Recorder part

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  • Fugue No. 19

    Originally in A major, transposed here to C.

    Recorder part, 1 pp.
    $0.50
  • Chorus “Was Gott thut das ist wohlgethan” from Cantata 99/100

    This arrangement is based on a chorus which in similar form opens both Cantata 99 and 100. It is for full Baroque orchestra plus four-part chorus. The title, the same in both cases, means “What God does, that is rightly done.” The original key in both cases is G major, transposed here to C.

    Recorder part, 2 pp.
    $0.50
  • 2nd 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, 1 pp.
    $0.50
  • Fugue No. 15, BWV 860

    Originally in G major, transposed here to F.

    Recorder part, 2 pp.
    $0.50
  • Prelude

    Originally for lute, for keyboard, or for both, or possibly for lute-harpsichord, in c minor, transposed here to d. The prelude is supplied with optional cadenzas at the two fermatas toward the end. It is possible to perform the last two dances in the order presented, or, as in the great recorded performance by guitarist Julian Bream, play the A section of the Double right after the A section of the Gigue, followed by the respective B sections. Slight revision May 6, 2014. Significant revision of Double Jan. 18, 2016, in which the keyboard now extends over the usual limit of C6 to E6.

    Recorder part, 2 pp.
    $0.50
  • Recorder parts for all 4 Mvmts.

    Originally in e minor, transposed here to g.

    Recorder part, 1+1+1+1 pp.
    $1.00
  • 2nd Mvmt.

    Originally in g minor, transposed here to c. 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. In the first movement, some of the hardest passages for the recorder part are eliminated, or rather given to the keyboard player, simply by switching places between the original gamba part and the right hand of the keyboard part. Of course, the fact that these two parts are in the same style (very much as in a trio sonata, or a double concerto) is what makes this an especially viable transcriptional option. Note the alternative version in d; this one in c is a little bit more difficult. 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.”

    Recorder part, 1 pp.
    $0.50
  • 2nd Mvmt.

    Originally in Eb major, transposed here to G.

    Recorder part, 1 pp.
    $0.50
  • Aria

    This is an exceptional piece from the baroque period on this site in that it goes above c6 to g6 in the keyboard part. The fourth number in the cantata, it is originally for tenor, 2 violins concertante and continuo in a minor, transposed here to c. Because of the pervasive triplets, I believe the duple music should be assimilated to the triplets, and have lined it up that way. However, it may also be played as written. Title means, “The Father’s voice let itself be heard.”

    Recorder part, 2 pp.
    $0.50
  • Both 5. Burlesca and 6. Scherzo

    Originally in a minor, transposed here to d. Includes an introductory commentary.

    Recorder part, 1 pp.
    $0.50
  • K. 55

    Originally for solo keyboard in G major, transposed here to C.

    Recorder part, 2 pp.
    $0.50
  • Fugue No. 7

    Originally in Eb major, transposed here to Bb.

    Recorder part, 1 pp.
    $0.50
  • Prelude and Fugue BWV 558

    Originally in g minor, transposed here to c. After the early attribution to Bach, considerable doubt has arisen among scholars that he composed this and its companions among the “Eight Short Preludes and Fugues,” BWV 553-560. But there is no consensus on the true composer.

    Recorder part, 1 pp.
    $0.50
  • testing

    Description2

    Recorder part, 45
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