In four consecutive volumes, Willibald Lutz presents violin duets based on works by old masters (Series A), which can be used very well in lessons. In the first two volumes, the first ensemble playing on the D and A strings is practised. Volumes 3 and 4 deal with playing together on all strings. The level of difficulty develops from very easy to moderately difficult and thus expands the technical skills. Volume 1: The first ensemble playing on the D and A strings Volume 2: The first ensemble playing on the D, A and E strings Volume 3: Playing together for the first time on the G, D, A and E strings Volume 4: The first interplay of g-e‘’' and all half steps

In four consecutive volumes, Willibald Lutz presents violin duets based on works by old masters (Series A), which can be used very well in lessons. In the first two volumes, the first ensemble playing on the D and A strings is practised. Books 3 and 4 deal with playing together on all strings. The level of difficulty develops from very easy to moderately difficult and thus expands the technical skills. Volume 1: The first ensemble playing on the D and A strings Volume 2: The first ensemble playing on the D, A and E strings Volume 3: Playing together for the first time on the G, D, A and E strings Volume 4: The first interplay of g-e‘’' and all half steps

Inhalt: 1. La Follia 2. Green Sleeves 3. Larghetto und Allegro 4. Thema mit Variationen 5. Halleluja 6. Fantasie 7. Tierkonzert 8. Sonata a capriccioso Nr. 1 9. Sonata a capriccioso Nr. 2 10. Sonata chromatica 11. Sonata melancolica

'Ali Baba and the 40 Thieves' was commissioned by the Flanders Recorder Quartet for the 1991 Recorder Week in Kampenhout (Belgium). The music roughly follows the well-known story of Ali Baba and uses the typical modes of the Middle East as well as a few contemporary playing techniques. The two-choir structure of the piece allows recorder players of different abilities to play together, as Choir II demands a higher level of playing than Choir I. The parts are also available separately (3,00 Euro each). PLease contact us or send us an e-mail .

'Ali Baba and the 40 Thieves' was commissioned by the Flanders Recorder Quartet for the 1991 Recorder Week in Kampenhout (Belgium). The music roughly follows the well-known story of Ali Baba and uses the typical modes of the Middle East as well as a few contemporary playing techniques. The two-choir structure of the piece allows recorder players of different abilities to play together, as Choir II demands a higher level of playing than Choir I.

In addition to the series ‘Flanders Recorder Quartet presents’, the four dedicated musicians of the quartet now also present works for larger ensembles. The score is available under the order number N 2720 .

In addition to the series ‘Flanders Recorder Quartet presents’, the four dedicated musicians of the quartet now also present works for larger ensembles. The complete parts are available separately: N 2721 Please contact us or send us an e-mail .

Bach's Fuga in a enchants with its rhythmic power and constant energy from the first to the last note. Bach's typical writing style and the theme with all its leaps and bounds make the composition a challenge for all four players.

Giovanni Pedaggio chose two exquisite vocal works as a model for his diminutions, the song texts of which are included in the edition. What is striking about ‘Con qué la lavaré’ is that all the parts of the original work were diminished and not, as is usually the case, only the upper part. In this case, ‘Mille Regretz’ by Josquin des Prez is an example in which Pedaggio shows how it is possible to portray the passion of the text even in diminutions.

Schubert's only work for organ, the four-hand fugue in E minor from 1828, was arranged for recorder quartet and transposed to D minor for this edition.

Suite No. 20 from ‘Banchetto musicale’ Shortly after his appointment as Thomaskantor in Leipzig, Johann Hermann Schein published one of the first German collections of instrumental pieces, the ‘Banchetto Musicale’, in 1617. In it, he succeeded in combining traditional dance forms (Paduane - Gagliarde - Courante - Allemande - Tripla) with new compositional ideas. Content: 1. Padouana 2. Gagliarda 3. Courente 4. Allemande 5. Tripla

Frans Geysen's composition contains a double joke for recorder players: blowing on bottles instead of recorders is an attraction in itself. In the course of the piece, the beginning of a familiar melody emerges from the interplay, which further increases the astonishment of the listeners. A performance on recorders is just as possible, but certainly not as fascinating.