 4th mvmt., arr. for soprano & tenor recorders
- Scherzo from Piano Sonata, D. 960, arr. for alto & bass recorders
- “Ging heut Morgen über’s Feld”, No. 2 from Lieder eines fahrenden Gesellen arr. for alto & tenor recorders
- Excerpt from “Die zwei blauen Augen”, No. 4 from Lieder eines fahrenden Gesellen, duet for alto & bass recorders, or soprano & tenor
- “Rheinlegendchen” from Des Knaben Wunderhorn, for alto—doubling C instrument—and bass recorders
- Two excerpts from Symphony No. 1, 4th Mvmt., arr. for alto & bass recorders
- Excerpt from Symphony No. 2, 5th Mvmt., arr. for alto & bass recorders
- “Revelge”, from Des Knaben Wunderhorn, arr. for alto & tenor recorders
- “Das himmlische Leben,” finale of Symphony No. 4, arr. for alto & bass recorders
- “Nun will die Sonn’ so hell aufgeh’n”, from Kindertotenlieder, arr. for alto & tenor recorders
- “In diesem Wetter!” from Kindertotenlieder, arr. for alto & bass recorders
- “Von der Jugend,” from Das Lied von der Erde, arr. for alto & bass recorders
- Excerpt from Symphony No. 9, 1st mvt., arr. for soprano & bass recorders
- Pièces froides, Part 2—Danses de travers, arr. for soprano & bass recorders
- “Celle qui parle trop” from Chapitres tournées en tous sens, arr. for 2 alto recorders
- Trois Morceaux en forme de poire, II ( (Enlevé-De moitié), arr. for alto and bass recorders
- “Idylle cynique”, from Préludes flasques, two versions
- Menus propos enfantins, arr. for recorder duet (various recorders possible)
- “Marche de Cocagne” from 3 Petites Pièces montées, arr. for alto & tenor recorders
- Sonnerie pour réveiller le bon gros Roi des Singes (lequel qui ne dort toujours que d'un œil), arr. for two alto recorders
- Relâche, “Ballet instantanéiste”
Pieces with Other Instrumentations
- Fantasia BWV 562, arr. for recorder quintet
- Fughetta: Christum wir sollen loben schon, BWV 696, arr. for recorder quartet
- Fugue No. 2, BWV 847/2, arr. for SAB recorders
- Fugue No. 5, BWV 850/2, arr. for recorder quartet, 2 versions
- Fugue No. 7, BWV 852/2, arr. for SAB recorders, two versions
- Fugue No. 13, BWV 858/2, arr. for SAB recorders
- Fugue No. 18, BWV 863/2, arr. for recorder quartet
- Prélude No. 19, BWV 864/1, arr. for recorder trio, two versions
- Fugue No. 20, BWV 865/2, arr. for SATB recorders
- Fugue No. 24, BWV 869/2, arr. for recorder quartet
- Fugue No. 9, BWV 878/2, arr. for SATB recorders
- Fugue No. 17, BWV 886/2, arr. for SATB recorders
- Fugue No. 20, BWV 889/2, arr. for SAB recorders
- Prélude & Fugue No. 22, BWV 891, arr. for recorder trio & quartet, respectively
- Fugue No. 24, BWV 893/2, arr. for SAB recorders
- Fantasia & Fugue, BWV 904, arr. for recorder quintet
- Fugue from Sonata, BWV 964, arr. for SATB recorders
- Adagio, BWV 968, arr. for recorder sextet
- Four Quartets from Bach for SATB recorders
- Ricercare à 6 from Musical Offering, BWV 1079
- Versus II, “Den Tod Niemand zwingen kunnt”, from Cantata 4, Christ lag in Todesbanden, arr. for recorder trio
- Sinfonia, “Gleich wie der Regen und Schnee vom Himmel fällt,” from Cantata 18, arr. for recorder trio
- 2nd Mvmt. of Cantata 78, “Wir eilen, mit schwachen, doch emsigen Schritten,” arr. for soprano, alto & bass recorders
- Aria, “Schafe können sicher weiden” (Sheep May Safely Graze) from Cantata 208, arr. for two soprano recorders & keyboard
- 3 Gymnopédies arr. for tenor recorder, doubling alto, and guitar
- Aperçus désagréables arr. for Recorder Quartet
- En Habit de Cheval arr. for Recorder Quintet
- Two Scenes from El Amor Brujo for Recorder Quartet
- “Ritual Fire Dance”, from El Amor Brujo, arr. for recorder quartet
- Set of Five Recorder Trios
- Homage to Bach (and the 3rd Section of his Organ Fantasia, BWV 572) and an anonymous Zen poet, for two alto recorders who must also sing, and bass recorder
- Jazz Canon for Recorder Trio
- In Stile Antico e Moderno (two versions)
- Canzona from Wawona
- It’s Seven-two Time
- Wiskidy (Recorder Trio)