Classic and Romantic Repertoire

Compiled by Nik Tarasov

I am often asked whether there is any classical and romantic repertoire for the recorder. Yes, of course there is – quite a lot in fact. But who are the composers, what are the pieces called, and where have they been published? In order to make your search as easy as possible I have compiled a list of works, in chronological order, that are currently available. Here it is, downloadable and free for everyone. I hope you enjoy playing these pieces.

 

New editions of original works from the classical and romantic periods, in chronological order

 

Compiled June 2018

It is true that both traditional recorders and their more recently developed standardized counterparts such as the English flageolet, the French flageolet and the Viennese Csakan were played throughout the classical and romantic period. To date, only few pieces of the extensive nineteenth century and partly of the twentieth century repertoire for these instruments have become available in new editions. The following list is intended to give some guidance.
To start with, there is the original music of the late baroque period, which shows some elements of the ‘sensitive-’ and classical styles. These are followed by the new editions of the Viennese classical period, the Biedermeier period, the French romantic, and the English post-romantic period. Later works from the impressionistic and expressionistic periods have not been taken into account.


Giuseppe Sammartini (ca. 1695–1750)

Sonata in G major (Sibley no. 12) for Alto (Treble) recorder & B. c.
Editor: D. Lasocki, Nova Music, N.M. 183, London (published 1981)

This piece belongs to the late baroque but contains some forward-looking musical elements. Both harmony and melodic lines are stylistically reminiscent of elements that have become familiar from later pieces for traverse flute from the mid-eighteenth century ‘sensitive’ period. However, this piece was clearly intended for the recorder and is therefore significant. It was probably written for one of the few remaining professional recorder players in England and shows that a different sound world was envisaged for the instrument. As David Lasocki remarks in his PhD dissertation (1983): ‘no one, in fact, tried harder than Sammartini to turn the recorder into a flute’ (p. 491).

6 Sonatas (Sibley no. 13, 15, 21, 22, 23, 24) for Alto recorder & B. c.
Editor: R. Platt, Faber Music (published 1983).

Some of the sonatas published in this collection also show stylistic elements that point towards a later period.

Sonatas (Vol. 1: Sibley 17, 19; Vol. 2: op.1 /1-2; Vol. 3: Sibley 15, 25; Vol. 4: op.1 /3-4; Vol. 5: Parma No. 10, 12).
Editor: J. Jacobi: Edition Baroque (published 2006).

The publisher Edition Baroque announced that they intend to publish all recorder sonatas by Sammartini in due course.

Antonio Micheli di Lucca

Sonata a Flauto solo e Basso (1752), Sonata a Flauto solo e Basso (1750), Sonata a Flauto solo e Basso (1749).
Facsimile: Musica, Musica (Mark A. Meadow, Basel, c. 1979).
Print: Les Cahiers du Tourdion (Tourd 00122).

These pieces, in the ‘sensitive’ style, are suitable for the alto (treble) recorder.

Johann Joachim Quantz (1697–1773)

Duets, for Alto (treble) recorder, Vol. 1, QV 2: 3, 5, and 6, Carus 11.202/00 (publ. 1975/1992).
Editor: Gerhard Braun. First modern edition in 1964 by Hänssler, HE 11.202.

Duets, for Alto (treble) recorder, Vol. 2: 1,2, and 4, Carus 11.218/00 (publ. 1975/1992).
Editor: Gerhard Braun. First modern edition pre 1973 by Hänssler, HE 11.218.

Other editions:

6 Duets Op. 2/1-3 (AA), Amadeus, BP 2070
6 Duets Op. 2/4-6 (AA), Amadeus, BP 2071
6 Duetti Op. 2 (AA), London Pro Musica, DOL 702.

These new editions are transpositions of Sei Duetti a due Flauti Traversi op. 2 (Berlin: G. L. Winter, 1759).

Facsimile of the first printed edition published by Arte Tripharia, MFa 11, ed. Antonio Arias (Madrid 1983).

In his extensive introduction to the first printed edition Quantz suggests that his duets are suitable for performance on many other instruments, among them recorders. He writes: ’It may not be necessary to point out that the following duets, even though they were composed for two transverse flutes, can also be performed on various other instruments. For example, a flute and a muted violin or viola da gamba; on two violins, two oboes transposed down a tone; two recorders up a minor third....’

 

Carl Philipp Emanuel Bach (1714–1788)

Trio in F major for viola, bass recorder & B. c. Wq 163 (1755).
Edition Schott 10170 (published 1951). Also by Edition Moeck 2563, and by Aurea Amadeus BP 2047.

Standard work with unusual instrumentation.

 

Johann Gottlieb Janitsch (1708–1763)

Quadro in G major for alto (treble) recorder, oboe, violin and B.c.
Editor: K. Hofmann,
Aurea Amadeus BP 478 (published 1983).

Quadro in F major for alto (treble) recorder, oboe, violin and B. c. (op. 6).
Editor: K. Hofmann, Carus-Verlag 40.504 (published 1976).

Much of Janitsch’s chamber music is of high musical quality. Good baroque contrapuntal writing is curiously interspersed with elements of the ’sensitive’ style. The harmonic relationships are indications of the future development of musical styles. Nowadays, it is generally assumed that Janitsch’s Flauto must have been an alto recorder.

Johann Samuel Endler (1694–1762)

Suite in G major (Pieces) for 2 soprano recorders, 2 Fl., 2 Vl., Vla., B. c. (1759).

Harmonia Uitgave, Hilversum H.U. 2043 (published 1967), also by Möseler, 1971

Joseph Anton Steffan (1726–1797)

Concerto in F major for 2 alto (treble) recorders & B. c.
Editor: F. Goebels, Heinrichshofen N 6097 (published 1967).

 

Franz Aumann (1728–1797)

Cassatio in D for Flautello (recorder in c2 [sopranino in f2]), 2 violins, viola and violoncello
Editor: K. Ruhland, Musica Pretiosa, Vilsbiburg. Score and parts MPV-I 0005

First printed edition (published 1995), also Edition Walhall, EB 819 (published 2010).
Easy! This is more likely to have been intended for a traverso piccolo ...

 

William Boyce (1710–1779)

The shepherd's lottery: a musical entertainment; the libretto by Moses Mendez.
Editor: R. J. Bruce, Stainer and Bell (published 1990).

William Boyce scores for a common 4th flute in transposing notation in the pastoral movement of this theatrical work, published in London in 1751, together with voice, 2 horns and strings.

 

Joh. Chr. Schultze (1733–1813?)

The musicologist David Lasocki has already raised doubts about whether Johann Christian Schulze, with the dates given, can be the composer ’Schulze’ of the following works – they appear to be too baroque and traditional to have been composed in the second half of the eighteenth century. In the booklet to the Cd ’The Virtuoso Recorder. Fasch, Schickhardt, Graupner, Stulick. Michael Schneider, Cappella Academica Frankfurt. Cpo, 777 534-2 (2010)‘ the musician and musicologist Steffen Voss provides more recent information on the topic of Schulze’s authorship. According to this the composer of these works is more likely to have been a Prussian regimental oboist and, from 1706, violinist of the Berlin court orchestra. To prove his point Voss relates that a copy of Schulze’s concerto in G major had been found in the estate of the town musician Johann Matthias Vedde from Altona, who lived in the first half of the eighteenth century. However, we leave Schulze’s compositions, though stylistically irrelevant, in this list, to give the new information wider dissemination.

Concerto in G major for alto (treble) recorder and strings (piano reduction).
Editor: K. Schultz-Hauser, Schott OFB 93 (published 1969).

Suite (d minor) for 2 alto (treble) recorders & B. c.
Editor: W. Friedrich, Edition Schott 2616 (published 1938).

Ouverture (Suite) I in F major for 2 alto (treble) recorders & B. c.
Editor: W. Friedrich, Moeck’s Kammermusik Nr.6 (published 1939).

Concerto in B flat major for alto (treble) recorder, strings and basso continuo (ca 1740)
Edition Walhall EW 986 (published 2016).

 

Andrea Favi (1743–1822)

Sinfonia [I] for 2 recorders (flutes), 2 horns, 2 violins, viola and bass (1779).
Editor: Nicola Sansone, Ut Orpheus Edizioni, FL 15 (published 2011).
The recorders act as orchestral instruments; scored for octave flutes in f2 alternating with fourth flutes in b-flat1

Sinfonia [II] for 2 descant recorders in Bb, 2 horns, 2 violins, viola and bass.
Editor: Nicola Sansone, Ut Orpheus Edizioni, FL 18 (published 2012).

 

Giovan Gualberto Brunetti (1706–1787)

Seconda Lamentatione al Mercoledì Santo for Soprano, 2 flutes (treble and tenor recorders), 2 violas and continuo (1786).
Editor: Nicola Sansone, Ut Orpheus Edizioni, FL 14 (published 2011).

 

Carlo Cormier

Minuetti e ariette da battello, 2 vols. (Nr. 131800-131812).
Editor: Pietro Verardo, Ricordi (published 1971).

Out of print!

Sei Sonatine per due flauti dolci contraalti e fagotto (Nr. 132312).
Editor: Pietro Verardo, Ricordi (published 1975).

Out of print!

Ariette sacre (Nr. 132272).
Editor: Pietro Verardo, Ricordi (published 1975).

According to information from Nicola Sansone, this is for two alto recorders. Out of print!

Sonatine varie (Nr. 132273).
Editor: Pietro Verardo, Ricordi (published 1975).

According to information from Nicola Sansone scored for two alto recorders. Out of print!

Sonatina I C-Dur
Nova Music NM 142

 

Angelus Anton Eisenmann

Concerto in F major for sopranino recorder & orchestra (ca. 1785).
Editor: P. Thalheimer, Edition Moeck Nr 1057 (Score and parts), Nr. 1058 (piano reduction).

Not virtuosic but a very attractive concerto.

 

Christoph Willibald Gluck (1714–1787)

Echo et Narcisse, Opera, Paris 1779.
(Complete edition)

Gluck expressively stipulates 2 recorders (flûte à bec) in one aria of his last opera!

Dance of the Blessed Spirits, arranged for alto (treble) recorder and piano (1762).
Editor: E. Hunt, Schott ED 11721 (published 1948).

Whether this piece from the 1774 Parisian version of Orphée et Eurydice had originally been scored for alto recorders was debated inconclusively for a long time, led by Edgar Hunt. Several indicators in the parts, which are simply labelled ’flauto’, support this idea. The original distribution of the parts is as follows: flauto I & II (with an extended flauto solo in the middle section), violin I & II, viola, violincello solo and violincello e basso. Hunt’s version is a practical edition of a single movement that transfers both the second flauto part and the orchestral parts to the piano.

Wolfgang Amadeus Mozart (1756–1791)

Several of Mozart’s orchestral works contain parts for ’flauto piccolo’ or ’flautino’. Nowadays they are usually assigned to a piccolo flute. However, the latest research has shown that these may have been intended for the recorder. The opera The Abduction from the Seraglio has been a keywork in this research.

See The New Mozart Edition (also available online).

For further reading: Nikolaj Tarasov: Mozart & Blockflöte (Mozart & the Recorder) – Part 1. In: Windkanal 2007-1, p. 8–15. Nikolaj Tarasov: Mozart & Blockflöte (Mozart & the Recorder) – Part 2. In: Windkanal 2007-2, p. 14–19. Nikolaj Tarasov: Von Haydn zu Mozart und zurück. Ein Update über die Verwendung der Blockflöte nach 1750 [From Haydn to Mozart and back again. An update on the use of the recorder after 1750]. In: Windkanal 2012-4, p. 8–13. Nikolaj Tarasov: Ein Interview mit Martina Jost. Zu Gast bei Mozart. [An interview with Martina Jost. Visiting Mozart]. In: Windkanal 2012-4, p. 14–15.

Domenico Mancinelli (1721 / 1724–1804)

[5] Quintets for 2 tenor (soprano) recorders, 2 violins and violoncello (1780).
Editor: N. Delius, Edition Moeck 1142 (published 1999).

Incomplete edition of the 6 quintets with a questionable introduction. Soprano (descant) recorders suit the recorder parts much better.

6 quintets for 2 tenor [soprano/descant] recorders, 2 violins and violoncello (1780).
Amadeus BP 1076 (published 1999).

Better edition than above (review in Tibia 01/2001).

Pasquale Anfossi (1727–1797)

Terzetto for 2 recorders and violin or bass recorder.
Editor: W. Michel, Mieroprint EM 2090 (published 2005).

’easy’

 

Carlo Domenichini

Sei Duetti a flauto dolce e violoncello (1790).
Editor: N. Tarasov, Aura-Edition, AE 013 MB (published 2014).

Unexpected original music of the late classic period with a demanding part for violoncello.

 

Carl Maria von Weber (1786–1826)

Terzetto no. 14 from his youth opera Peter Schmoll and his Neighbours,

2 recorders used as orchestral instruments (1800).

Editor: A. Lorenz, in: C.M. von Weber: Musikalische Werke 2. Reihe: Dramatische Werke, 1. Band: Jugendopern. [Musical Works, 2nd series: Dramatic works, Vol. 1: Early works]. Bronde International Editions.

An interest in historic instruments inspired the young Weber to consider the inclusion of recorders in some of his early works. The experimental character of this scoring also suggests that recorders no longer belonged to the musical instruments commonly played at that time. The scoring in the terzetto song no. 14 is as follows: 2 Flauti dolci, 2 Corni di Bassetto, 2 Fagotti, strings and 3 singers. No conclusions can be drawn from the simply scored recorder parts as to which size of recorder Weber had envisaged.

 

François Devienne (1759–1803)

Six Duos très faciles pour deux flageolets (2 Sop or 2 S or A & T or 2 T).
Editor: M. Sanvoisin, Billaudot.

’easy’

François Collinet

6 easy duets for soprano (descant) recorder (ca. 1800).
Editor: P. Thalheimer, Moeck, ZfS 697 (published 1998).

Very easy. The composer’s first name is wrong: it should be Edmé Collinet.

 

James Hook (1746–1827)

»Hark,’Tis the Lark« for Soprano voice, soprano (or alto) recorder and piano (pre 1805).
Editor: N. Tarasov, Musikverlag Bornmann, Schönaich MVB 62 (published 2001).

This concerto aria was originally scored for the flageolet, a ‘descendant‘ of the recorder.

Heinrich Simrock

Duos op. 4. for 2 soprano (descant) recorders (1807).
Editor: P. Thalheimer, Moeck, ZfS 774 / 775 (published 2003).

’easy’

Auguste F. Devisien (ca. 1810)

Grand Duo concertant op. 6 No. 3 for two soprano (descant) recorders (flageolets).
Editor: Nik Tarasove, Aura-Edition AE 015-FB
(published 2015).

Concertante duo of the early French Romantic period displaying some virtuosity.

W. A. Mozart / Wilhelm Klingenbrunner

Excerpts from The Magic Flute, for 2 soprano recorders (1807).
Editor: M. Betz, Universal Edition UE 18 741 (published 1988).

Simplified and abridged duo version of highlights from The Magic Flute in an original arrangement for 2 csakans. 

 

Wilhelm Klingenbrunner (1782–1850)

Duo op. 20 Nr. 1 (1812) for two csakans (two recorders).
Editor: N. Tarasov, Aura-Edition AE 011-CB (published 2014).

concertante duo

25 short duets from op. 40 from the Csakan-Method (1815) for two recorders in C.
Editors: H. Schaller & N. Tarasov, Doblinger DM 1490 (published 2017).

 

C. Eugène Roy (ca. 1780–ca. 1826)

24 Short duets [op. 13] for two flageolets (recorders in c).
Editor: Ulrich Thieme, Girolamo, G 12.036 (published 2013).

Easy short pieces for beginners.


Sir John Stevenson, George Nicks

Two Flageolet Songs for soprano, descant recorder (flageolet) and piano (ca. 1808, 1812).
Editor: John Turner, Peacock Press, PRM 011 (published 2013).

Two arias with imitation of birdsong.

 

Franz Xaver Mozart (1791–1844)

Variations on the March from Aline for soprano recorder (flute, oboe, violin) and piano.
(Series: Viennese Recorder Music of the Biedermeier period).
Editor: N. Tarasov, H. Schaller. Doblinger DM 1431 (published 2013).

Originally composed for flageolet and piano in 1812, this piece can be played in the original key and pitch on a soprano (descant) recorder. The melody is of moderate difficulty, however, the piano part requires a skilled player.

Anton Heberle

Concertino in E-flat major for csakan, violone, viola, violoncello and two horns ad libitum (1807).
Editor: N. Tarasov, Aura-Edition, AE 001-Cs (published 2012).

Modern edition of the original version of this ’Concerto’ or ’Concertino’, only suitable for csakan or recorder in A-flat.

Concertino in E-flat major for csakan and piano (piano reduction), after the work with same title for csakan, violone, viola, violoncello and two horns ad libitum (1807).
Editor: N. Tarasov, Aura-Edition, AE 002-Cs (published 2012).

Piano reduction, only playable on a Csakan or a recorder in A-flat!

Concertino in G major for soprano recorder and piano (piano reduction), after the work with same title for csakan, violone, viola, violoncello and two horns ad libitum (1807).
Editor: N. Tarasov, Aura-Edition, AE 024-MB (published 2016).

Piano reduction in a transposed version but maintaining the recorder original fingering, playable on the traditional recorder.

Concerto in G major for soprano recorder, strings and 2 horns ad lib. (1807).
Arr.: M. Petri, Edition Wilhelm Hansen AS 29784, Copenhagen, 1985.

Transposition and arrangement of the concerto in E-flat major for csakan to G major for soprano (descant) recorder.

Concerto in G major for soprano (descant) recorder and accompaniment (see above), piano reduction.
Arr.: M. Freyham, Edition Wilhelm Hansen AS 29869, Copenhagen, 1988
.

3 Petites Pièces for soprano (descant) recorder solo (1807).
Editor: H. Reyne, Moeck, ZfS 693 (published 1997).

Sonata for soprano (descant) recorder solo (1808).
Editor: H. Reyne, Edition Moeck 1119 (published 1979).

Sonata for soprano (descant) recorder solo (1808).
Editor: B. Thomas, Dolce Edition DOL 507. Same as above.

5 short duets for two soprano (descant) recorders (1808).
Editor: M. Betz, Edition Moeck 2556 (published 1989).

’very easy’

Fantasy, for soprano (descant) recorder solo (1808).
Arr.: M. Petri, Edition Wilhelm Hansen, Copenhagen no. 29964 (published 1988).

Many editorial changes to the original score!

Fantasy for soprano (descant) recorder (1808).
Editor: H. Reyne, Edition Moeck 1120 (published 1993).

’Same piece as above’.

Fantasy for soprano (descant) recorder solo (1808).
Editor: B. Thomas, Dolce Edition DOL 508 (published 1996).

’same piece as above’

13 ’Ländler’ (country dances) for soprano (descant) recorder solo (1808).
Editor: M. Petri, Moeck, ZfS 635 (published 1992).

folkloric

Sonata brilliante for soprano (descant) recorder solo (1810).
Editor: P. Thalheimer, Carus-Verlag CV 11.212, previously Hänssler (first edition 1966); also published by Hansen.

standard work

8 easy marches for 2 soprano (descant) recorders.
Editor: M. Petri, Moeck, ZfS 628.


Erzherzog Rudolph von Österreich (Duke Rudolph of Austria) (1788–1831)

Variations per Pianoforte avec accompagnato d’un czakan (Variation for piano forte with csakan accompaniment) for descant recorder and piano (1810).
Editor: N. Tarasov, Friedrich Hofmeister FH 2842 (published 2003).

One of the most important works of the period, especially as Rudolph’s teacher, Ludwig van Beethoven, appears to have refined the piece. The piano part is technically very demanding. First edition.

Variations per Pianoforte avec accompagnato d’un czakan, for Pianoforte & Csakan (1810).
Editor: N. Tarasov, Aura-Edition AE 029-Cs (published 2017).
Original version.

Variations per Pianoforte avec accompagnato d’un czakan, for Pianoforte & recorder in G/Csakan in G (1810).
Editor: N. Tarasov, Aura-Edition AE 029-BG (published 2017).
Transposed original version from A flat major into G major – according to Ernest Krähmer's optional suggestion.

 

Valentin Czejka (1769–after 1834)

Divertimento per Pianoforte e Czakan (Divertimento for Pianoforte and Czakan) (ca. 1810).
Editor: N. Tarasov, Aura-Edition, AE 014-Cs (published 2014).

Beautiful concertante piece with demanding piano part. Only playable on a csakan or recorder in A flat.

Stephan Franz (1785–1855)

Potpourri op. 13 (1816) for csakan (soprano recorder or flute), viola, violoncello and guitar.
Editor: Nik Tarasov, Aura-Edition AE 017-CB (published 2015).

Unique in the chamber music repertoire, this is a musically attractive quartet beyond amateur level. The original part for csakan has been supplemented with a transposed part for the recorder that is also suitable for playing on the flute.

Grand Duo for alto recorders (around 1820).
Editor: N. Tarasov, Hofmeister FH 2616 (published 1999).

Difficult concertante duet in sonata form for advanced players.

John Parry (1776–1851)

The Nightingale Rondo for descant recorder (originally octave flageolet) and piano (around 1807/1808).
Editor: John Turner, Peacock Press PRM 001 (published 2005).


Various

Flageoletübungen für Julius von Ponikau Freiherr auf Osterberg, den 7. September 1819 [Exercises for flageolet dedicated to Julius von Ponikau, baron of Osterberg, from 7th September 1819] (Faksimile des Manuskripts).
Cornetto-Verlag CF 361, Faksimile- Edition Ulm FEU 36, ISMN M-50100-332-7 (published 2004).

Little pieces for two (suitable to be played on 2 descant recorders) and for flageolet & guitar.

Tune book Julius von Ponikau Freiherr 1820 (Faksimile des Manuskripts).
Cornetto-Verlag CORN-10-1-0151, Faksimile- Edition Ulm FEU 16, ISMN M-50100-065-4
(published 2001).

Little pieces for two (suitable to be played on 2 soprano/descant recorders) and for flageolet & guitar.

Facsimile collection: A. L. Kuhn, C. Kreith, A. Fladt
Anton Leoni Kuhn: Quattre duettins pour deux flageolets op. 13, Carl Kreith: VI Allemandes pour Deux Flageolets, Anton Fladt: Petits Airs arr. pour deux Flageolets.
Cornetto-Verlag CF 349, Faksimile- Edition Ulm FEU 35, ISMN M-50100-320-4 (published 2004).

Very suitable for soprano recorders.

C. J. Müller

3 Duos op. 15, for flageolets (soprano recorders) (1811).
Editor: N. Tarasov, Aura-Edition, AE 004-MB (published 2012).

These duets are now available in a new edition. Partly through-composed, advanced.

Maximilian Joseph Leidesdorf (1787–1840)

Largo et Rondo for csakan und two flauti d’amore (or soprano recorder and two flutes, or alto recorder in G und two alto flutes in G).
Editor: N. Tarasov, Aura-Edition, AE 003-CB (published 2012).

First printed edition of this demanding trio, suitable for playing on a variety of instruments in different combinations.

Largo et Rondo for soprano (descant), alto (treble) and tenor recorders.
Editor: N. Tarasov, Aura-Edition, AE 005-CB (published 2012).

First printed edition of this demanding trio, arranged for recorder trio.

Leonhard von Call (1767–1815)

Trio op. 2/1 for 3 alto recorders (around 1811)
Editor: H. Schaller / N. Tarasov, Doblinger, Diletto musicale DM 1381 (published 2006).

First printed edition. The only surviving trio for 3 csakans – pleasant.

Anton Stadler (1753–1812)

Variations on ‘O mein lieber Augustin‘ & ‘Wann i in der Früh aufsteh‘ for soprano (descant) recorder solo (around 1812).
Editor: H. Reyne, Heinrichshofen N 2198.

Abbé Joseph Gelinek (1758–1825)

Rondo for soprano recorder & piano (1812).
Editor: P. Thalheimer, Carus 11.234 (published 1999).

 

Joseph Gebauer

Sonata op. 17 for soprano (descant) recorder & piano (1812).
Editor: H. Reyne, Edition Moeck 1133 (published 1997).

Albert Lorenz

[2] Variations for soprano (descant) recorder solo (1813).
Editor: E. Mascher, Edition Moeck 2518.

 

Wenzeslaus Matiegka (1773–1830)

Notturno op. 25 for recorder in C (flute), viola & guitar (1813).
Editor: H. Schaller / N. Tarasov, Doblinger GKM 226 (published 2004).

Rare but very attractive instrumentation. The music shows some Schubert-esque phrases of high quality. (Schubert admired Matiegka and adapted one of his works).

Sebastien Demar (1763–1832)

Six Airs à deux flûtes douces soprano ou flageolets d’après des airs célèbres de l’époque révolutionnaire.
Editor: R. Cotte, Éditions Aug. Zurfluh, Paris.

[Six airs for two descant recorders or flageolets based on airs celebrating the revolutionary epoch.]


Gioachino Rossini (1792–1868)

Opera melodies arranged for 2 flageolets (recorders in c) (1819) by C. Eugène Roy (ca. 1790–1827).
Editor: Franz Müller-Busch, Girolamo, G 12.041 (published 2015).

 

Karl Scheindienst

Variations sur l’air „Gestern Abend war Vetter Michel da“
for csakan & guitar (1815).
Free download from: http://img.kb.dk/ma/ukam/scheindienst.pdf.

Simple theme with interesting variations. Due to a special transposition relationship it is also possible to play this piece on an alto recorder with C fingering.
 

Anton Kargl

Duo op. 9 for alto (treble) recorder (around 1820).
Editor: N. Tarasov, Hofmeister FH 2690 (published 1999).

In short sonata form. Suitable for beginners.

3 Duos for alto (treble) recorders
Editor: N. Tarasov, Hofmeister FH 2183 (published 2001)

Good and stylistically interesting collection, moderately difficult.

 

Anton Diabelli (1781–1858)

Notturno aus „Abendunterhaltungen“ [Notturno from ’evening entertainments’] for [csakan] flute or violin or clarinet & guitar (1820).
Editor: J. Gaitzsch, Philomele Editions, Geneva PE 2007 (private publisher; can be ordered by Fax: 0041 022 781 0750).

A compilation of pieces from the evening entertainments by the editor, for csakan & guitar. To be played on a recorder in a1. The title Notturno is not original but a suggestion oft he editor.

Notturno op. 123 for [2 csakans] 2 clarinets or 2 violins & guitar (1821).
Editor: J. Gaitzsch, Philomele Editions, Geneva PE 2033 (private publisher; can be ordered by Fax: 0041 022 781 0750).

An important piece with elements of sonata form in its original version for 2 csakans. Nowadays two recorders in a1 are necessary to play this piece.

 

Franz Bathioli

Grandi variationi concertati (on the theme of ‘An Alexis send ich dich‘) op. 5 for flute and guitar (1820) .
Editor: R. Chiesa, Editioni Suvini Zerboni Milano, Nr. 8886.

A piece with a demanding soloistic part for guitar. In addition to the version for flute and guitar, the work was also originally published in a version for csakan recorder and guitar. The editor of this edition does not mention this. This new edition unfortunately offers only the version for flute.

 

Carl Maria von Weber / Anton Diabelli

The Marksman, Excerpts from the opera, for soprano (descant) recorder & piano (1822).
Editor: S. Ehrhardt, Hofmeister FH 2604 (published 1998).

A sort of ‘Best Of’ melodies from the well-known opera in an abridged and simplified version by Anton Diabelli.

 

Ernest Krähmer (1795–1837)

40 progressive exercises op. 1 for soprano (descant) recorder solo (1821).
Editor: H. Reyne, Edition Moeck Nr. 1131 (published 1994).

Good practise material ranging from scale studies to short pieces.

18 Studies from the Neueste Theoretisch Practische Csakan-Schule op. 1, for alto (treble) recorder
solo.

Editor: W. Hettrick, Loux Music Company, New York, LMP 64.
A selection of short pieces from Krähmer’s op.1 (see above).

Original Potpourri, op. 3 for recorder solo (1822).
Editor: P. Adams, Dolce Editions DOL 210.

12 Divertimenti op. 4 for alto (treble) recorder solo (1822).
Editor: W. Hettrick, Sweet Pipes Inc., Sole distribution Ed. Wilhelm Hansen, Frankfurt/M.

Musically valuable divertimenti, to be recommended. This is a version for alto (treble) recorder.

12 Divertimenti op. 4 for recorder in C solo (1822).
Editor: H. Reyne, Edition Moeck 1121.

Identical to above but notated in C as original.

Concert Polonaise op. 5 for Csakan & Pianoforte (1822).
Editor: N. Tarasov, Aura-Edition, AE 025-Cs (published 2017).

Virtuosic concert piece, good agogical study in the Polish style. The piece was originally published in two versions, either with accompaniment by the Pianoforte or with string orchestra.

Concert Polonaise op. 5 for Csakan & string orchestra (1822).
Editor: N. Tarasov, Aura-Edition, AE 028-Cs (published 2017).

Concerto Polonaise op. 5 for alto (treble) recorder and piano (1822).
Editor: P. Adams, Dolce Editions DOL 204 (published 1989).

Bravour-Variations op. 7 for soprano (descant) recorder & piano.
Editor: N. Heske, Edition Moeck 2569.

Catchy theme; variations require fast fingerwork.

Ländler [country dances] op. 8 for soprano (descant) recorder & piano (1824).
Editor: M. Petri / A. Haller, Moeck ZfS 668/669 (published 1995).

folkloric

Ländler [country dances] op. 9 for soprano recorder & piano (1830).
Editor: M. Petri / A. Haller, Moeck ZfS 647 (published 1993).

folkloric

A collection of easy and pleasant original pieces for two csakans (two recorders) op. 10 (1824).
Editor: N. Tarasov, Aura-Edition AE 012-CB (published 2014).

Pretty and simple short pieces, ideal for beginners.

Serenade in A major for flute and guitar [op.12] (1826).
Arr.: E. Wensiecki, Zimmermann ZM 2665.

The piece was originally composed for csakan recorder and guitar. The new edition was prepared for the flute. In order to play this piece in the original key relationship, the solo part has to be transposed from A major to C major, down an augmented sixth, and be played on a recorder in a1.

Duo Concertant op. 16 for csakan & piano (1827).
Editor: N. Tarasov, Aura-Edition AE 009-Cs (published 2013).

Original version in a modern edition with critical commentary. Three movement concertante piece: first movement in sonata form, solemn middle movement and Mozartian Rondo. Nice piano part with soloistic sections. A good example of high-quality music for the csakan music of the early romantic period, comparable to works by Carl Maria von Weber for other woodwind instruments.

Duo Concertant op. 16 for alto recorder and piano (1827).
Editor: H. Schaller / N. Tarasov, Doblinger DM 1380 (published 2004).

Transposed down a minor third for the alto (treble) recorder.

Duo Concertant op. 16 for alto recorder in g and piano (1827).
Editor: N. Tarasov, Aura-Edition AE 009-BG (published 2014).

Transposed down a semitone from the original version according to a suggestion of the composer in op. 1.

Variations Brilliantes op. 18 for soprano (descant) recorder & piano (1823).
Editor: P. Adams, Dolce Editions DOL 207 (published 1989).

Variations Brilliantes op. 18 for soprano recorder & piano (1823).
Editor: M. Petri, Edition Hansen 29965.

same as above.

Introduction & Variations Brilliantes op. 23 for soprano recorder & piano (1830).
Editor: P. Adams, Dolce Editions DOL 209 (published 1990).

Technically very virtuosic recorder part.

3 original themes, beginning easy and followed by progressively harder variations, op. 24, for csakan solo or recorder solo (1830).
Editor: N. Tarasov, Aura-Edition AE 010-CB (published 2013).

First complete edition of Kraehmer’s concertante work op. 24 in a modern edition with critical commentary. The first set of variations is based on a waltz theme, the second on a more serious, Mozartian theme, the third on a theme with Alpine motifs. The composition has clear and exact phrasing and dynamic markings and is therefore a very good example for the performance of early romantic recorder music.

Two original Themes with Variations, op. 24, for solo recorder (1830).
Editor: P. Adams, Dolce Editions DOL 215 (published 1993).

Contains the second and third of Kraehmer’s sets of variations op. 24.

Op. 24/3 from 2 Original Themes and Variations for recorder solo (1830).
Editor: G. Braun / J. Fischer, printed in: Gerhard Braun & Johannes Fischer, Spielbuch 3, Ricordi Sy. 2613.

Reprint of set of theme and variations No. 3 from Kraehmer’s op. 24.

Original Pieces op. 25 for 2 recorders (1830).
Editor: A. Robinson, Dolce Editions DOL 703.

Complete collection of duets from the delightful op. 25 by Kraehmer.

10 Duets [op. 25] for 2 recorders (1830).
Editor: U. Herrmann, Herrmann Heft 511.

See above. Cheap version in copied handwritten notation.

Duet op. 25/4 in: Plaisir Musical – duets from seven centuries for 2 alto (treble) recorders.
Editor: L. Bernstein, Bärenreiter BA 8254.

One of the beautiful and dramatic duets by Kraehmer within a collection of ordinary duets of other composers.

Souvenir à la Suisse op. 27 for soprano recorder solo (1830).
Editor: P. Adams, Dolce Editions DOL 206 (published 1989).

Folkloric motifs throughout.

Rondeau Hongrois op. 28 for soprano (descant) recorder & guitar or piano (1830).
Editor: P. Adams, Dolce Editions DOL 211 (published 1990).

Good agogic studies in Hungarian style.

100 Exercises for the csakan, op. 31 (1833).
Editor: P. Denecker, Alamire-Verlag (published 1997).

This facsimile of the edition from 1837 is unfortunately difficult to read in places. Important collection of increasingly difficult scales and studies in all keys – a must for the ambitious recorder player; study no. 100 is identical with the Fantasie published individually by Girolamo (see below). As usual, csakan music is notated in C. Several pieces of the collection will sound better played on an alto (treble) recorder.

New Editions:

100 Solo Pieces for Recorder, Volume 1 & 2.
Editor: M. Tegethoff, Mieroprint EM 2118 & EM 2119 (2009).

Reproduction of the complete collection of studies, however, without any comments relating to the csakan and the various directions by Kraehmer.

50 Studies (from the Csakan tutor book [op. 31]) for recorder solo.
Editor: B. Thomas, Dolce Editions DOL 511.

A selection of 100 studies from op. 31, published by Alamire as a complete facsimile edition (see above).

24 solo pieces in all major and minor keys for recorder (flute/oboe/violin or other melody instrument).
Editor: H. Schaller & N. Tarasov, Doblinger, DM 1491 (published 2016).

A selection of a chapter of pieces from op. 31.

Fantasie (from op. 31) for recorder solo (1833).
Editor: B. Thomas, Dolce Editions DOL 510.

Study No. 100 from op. 31

Fantasie (from op. 31) for recorder solo (1833).
Editor: F. Müller-Busch, Girolamo 12.012.

Same piece as above.

Introduction & Variations on an original theme op. 32 for soprano (descant) recorder and guitar or piano (1837).
Editor: P. Adams, Dolce Editions DOL 212 (published 1993).

Very beautiful theme and excellent virtuosic variations.

Quatre Rondeaux op. 33 for Csakan and pianoforte (1834), Vol. 1: Rondo No. 1 in E flat-major & Rondo No. 2 in A flat-major.
Editor: N. Tarasov, Aura-Edition AE 026-Cs (2017).

Quatre Rondeaux op. 33 for Csakan and pianoforte (1834), Vol. 2: Rondo No. 3 in e flat-minor & Rondo No. 4 in E flat-major.
Editor: N. Tarasov, Aura-Edition AE 027-MB (2017).

Quatre Rondeaux op. 33 for soprano (descant) recorder and piano (1834), Vol. 1: Rondo No. 1 in G-major & Rondo No. 2 in C-major.
Editor: N. Tarasov, Aura-Edition AE 018-MB (2016).

Essential and demanding concertante pieces from the csakan repertoire. The lost piano part, lost until the year 2016, was reconstructed by the editor in accordance with the style of the period.

Quatre Rondeaux op. 33 for soprano (descant) recorder and piano (1834), Vol. 2: Rondo No. 3 in g-minor & Rondo No. 4 in G-major.
Editor: N. Tarasov, Aura-Edition AE 019-MB (2016).

Essential and demanding concertante pieces from the csakan repertoire. The lost piano part, lost until the year 2016, was reconstructed by the editor in accordance with the style of the period.

Rondo La Tyrolienne op. 35 for soprano (descant) recorder and piano (1837).
Editor: P. Adams, Dolce Editions DOL 205 (published 1989).

Folkloric motifs throughout.

Rondo militaire op. 36 for 2 Csakans & Pianoforte or Guitar (2 Clarinets in A & Guitar or 2 soprano (descant) recorders & Guitar with a capodastro on the third fret) (1836)
Editor: N. Tarasov, Aura-Edition AE 021-Cs (published 2016).
Demanding concert piece in rondo form and elements of the sonata form.

John Barnet (1802–1890)

‘The Merry Flageolet’ (from Mr. Peake’s Favourite Musical Entertainment entitled ‘Before Breakfast’, 1826) for soprano, descant recorder (octave flageolet) and piano (1826).
Editor: J. Turner, Peacock Press PRM 003 (published 2007).

Johann Strauss Senior (1804–1849)

Two Contredances for Orchestra.
Editor: I. Freiberg, Doblinger DM 1322 (Score) (published 2002).

The first contredance uses a flageolet in the orchestra.

Six Galops for alto (treble) recorder solo (1830).
Editor: W. Hettrick, Loux Music Company, New York LMP 123.

Arranged by the famous csakan virtuoso Ernest Kraehmer in 1830.

Waltz and Galop for recorder in C solo.
Editor: H. Schaller / N. Tarasov, Doblinger DM 1379 (published 2005).

Original studies from the well-known dance music by Strauss Senior in an original solo version.

Jean Carnaud aîné (1781–1861)

Three Soli for soprano (descant) recorder solo (around 1828).
Editor: P. Thalheimer, Carus 11.229 (published 2003).

These pieces, originally referred to as studies for the French flageolet, are attractive and quite extensive concert pieces. Recent research has shown that they are selections from flute concertos by F. Devienne and that they were simply adapted by Carnaud. For further reading see P. Thalheimer: »Devienne statt Carnaud« [Devienne instead of Carnaud], in: Tibia 2009-1, p. 347–349.

Philipp Fahrbach (1815–1885)

„Arm in Arm mit dir“ Walzer [‘Arm in arm with you’] waltz, op. 30 for alto (treble) recorder and piano (1839).
Editor: W. Hettrick, Loux Music No. 66.

easy dance music

 

Anonymous

„Aus Alt-Wien“ Ländler, Deutsche, Menuette, Wiener Tänze [‘From Old Vienna’: Ländler, German dances, minuets and Viennese dances] for 2 soprano (descant) recorders and guitar accompaniment (chord symbols) (around 1865).
Arr.: V. Korda, Edition Schott 2714.

This collection of dance pieces contains two folkloric German dances (1865) in an arrangement from the lower Austrian folk song archive (‘Six German dances for the csakan and the guitar’).

 

Narcisse Bousquet (died 1869)

36 Studies for alto (treble) recorder solo in 3 volumes (1851).
Editor: H. Reyne, Edition Moeck Nr. 2115 & 2116 & 2117 (published from 1995).

Important collection of studies from the romantic period, very difficult; in the new edition some studies have been made more accessible by transposition. The compendium for studies in difficult keys par excellence.

Récréations & Études for alto recorder solo (1857).
Editor: N. Tarasov, Friedrich Hofmeister Musikverlag FH 2805 (published 2002).

A collection of musically attractive solo pieces preparatory to Bousquet’s 36 Etudes.

12 Grands Caprices for alto (treble) recorder solo (1864).

Editor: H. Reyne, Edition Moeck Nr. 1134 (published 1995).

One of the most important and most attractive collections of difficult concert studies, some made more accessible by transpositions from the original. A must for advanced players.

Francis Chagrin (1905–1972)

Mazurka for soprano and alto recorder & piano.
Edition Schott 10801, RMS 1128 (published 1963).
In romantic, Chopin-esque style, not difficult.

Viennese Waltz for soprano and alto recorder & piano.
Edition Schott 10791, RMS 1120 (published 1963).

Barcarole and Berceuse for soprano (descant) recorder & piano.
Schott ED 10770 (published 1962).

Adolf Kern (1906–1976)

Duo in a-minor for alto recorder and piano.
Möseler (published 1969).

Difficult piece for both players in late romantic style.

Praeludium, Adagio and Chorale on ‘Ach wie flüchtig, ach wie nichtig...‘ for alto (treble) recorder and piano.
aka-Musikverlag aka 3.722 (published 1995).

Demanding piece in late romantic style.

Sonatina in d-minor for SSA.
aka 1.018 (published 1993).

Sonatina in two movements für SSA.
aka 1.017 (published 1993).

Little pieces for SSA.
aka 1.016 (published 1993).

Trio in c-minor for alto (treble) recorder, violoncello & piano.
aka 3.732 (published 1996).

Highly romantic, pompous trio in best piano trio tradition.

Trio in d-minor for alto (treble) recorder, violoncello & piano.
aka 3.731 (published 1996).

Stephanie Champion (1897–1956)

Fantasie for recorder and piano.
Schott’s Recorder Series RMS 42 (published 1939).

One of the earliest published postromantic works; a rare composition by a female composer, attractive and not difficult.

Armin Knab (1881–1951)

Pastorale and Allegro for AA & Lute (Guitar).
Bärenreiter 1445 (published 1939).

 

Gordon Jacob (1895–1984)

Suite for alto (treble) recorder (sopranino recorder) and strings / Version for alto recorder and piano (1957).
OUP – for hire (published 1958), OUP piano reduction out of print, now available from Recorder MusicMail as PD 05.

Essential work with post-romantic elements.

Hans Gal (1890–1987)

Concertino for alto recorder and piano (piano reduction) op. 82.
Universal Edition UE 12644 (published 1963) (string parts for hire).

Concertante piece in the style of a serenade, highly romantic, showing influences by Reger and Richard Strauss, as well as some atmospheric, modal elements from Scottish folk music. Exposed melodic part.

Quartettino op. 78 for SSAT or SSAB.
Universal Edition U.E. 12622 L (published 1960).

4 Bagatellen op. 110A for alto recorder solo, from: Pieces for solo recorder, vol. 1.
Forsyth (published 1988).

Sonatina op. 110B for alto recorder solo, from: Pieces for solo recorder, vol. 2.
Forsyth (published 1993).

Divertimento op. 98 for STT (1970).
Schott OFB 120.

Divertimento op. 68c, 2 alto recorders & guitar.
Haslinger Blockflötenreihe No.24 (published 1958).

Three Intermezzi op. 103 for alto (treble) recorder & harpsichord.
Schott OFB 134 (published 1974).

One of the best works for this instrumentation, in late romantic-Viennese style. However, the choice of harpsichord as accompaniment appears dubious – the part is better suited to a piano.

Moment Musical for alto (treble) recorder solo, in: A Birthday Album For The Society Of Recorder Players.
Forsyth (published 1987).

One of the last original, late romantic works for the recorder.

(various authors)

Pipeaux Melodies 1934 for Pipeau & piano, 2 Pipeaux & piano, Pipeaux-quartet (1934).
Editions de L’Oiseau Lyre, O. L. 36–41 & 43 (published 1934). (This was out of print for a long time but has been available as a reprint since 2006.)

Remarkable collection of pretty miniatures by important French composers such as Francis Poulenc, Georges Auric, Henri Martelli, Darius Milhaud, Jacques Ibert, Albert Roussel, Pierre-Octave Ferroud for Pipeaux of various size and shape. A »Pipeau à 6 trous« or »Pipe« (with six finger holes without a thumb hole) and a »Pipeau à 8 trous« (recorder with seven finger holes plus thumb holes) can be distinguished but often also not expressively separated from each other. The melody instrument was mostly written in real pitch (an octave lower) and rarely as a transposing instrument (one step lower). »Pipeaux à 6 trous« or »Pipes« were build in soprano, treble, alto and bass size and pitched in D-G-D-G.
The Pipeau’s part of the pieces with piano can be played on a descant (soprano) recorder. The melody line is often very easy – thus making it suitable for the development of a good sound. For the most recent review see the American Recorder, November 2009, p. 32–33.


York Bowen (1884–1961)

Sonatina for alto (treble) and soprano (descant) recorder (1 player) & piano op. 121 (1946/47).
Emerson Edition (published 1994).

Important sonata of the postromantic period.

Walter Leigh (1905–1942)

Sonatina for alto (treble) recorder and piano (1939).
Schott 5149 (published 1944).

Important sonata of the postromantic period.

Gaston Saux (1886–1969)

Quartet in F No.1 for recorder quartet (1959).
Schott, published 1961; parts: Edition 10753; miniature score: Edition 10753a.

Quartet in G No. 2 for recorder quartet (1965).
Edition Schott 10941 (published 1966).

Saux is a ‘grand-pupil’ of César Franck and a student of Vincent d’Indy and thus deeply rooted in the French late romantic tradition.

Jean Françaix (1886–1969)

Quintette pour Flûte à bec (ou Flûte), 2 Violons, Violoncelle et Clavecin (1988).
Edition Schott; facsimile-score ED 7644, parts ED 7658 (published 1990).
Demanding, quarter-hour chamber music in the french post-romantic style and barely extended harmonic structure. The alto recorder’s part should be played on an instrument with a strong low register.

 

Karl Marx (1897–1985)

Flötenbüchlein für Klaus (flute book for Klaus), for recorder in C and piano (1950).
Bärenreiter 1427 (published 1951).
Easy, short and beautiful character pieces for beginners on the recorder in slightly increasing level of difficulty. Especially the piece "Schwebender Klang" ("Floating Sound") with its romantic gesture is a remarkable miniature.


Cesar Bresgen (1913–1988)

Sonatina in F major for soprano (descant) recorder and piano (op. 18/1, 1935)
Bärenreiter 1009
very good piece with a demanding piano part.


Hans Ulrich Staeps (1909–1988)

Immortelle, for alto recorder (bass recorder or violoncello) and piano.
Doblinger FL 38 (published 1989)
wonderful elegy