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  • Contrapunctus 13, Inversus

    Originally in d minor, transposed here to g. The dotted eighth-16th note rhythm should be assimilated to the prevailing triplets (i. e. the 16th should co?ncide with the 3rd eighth of the triplet). But the occasional groups of two or four 16ths should be as written. Contains 2 optional high A’s, either of which may be smoothly avoided.

    Recorder & Keyboard part, 5+2 pp.
    $2.00
  • All 3 Mvts.

    Originally in Eb major, transposed here to G.

    Recorder & Keyboard part, 11+5 pp.
    $5.00
  • Cantata 205.9 Aria

    Recorder & Keyboard part, 5+2 pp.
    $0.50
  • Recorder parts, including alternatives, for all 3 Mvmts.

    Originally in f minor, transposed here to a. Thought to have been based on a lost violin concerto. Recorder plays main theme in tutti sections. Includes optional cadenza in 3rd mvmt. Optional low “E” in 1st mvmt. Included are optional recorder parts for voice flute switching to alto in both the 1st and 3rd mvmts. Minor revisions 12.8.14.

    9 pp.
    $1.00
  • 7. Gigue

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

    Recorder & Keyboard part, 4+1 pp.
    $0.50
  • 3rd 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, 10+2 pp.
    $1.00
  • 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
  • "Deposuit potentes"—d minor version

    Eighth number in the Magnificat. Originally in f# minor, transposed here to d. Text means, “He has put down the mighty, and he has exalted the humble.” See also the version in f minor.

    Recorder part, 1 pp.
    $0.50
  • 2. Adagio ma non troppo

    Originally in e minor, transposed here to g.

    Recorder part, 1 pp.
    $0.50
  • Prelude No. 22

    Originally in Bb minor, transposed here to d.

    Recorder part, 1 pp.
    $0.50
  • 1st 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, 2 pp.
    $0.50
  • “Son Binocle,” from *Les trois valses distinguées du précieux dégoûté*, for bass recorder (or alto) at original pitch

    Recorder & Keyboard part, 1+1 pp.
    $0.50
  • 3rd Mvmt., Presto

    Originally in G major, transposed here to F.

    2 pp.
    $0.50
  • In C

    Originally in A major, transposed here to your choice of G or C.

    1 pp.
    $0.50
  • Recorder part with cue staff

    NOTA BENE: The recorder part has a short score with it to allow for optimum co?rdination and cuing (See recorder part incipit below).

    The famous and often-excerpted fourth movement, arranged here at original pitch. The middle section lies significantly higher than the first section, so the alto recorder works far better there, and there is a good place to allow time for the switch. The last section can be played by either bass or alto. Theodor Adorno said, [Mahler had] ?the desire to fill the empty flows of time with meaning, to transform it into a permanence full of joy. That fulfilment?has found its true home in Mahler?s?symphonies.? (1) The original dynamics, slurs and articulations are indicated, but of course there is a limit to how faithfully a recorder can perform them, especially the dynamics. They are included mainly so that the composer’s original intent is transmitted, and the best possible recorderistic solution found. A page of translations from the German is included.
    (1) Quasi una Fantasia, p. 89

    3 pp.
    $0.50
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