Showing 1361–1376 of 1444 results

  • Prelude,”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 & Keyboard part, 1+1 pp.
  • 3rd mvmt.

    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.

    Recorder part, 2 pp.
  • Fantasia

    Originally in g minor, transposed here to d. Contains a high A and some high F#’s that are not too difficult for intrepid recorder players. And some of these and other high passages are given with lower options.

    Recorder & Keyboard part, 5+2 pp.
  • Recorder parts for both Prelude and Fugue No. 15—version in C

    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.

    1+1 pp.
  • Concerto for Clarinet and Orchestra, K. 622, 3rd mvmt.

    Recorder parts only. Using different recorders, all 3 movements can sound at original pitch, which can then be played with an orchestral reduction (e. g. by B?renreiter). The 1st and 3rd mvmts. require 4th flute @415, the 3rd mvmt. switching to soprano @440 for a short time. The 2nd mvmt. is for tenor or soprano @440. Alternate versions are sometimes given, including suggested embellishment of fermatas. Minor revision made 8.6.12. Significant revision of 2nd mvmt.?making it more recorderistic?done 10.9.12. Note that we now offer a version for alto and full keyboard accompaniment transposed to F major in the Recorder & Keyboard section.

    Recorder part, 4 pp.
  • Recorder parts for all 3 mvmts.

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

    2+2+2 pp.
  • Both Rondeaux & Capriccio

    Originally in c minor, transposed here to g. Contains an optional high F#.

    Recorder part, 1+2 pp.
  • Bach Prélude from BWV 544

    Recorder & Keyboard part, 8+3 pp.
  • 2nd mvmt.

    Originally in g minor, transposed here to d. The violin concerto BWV 1041 in a minor was also used as a source for this arrangement. Care has been taken on the page turns. For movements 1 & 2, which have odd numbers of pages, the page turns were optimized so that it is best to begin with page 1 on the right side?i.e., the best page turns are between pp. 1 and 2, between 3 and 4, etc. Film buffs take note that the ending of the 1991 movie ?Truly, Madly, Deeply? features music from the slow movement of this concerto. Third movement revised May 12, 2015, and Jan. 5, 2016. First movement revised Sept. 4, 2015.

    Recorder & Keyboard part, 5+1 pp.
  • BWV 1026 Fugue

    10 pp.
  • Duet for alto and bass recorders

    1 pp.
  • 1st Mvmt., Allegro e moderato

    Originally in F major, transposed here to Bb.

    3 pp.
  • Recorder parts for all 3 Mvmts.

    Originally in g minor, transposed here to d. This arrangement has a precedent of sorts by Bach himself, in that Sonata No. 1 for Gamba, BWV 1027 seems to have originated as BWV 1039, a trio sonata for two flutes. Thus, the convertibility of music in different octaves and for different timbres (as well the number of instruments deployed) is clearly established in the repertory, even without reference to all the firm evidence we have about Baroque performance practice. Note the alternative version in c; this one in d is a little easier. Film buffs take note that the slow movement of this sonata is featured prominently in the opening section of the 1991 movie ?Truly, Madly, Deeply.?

    5 pp.
  • The Arrival of the Queen of Sheba,” from *Solomon*

    Recorder & Keyboard part, 6+2 pp.
  • “Scherzo” from Octet, D. 803, arr. for alto & bass recorders

    The Octet was for clarinet, French horn, bassoon, two violins, viola, cello and double bass. This is the 3rd movement, in the original key of F major. The alto recorder part has a restricted range and so could be played on a Renaissance alto.

    3 pp.
Add to Cart