These little pieces for the most part come from Handel's Aylesforder Pieces which were published for the first time a few years ago. As almost all of them are written in two-voice versions i.e. as melody with bass they are ideal for performances with recorder and basso continuo (piano harpsichord spinet). In the original form the pieces can also be performed as duets.

These sonatas are among the best loved and most frequently performed of all works for the instrument and have been presented in a way that fully reflects G.F.Handel's intentions. This book has been edited by David Lasocki and Walter Bergmann and is specially arranged for the Treble (Alto) recorder and basso continuo which have both been fully realised. Chosen for the ABRSM Treble Recorder examination grades 4 and 6.

THE JAMES HOOK COLLECTION: 9 Pieces for alto recorder and piano/harpsichord, ed. Bernard Thomas. A varied selection from one of the most popular composers of this generation. Very useful material for the relatively inexperienced student: interesting piano parts too!

or alto recorder and continuo. These two pieces are not from the set printed by Walsh, but from manuscript collections in Parma and Detroit in which they have been arranged for recorder. Important new repertoire for the serious player.

These wonderful editions from Dowani come with CDs with the continuo accompaniment at three different speeds to allow players to play along at a tempo which suits their level of playing.

Until recently Sammartini's known compositions for recorder consisted of the Concerto in F for Descant Recorder and some editions of his Trio Sonatas are scored for two Treble Recorders and Bass. However the discovery of two sets of solo sonatas attributed to Sammartini has brought to light a wealth of music for the Recorder a selection of which is given in this excellent edition.

Par MARAIS MARIN. La Bibliothèque de Rochester, dans l'Etat de New-York, conserve sous la cote Vault M 1490 B 113 le manuscrit suivant: Recueil de Pièces choisies à une et deux flûtes C. Babel C. Babeil 1698 Ces vingt-sept suites et sonates pour la flûte à bec, pour la plupart anglaises, ont été rassemblées par le bassoniste Charles Babell, dont l'activité est attestée de 1697 à 1714 au Queen's Theatre de Haymarket, ainsi qu'à celui de Drury Lane. Hawkins assure qu'il y aurait tenu le basson jusqu'à l'âge de quatre-vingts ans. Son fils William nous a laissé des Concertos in seven parts (opus 3, Londres, 1730) pour une ou deux flûtes à bec et cordes. La courte suite de Marin Marais que nous proposons ici est placée en tête du recueil par Charles Babell. Elle n'est transcrite d'aucun des opus instrumentaux qui nous soient parvenus, et semble bien être inédite. Marin Marais (1656-1728) fut le violiste de la Chambre du Roi pendant quarante-cinq ans. Il a laissé cinq livres de pièces pour la viole, ainsi qu'un livre pour le violon, et un livre de Trios pour les flûtes et violons, le premier du genre en France. Il est également l'auteur de quatre opéras, dont le célèbre Alcyone (1706). Pierre Boragno / classique / Répertoire / Flûte à Bec Alto et Basse Continue

Instrumentation : for Treble Recorder and Cembalo (Cello ad lib.) Arranger : Braun, Gerhard Editor : Petrenz, Siegfried Air aus Terpsichore Sarabande aus Terpsichore Gigue aus Terpsichore Aria aus Terpsichore Ballo di pastori e pasterelle aus Il pastor fido Menuet aus Il pastor fido Marsch aus Il pastor fido Pour les Chasseurs aus Il pastor fido Air aus Il pastor fido Musette aus Il pastor fido Gavotte aus Alcina Sarabande aus Alcina Gavotte aus Alcina Gavotte aus Arianna Minuet in the Oratorio

De la musique anglaise du 17ème au ground italien en passant par la chaconne française : Fl (Flb alto), Bc