BWV 595 is part of a concerto arranged by Bach for Prince Johann Ernst of Saxony, the original of which has unfortunately not survived. This light, lively composition without airs and graces is a very dynamic piece in the version for recorder quartet, in which the bass recorder also comes into its own. Every part in the fugue BWV 545 is equally attractive. This work, originally written for organ, has been arranged here for recorder quartet. The monumentality of the organ version gives way to an intimate dialogue between four individual instruments and the personality of their players, and this edition of Bach's music offers a pleasant addition to the recorder repertoire.

The high-contrast suite ‘I Continenti’ was commissioned by the Flanders Recorder Quartet and musically depicts the continents in six short parts. A wide variety of sound effects and playing styles are used. In ‘Africa’, for example, there is also singing and the body is used as a drum kit, while in ‘Oceania’ the sound of didgeridoos is imitated and in ‘South America’ panpipes are used. ‘North America’ is reminiscent of jazz music in some places, while “Europe” harks back to the baroque sonata and “Asia” sounds rather mysterious The colourful sound palette of the entire recorder family comes into its own and makes this suite particularly attractive for advanced recorder ensembles. Content: Africa, Asia, Europe, North America, Oceania, South America

The polyphony with its octave doublings and a genuine English fauxbourdon makes this composition, written around 1300, a wonderful model for an ensemble work.

Sweelinck's most famous composition with its theme and 4 variations not only challenges the soprano recorder player, but also leaves the lead to the bass player in one of the interesting variations.

Wer ein Melodieinstrument wie z. B. Blockflöte oder Querflöte erlernt, dürfte von Anfang an den Wunsch haben, möglichst bald in einem Ensemble mitzuwirken. Oder alternativ vielleicht einen Flötenclub zu gründen mit mehreren Kollegen oder Freunden, die sich dem gleichen Hobby verschrieben haben. Die vorliegende Sammlung mit Bearbeitungen für drei Altblockflöten (Querflöten) wendet sich an diese Gruppe: Leute, die sich noch in einem frühen Unterrichtsstadium befinden, zusätzlich aber mit Gleichgesinnten das Zusammenspiel pflegen möchten. In diesem Heft treffen einfache deutsche Volkslieder auf internationale Folksongs, dann wieder wechseln sich moderate Kompositionen aus der Welt des Rock/Pop mit Traditionals aus Übersee ab. Hinzu kommen Spielarten, die für das gängige Blockflötenrepertoire eher untypisch und unerwart sind, so z. B. ein Walzer im Country & Western-Feeling, das südliche Flair spanischer Flamencomusik oder auch ein kerniger Ragtime-Blues. Transkriptionen klassischer Kompositionen haben sich demgegenüber bereits einen festen Platz in der Blockflötenliteratur gesichert, und die hier die vorgestellten Werke von A. Diabelli, F. Carulli und H. Marschner stellen eine weitere Bereicherung dar. Ziel dieser Ausgabe war es denn auch, nicht nur die Spielfreude und das Gemeinschaftsmusizieren zu fördern,sondern auch die Vielfalt der heutigen Musikszene mit spielbaren Beispielen abzubilden. Inhalt: - Unser Katz hat Katzerln g'habt - Donde vas, buen caballero? - Skip to My Lou - Grün, Grün, Grün - Atte katte nuwa - Merrily We Roll Along - Bingo - Der Winter ist vergangen - Donnerblitz und Flügelschlag - Bubble Gum Stomp - Weiche Pfoten schleichen nachts - Vive l'amour - Lieber Bruder, tanz mit mir - She'll Be Coming 'round the Mountain - Country Waltz - Polly Wolly Doodle - Fit For Fun - Malbrough - Abendlied - Bagatelle - Can the Circle Be Unbroken - Schattenspiele - Ay, linda amiga! - Bed on the Floor - Allegretto - Al pano fino - Bahama Beach Dance - Andante cantabile Band 2: N 2691

Eine reizvolle, abwechslungreiche Sammlung (25 Trios) für jede Gelegenheit des Ensemblespiels (Freizeit, Unterricht, Konzerte, Feste). Problemloses Musizieren aus der Spielpartitur ohne Blätterstellen. Variable Besetzungsmöglichkeiten: z. B. Flöte, Oboe, Violine oder Violine, Flöte (Oboe), Fagott (Violinschlüssel) Zusätzliche Einzelstimmen: Viola 1 (2. Stimme) N 4689 Viola 2 (3. Stimme) N 4690 Violoncello, Kontrabass, Fagott (3. Stimme) N 4687 Inhalt: 1. Land Of Milk And Honey 2. Teatime Rag 3. Tango mejicano 4. Blues Express 5. The Lost Years 6. Café au lait Rag 7. Habanera de la morrina 8. You-Never-Walk-Alone-Blues 9. Final Embrace 10. Hot Chocolate Rag 11. Llamame 12. Take A Break 13. Mother's Postcard 14. Tango Santiago 15. Latte Macchiato Rag 16. Tango melancolico 17. I Love Fried Potatoes 18. Quiet Love 19. Champagne Rag 20. Nigun dia sin ti 21. I'm Not As Black As I'm Painted 22. A Night In Jerusalem 23. Sunrise 24. Let's Go Slow 25. To Friederike Band 2: N 4787

Old Bavarian organ music II, Upper Palatinate II The Cantantibus organis series presents organ pieces in several booklets, one group of which is selected according to the festive circles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are, for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to organ music from old Bavaria and Upper Palatinate. Content: 1.Oberpfälzer Orgelbuch (18. Jh.): Suite sexti toni 2.Sebastian Prixner (1744-1799): Versetten A-Dur 3.Theodor Grünberger (1756-1820): Pastorell – Orgelstücke 4.Simon Mayr (1763-1845): Preaeludium As-Dur 5.Simon Mayr (1763-1845): Preaeludium Es-Dur 6.Joseph Hanisch (1812-1892): Magnificat Initium II. et VIII. Toni 7.Michael Haller (1840-1915): Offertorium „Sacerdotes Domini“ 8.Joseph Renner (1868-1934): „Asperges me“ 9.Joseph Renner (1868-1934): „Ite missa est“. In Festis Solemnibus

Organ music for German hymns II, Christmas festive season I The Cantantibus organis series presents organ pieces in several booklets, one group of which is selected according to the festive circles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the festive season of Christmas,including an insert with hymn texts. Content: Gelobet seist du, Jesu Christ (GL 130 ö, EL 23, EKG 15) 1. Balthasar Resinarius (1486-1544), song movement 2. Joachim Decker (†1611), song movement 3. Johann Sebastian Bach (1685-1750), song movement 4. Johann Georg Herzog (1822-1909), song composition 5 Caspar Othmayr (1515-1553), chorale bicinium 6 Elias Nikolaus Ammerbach (around 1530-1597), chorale arrangement 7th Lüneburg organ tablature (17th century), 2 chorale arrangements 8. Johann Friedrich Alberti (1642-1710), chorale prelude 9.Johann Sebastian Bach (1685-1750), chorale prelude 10.Gottfried August Homilius (1714-1785), chorale trio 11.Johann Christian Kittel (1732-1809), chorale prelude 12.Johann Georg Herzog (1822-1909), chorale prelude Es ist ein Ros entsprungen (GL 132, EL 21, EKG 23) 13.Michael Praetorius (1571-1621), song movement 14.Peter Piel (1835-1904), song movement 15.Johannes Brahms (1833-1897), chorale prelude 16.Peter Piel (1835-1904), chorale intonations 17.Emanuel Adler (1843-?), chorale prelude 18.Vinzenz Goller (1873-1953), chorale intonations Praise God, all ye Christians alike (GL 134 ö, EKG 21) 19.Johann Pachelbel (1653-1706), song movement 20.Johann Sebastian Bach (1685-1750), song movement 21.Johannes Zahn (1817-1895), song movement 22.Dietrich Buxtehude (1637-1707), chorale prelude 23.Andreas Nicolaus Vetter (1666-1734), Choral fughette 24.Johann Christoph Oley (1738-1789), chorale prelude 25.Johann Samuel Harsow (18th century), chorale trio 26.Hieronymus Florentinus Quehl (18th century), Fugue and chorale 27.Wilhelm Volckmar (1812-1887), chorale prelude

Old Bavarian organ music I - Upper Palatinate I The Cantantibus organis series presents organ pieces in several booklets, one group of which is selected according to the festive circles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to organ music from the old Bavarian and Upper Palatinate. Content: 1.Hermann Erdelauer (before 1450): Three organ pieces 2.Urbanus Kungsprung (before 1450): Kyrie magnae Deus potnetiae 3.Sebastian Virdung (around 1465-around 1511): O heilge, unbefleckte, zart innige Jungfrau Maria. Song of Mary 4.Georg Forster (around 1510-1568): Timete Dominum omnes Sancti eius. Fuga in Omophonia 5.Georg Forster (around 1510-1568): O weh der Zeit. Bizinium 6.Caspar Othmayr (1515-1553): Vater unser im Himmelreich. Choralbizinium 7.Caspar Othmayr (1515-1553): Ach Gott, vom Himmel sieh darein. Choralbizinium 8.Caspar Othmayr (1515-1553): Wo Gott zum Haus nicht gibt sein Gunst. Choralbizinium 9.Caspar Othmayr (1515-1553): Nun freut euch, lieben Christen g'mein. Choralbizinium 10.Caspar Othmayr (1515-1553): Mit Fried und Freud fahr ich dahin. Choralbizinium 11.Caspar Othmayr (1515-1553): Wo Gott der Herr nit bei uns wär. Choralbizinium 12.Jobst vom Brandt (1517-1570): Oppressit reducem. Motet 13.Mathias Gastritz (†1596): Non es bonum, hominem esse solum.Motet for five voices 14.Paul Homberger (1560-1634): Wenn mich Sünd, Schmerz und Tod. Eight-part motet for double choir 15.Andreas Raselius (um 1562-1602): Christum wir sollen loben schon. Hymn setting 16.Andreas Raselius (um 1562-1602): Jesus Christus unser Heiland, der den Tod überwand. Hymn setting 17.Andreas Raselius (um 1562-1602): Nun freut euch lieben Christen g'mein. Hymn setting 18.Gregor Aichinger (1564-1628): Praesul Sancte Dei Udalrice. Fünfstimmige Motette 19.Marianus Königsperger (1708-1769): Praeambulum und Versetten vierter Ton 20.Marianus Königsperger (1708-1769): Aria quarti toni 21.Marianus Königsperger (1708-1769): Praeambulum et Fuga quarti toni

The organ in the church year IV - Marian feasts The Cantantibus organis series presents organ pieces in several booklets, one group of which is selected according to the festive circles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to organ music for Marian feasts. Content: 1. Buxheim Organ Book (15th century): Rorate coeli desuper. Introit: Marian mass Advent season 2. Philip ap Rhys (16th century): Felix namque es. Offertory: Marian Mass Christmas and Lent 3. Neresheim Organ Book (16th century): Salve sancta Parens. Introit: Marian Mass 4. Tablature by Fridolin Sicher (16th century): Ave Maria gratia plena. Offertory: Marian Mass 5. Hermann Erdelauer (15th century): Beata viscera Mariae. Communio: Marian Mass 6. Codex Nikolaus Apel (15th century): Quem terra pontus - Ave maris stella. Hymn: Matins on Marian feasts - Hymn: Vespers on Marian feasts 7. Buxheim Organ Book (15th century): O gloriosa Domina. Hymn: Lauds on Marian feasts 8. Manuel Rodrigues Coelho (before 1583-after 1623): Ave maris stella. Hymn: Vespers on Marian feasts 9. Christian Erbach (1570-1635): Ave maris stella 10. Jean François Dandrieu (1682-1738): Ave maris stella 11. Codex Nikolaus Apel (15th century): Alma redemptoris mater. Marian antiphon: Advent/Christmas 12. Tablature by Fridolin Sicher (16th century): Ave regina coelorum. Marian antiphon: Lent 13. Codex of St Emmeram (14th/15th century): Regina coeli. Marian antiphon: Easter/Pentecost 14. Giovanni Battista Fasolo (17th century): Salve Regina. Marian antiphon: Rest of the year 15. Buxheim Organ Book (15th century): Salve regina16th Neresheim Organ Book (16th century): Tota pulchra es amica. Alleluia verse: Immaculate Conception of Mary (8 December) 17 Codex Nikolaus Apel (15th century): Quod chorus vatum. Hymn: Maria Lichtmeß (2 February) 18 Glogau Songbook (15th century): Ecce concipes. Responsory: Annunciation of Mary (25 March) 19 Codex Nikolaus Apel (15th century): Assunt festa iubilae. Hymn: Visitation of Mary (2 July) 20.Hans Buchner (1483-1538): Quae est ista, quae ascendit. Responsorium: Assumption of Mary (15 August) 21. Glogau Songbook (15th century): Regina regnatium. Cantio: Mary Queen (22 August) 22. Adam of Fulda (around 1445-1505): Regali ex progenie. Antiphon: Birth of Mary (8 September) 23. Tablature by Fridolin Sicher (16th century): Virgo Dei Genitrix: Gradual verse: Seven Sorrows of Mary (15 September) 24. Buxheim Organ Book (15th century): O florens rosa. Antiphon: Feast of the Rosary (7 October)

Organ music of the Franciscans II The Cantantibus organis series presents organ pieces in several booklets, one group of which is selected according to the festive circles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to the organ music of the Franciscans. Content: 1 P. Girolamo Diruta (* 1561): Toccata del XI. et XII. tuono 2. p. Girolamo Diruta (* 1561): Ricercare undecimo tuono 3. p. Girolamo Diruta (* 1561): Ricercare del duodecimo tuono 4. p. Girolamo Diruta (* 1561): Christe redemptor omnium (Christmas hymn) 5. p. Girolamo Diruta (* 1561): Ad coenam agni providi (Easter hymn) 6th P. Girolamo Diruta (* 1561): Contrapuncti (12 transposed church modes) 7. p. Girolamo Diruta (* 1561): Toccata di grado del primo tuono 8th P. Girolamo Diruta (* 1561): Toccata di salto buono del secondo tuono 9. p. Girolamo Diruta (* 1561): Toccata di salto cattivo del sesto tuono 10. p. Antonio Mortaro († 1620): Canzona detta l'Albergona 11. p. Antonio Mortaro († 1620) / p. Girolamo Diruta (* 1561): Canzona detta l'Albergona, Intavolatura diminuita 12. p. Antonio Mortaro († 1620): Fuga (I) a 4 13. p. Antonio Mortaro († 1620): Fuga (II) a 4 14. p. Antonio Mortaro († 1620): Fuga (III) a 4 15. p. Antonio Mortaro († 1620): Isti sunt qui venerunt ex magna tribulatione (motet for eight voices)

Organ music at the Habsburg courts - Vienna at the time of Emperor Leopold I The Cantantibus Organis series presents organ pieces in several booklets, one group of which is selected according to the festive cycles and special themes of the church year; other groups with free preludes, interludes and postludes are arranged according to musical points of view. The level of difficulty of the selected pieces ranges from ‘easy’ to ‘quite difficult’. No special pedalling skills are required. Numerous pieces are for historical reasons, to be played entirely without pedal. The main emphasis of the selected pieces in this collection is on manual technique. Many of the works are ideal for church music festivals and concerts. The pieces without pedal also sound excellent on the harpsichord. This volume is dedicated to organ music at the Habsburg courts in Vienna at the time of Emperor Leopold I. Content: 1.Johann Jakob Froberger (1616-1667): Toccata 2.Johann Jakob Froberger (1616-1667): Ricercar 3.Johann Jakob Froberger (1616-1667): Capriccio 4.Johann Jakob Froberger (1616-1667): Ricercar 5.Johann Jakob Froberger (1616-1667): Capriccio 6.Johann Kaspar Kerll (1627-1693): Toccata tutta de salti 7.Johann Kaspar Kerll (1627-1693): Canzona 8.Ferdinand Tobias Richter (um 1649-1711): Toccata und Versette im 1. Ton 9.Wolfgang Ebner (1612-1665): Fuge 10.Johann Joseph Fux (1660-1741): Sonata seconda 11.Johann Joseph Fux (1660-1741): Sonata sexta 12.Franz Mathias Techelmann (um 1649-1714): Toccata 13.Franz Mathias Techelmann (um 1649-1714): Canzona 14.Franz Mathias Techelmann (um 1649-1714): Ricercare 15.Alessandro Poglietti (†1683): Praeludium, Cadenza e Fuga primi toni 16.Alessandro Poglietti (†1683): Praeludium, Cadenza e Fuga secundi toni 17.Alessandro Poglietti (†1683): Toccatina, Cadenza e Fuga terzii toni 18.Alessandro Poglietti (†1683): Toccatina, Cadenza e Fuga quarti toni 19.Alessandro Poglietti (†1683): Toccatina, Cadenza e Fuga quinti toni 20.Alessandro Poglietti (†1683): Toccatina, Cadenza e Fuga sexti toni 21.Alessandro Poglietti (†1683): Toccatina, Cadenza e Fuga septimi toni 22.Alessandro Poglietti (†1683): Toccatina, Cadenza e Fuga oktavi toni 23.Georg Reutter d.Ä. (1656-1738): Canzone „Christ ist erstanden“