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  • Bach Chorale Prélude, BWV 650

    Recorder & Keyboard part, 5+2+1 pp.
    $0.50

  • 1st Mvmt.

    Originally in A major, transposed here to F. Thought to have been based on a lost concerto for oboe d’amore. In almost all cases, recorder plays main theme in tutti sections.

    Recorder part, 2 pp.
    $0.50

  • Recorder parts for all 3 Mvmts.

    Originally in A major, transposed here to F. Thought to have been based on a lost concerto for oboe d’amore. In almost all cases, recorder plays main theme in tutti sections.

    6 pp.
    $1.00

  • Aria “Endlich, endlich wird mein Joch” from Cantata 56

    Recorder & Keyboard part, 10+2 pp.
    $0.50

  • Chorale Prélude, \"Wenn wir in höchsten Nöthen sein,\" BWV 641

    Originally in G major, transposed here to C. Title means: “When we are in the most urgent peril.”

    Recorder part, 1 pp.
    $0.50

  • Recorder parts for all 3 mvmts.

    Originally a concerto for violin in E major (BWV 1042), then a concerto for harpsichord in D, transposed in this arrangement to G. 2nd movement contains one high f# which is not too difficult for a good player.

    6 pp.
    $1.00

  • Bach Fantasia and Fugue, BWV 542

    13+4 pp.
    $1.00

  • Fugue No. 15—version in Bb

    Originally in G major, transposed here to C, with another version in Bb. If one has an alto @ 392, it is possible to mix and match. My opinion is that the recorder part for the prelude is more doable in Bb, and that the part for the fugue is easier in C. Thus one could use a version all in Bb, but using the alto @ 392 to play the fugue, playing from the C major recorder part, but sounding in Bb.

    Recorder part, 1 pp.
    $0.50

  • Set of 24 Duets from Mediæval to Mahler, primarily for soprano & alto recorders

    Actually comprising 44 duets, but considered as 24 items or groupings. All are for Soprano and Alto, with the following exceptions: #8 is for Alto and Tenor, #16 has both players playing Soprano doubling Alto and Tenor, and #24 is for two Altos.
    1. Four Medi?val Pieces: Winter’s Return (Anonymous),Tanz (Anonymous), Como Poden Per Sas Culpas and A Virgen Mui Groriosa (Cantigas da Santa Maria, 13th century).
    2. Three Renaissance Dances: La Franchoise Nouvele, three versions (Anonymous), Nobody’s Jig (Anonymous), La Bour?e (from “Terpsichore”, published 1612 by Michael Praetorius (1571-1621).
    3. Schiarazula Marazzula, published in the 16th century by Pierre Phal?se (1510-1573).
    4. Two Elizabethan Songs: It was a Lover and his Lass by Thomas Morley (1557-1602), and Fine Knacks for Ladies by John Dowland (1563-1626).
    5. Two Dances from Terpsichore: Gaillarde and Volte.
    6. Four English Country Dances: Never Love Thee More, Hunsdon House, The Black Nag, and The Waters of Holland.
    7. Four More English Country Dances: Orleans Baffled, Shrewsbury Lasses, The Dressed Ship, and Miss Dolond’s Delight (or, The Bishop).
    8. Yet More English Country Dances: Wallom Green, Michaelmas Eve, The Knot, and New Year’s Eve?for Alto and Tenor.
    9. Pastorale from the “Christmas” Concerto, Op 6, No.8, by Arcangelo Corelli (1653-1713).
    10. Three Dances, by Henry Purcell (c. 1659-1695).
    11. Three Pieces from the attributed keyboard works of G. F. Handel (1685-1759).
    12. Polonaise from Concerto Grosso Op. 6, No. 3, by G. F. Handel.
    13. ?Schafe k?nnen sicher weiden (Sheep May Safely Graze)” from Cantata 208, by J. S. Bach (1685-1750).
    14. Minuet II from Suite BWV 819, by J. S. Bach.
    15. Bour?e II from English Suite No. 2, by J. S. Bach.
    16. Fantasie for Organ, BWV 572, 1st section, by J. S. Bach. Two versions, both of which require both players to switch to Alto and then to Tenor. Sopranino is an option for Player 2.
    17. Menuetto and Trio from Symphony No. 92 “Oxford”, by F. J. Haydn (1732-1809).
    18. Menuetto and Trio from Symphony No. 41 “Jupiter”, by W. A. Mozart (1756-1791).
    19. Papageno’s Aria, ?Der Vogelf?nger bin ich ja”
    from The Magic Flute, by W. A. Mozart.
    20. Sonata for Piano D. 664, 1st Movement (abridged) by F. P. Schubert (1797-1828).
    21. “Love Theme” from Romeo and Juliet, by P. I. Tchaikovsky (1840-1893).
    22. Tales from the Vienna Woods, by J. Strauss, Jr. (1825-1899).
    23. ?Um schlimme Kinder artig zu machen? (To make bad children good) from Lieder aus der Jugendzeit, by G. Mahler (1860-1911).
    24. ?Aus! Aus!? (Over!, Over!) from Lieder aus der Jugendzeit, by G. Mahler?for two Altos.

    46 pp.
    $10.00

  • 2nd Mvmt.

    Originally in F major, transposed here to C. Optional low bass tones in keyboard part are given in small notes.

    Recorder part, 2 pp.
    $0.50

  • 1st Mvmt.

    In original key of C major. There is a choice of register on the three occasions where the opening theme occurs.

    Recorder part, 2 pp.
    $0.50

  • Gavotte I & II

    1 pp.
    $0.50

  • Excerpt from Piano Sonata D. 958 4th mvmt. arr. for soprano & tenor

    Mm. 113-212, the 2nd theme, plus a 1-bar ending. Transposed into keys a minor 2nd higher (there are three changes in key signature over the 100 bars). NB: we also offer another duet version for alto/bass, and recorder-keyboard versions for alto or bass.

    2 pp.
    $0.50

  • Concerto No. 7, BWV 1058

    29 pp.
    $3.00

  • Bach Prélude and Fugue, BWV 553

    Recorder & Keyboard part, 3+1 pp.
    $0.50

  • Bach Prélude and Fugue BWV 558

    Recorder & Keyboard part, 3+1 pp.
    $0.50
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