First published in 1982 Jean-Claude Veilhan (born in 1940) compiled this enlightening compilation  I Learn The Recorder following his studies of woodwind at the Regional Conservatory of Versailles and a prominent career as a professional Recorder and Clarinet player. As a prominent Recorder player himself Veilhan has performed much of the the repertoire for the instrument and therefore is well acquainted with its workings. I Learn The Recorder encompasses basic theory elements including note values and names as well as helpful labelled diagrams demonstrating fingerings and showing thebeginner how to hold the instrument. This Veilhan book also includes many exercises to aid progression. I Learn The Recorder is essential to beginners of the instrument.

Par VEILHAN. Jean-Claude Veilhan: Pièces en Solo des XVIIème et XVIIIème Siècles for Alto Recorder Solo. Works from the 17th and 18th centuries by Bach, Blavet, Van Eyck, Freillon, Poncein, Hotteterre and Telemann./ Répertoire / Flûte à Bec Alto

Par TELEMANN / VEILHAN. German baroque composer, Georg Philipp Telemann (1681-1767) was a self-taught multi-instrumentalist, becoming a composer against his family's wishes. However, his musical career saw him hold important positions and to this day, he remains a major composer. His sublime 12 Fantasies for Flute is superbly arranged for Recorder by Jean-Claude Veilhan. Telemann composed his 12 Fantasies for solo Flute in 1732-33 in Hamburg. During this time, he composed a wealth of solo instrumental music, including those for Harpsichord and Violin. Veilhan's arrangement for Recorder of Telemann 's 12 Fantasies includes adaptions for the instrument, such as key signatures and performance directions. Vailhan's rearrangement for the Recorder of Telemann 's popular 12 Fantasies makes the popular genre more accessible and versatile./ Répertoire / Flûte à Bec Alto

Six Suites - Vol. 1 for Alto Recorder is the first volume of a series of two by J. S. Bach. Initially composed for Cello between 1717 and 1723 it was transcribed by Jean-Claude Veilhan and features the Suites I II and III. The transcription keeps the original key and only some passages have to be played one octave higher than in the original sheet. The first suite BWV 1007 is in G major and contains a Prelude an Allemande a Courante a Sarabande two Minuets and a Guigue. Its Prelude is the most famous movement of the whole set of Suites consisting mainly of only arpeggiated chords. It can be heard in manyfilms and is highly recognisable. The second one BWV1008 is in D minor and held the same movements' organisation. Its prelude in two parts features a cadenza which leads to other cadenzas in the Allemande. The Minuet part is quite technical to play. Finally the third one BWV 1009 in C major sees the Minuets being replaced by Bourrées which are often played together as a solo material. The second Bourrée only has a partial signature and the Allemande has a rhythm quite unique for the piece as it includes three semiquavers instead of one. These suites also exist arranged for Piano for Trombone and for many other instruments.