Die klare Konzeption, die den 3. Satz von Gustav Mahlers 1. Symphonie auszeichnet, brachte den französischen Blockflötenexperten Frédéric Platzer auf die Idee, das Stück für Blockflötenchor und Bass einzurichten. Das Ergebnis war so überzeugend, dass es in Paris gleich zur Aufführung kam. Die in der Praxis bewährte Fassung erscheint nun im Druck und kann von ambitionierten Spielkreisen erarbeitet und wie es das Beispiel in der Seine-Metropole zeigt mit Erfolg musiziert werden. Dabei lassen sich die Bassstimmen unterschiedlich besetzen.

Mit diesen typischen Volksliedern aus unterschiedlichen Kulturen kann der Spieler gewissermaßen eine musikalische Erlebnisreise unternehmen. Inhalt: - Wo die Berge zum See reichen, ist meine Heimat (keltisch) - Hinter dem Pflug (keltisch) - Die See erzählt vom langen Tag (keltisch) - Arbeitslied der Bauern (keltisch) - Spiel mir ein Lied (jiddisch) - Steht ein grübelnder Bursche (jiddisch) - Oh, du schönes Fest (jiddisch) - Das Gebet Hawdole (jiddisch) - Ich danke, dir, Herr (Israel) - Auf dem kahlen Berge (Israel) - Meine Seele verlangt nach dir, Herr (Israel) - Erbitte dir ein Zeichen vom Herrn (Israel) - Freue dich auf deinen Bruder (Tunesien) - Reichtum ist nicht für alle (Liberia) - Lied der Pflanzer (Mauretanien) - Auf dem Markt (Libyen) - Die Karawane (Syrien) - Auf dem Basar (Syrien) - Tanzlied aus Aleppo (Syrien) - Der Markt von Hama (Syrien)

Evaristo Felice Dall'Abaco (1675-1742) was a contemporary of Johann Sebastian Bach. He published 66 instrumental works in which influences from Italian concerto grosso, French and German Baroque music form an interesting musical combination. His 6 Concerti à più istrumenti - opera quinta - libro primo with 2 violins and viola as well as bassoon and organ as continuo instruments were published in 1717. In the present arrangement, this concerto was arranged for five recorders and transposed from D major to F major. Typical string passages have been carefully adapted to the possibilities of the recorder and can also be played by less experienced recorder players. This concerto is suitable for interpretation by a five-part recorder consort AATBGb as well as for a larger recorder ensemble. The continuo part can be played on a great bass recorder and/or a contrabass recorder.

Evaristo Felice Dall'Abaco (1675-1742) was a contemporary of Johann Sebastian Bach. He published 66 instrumental works in which influences from Italian concerto grosso, French and German Baroque music form an interesting musical combination. His 6 Concerti à più istrumenti - opera quinta - libro primo with 2 violins and viola as well as bassoon and organ as continuo instruments were published in 1717. In the present arrangement, this concerto was arranged for five recorders and transposed from D major to F major. Typical string passages have been carefully adapted to the possibilities of the recorder and can also be played by less experienced recorder players. This concerto is suitable for interpretation by a five-part recorder consort AATBGb as well as for a larger recorder ensemble. The continuo part can be played on a great bass recorder and/or a contrabass recorder.

Evaristo Felice Dall'Abaco (1675-1742) was a contemporary of Johann Sebastian Bach. He published 66 instrumental works in which influences from Italian concerto grosso, French and German Baroque music form an interesting musical combination. His 6 Concerti à più istrumenti - opera quinta - libro primo with 2 violins and viola as well as bassoon and organ as continuo instruments were published in 1717. In the present arrangement, this concerto was arranged for five recorders and transposed from D major to F major. Typical string passages have been carefully adapted to the possibilities of the recorder and can also be played by less experienced recorder players. This concerto is suitable for interpretation by a five-part recorder consort AATBGb as well as for a larger recorder ensemble. The continuo part can be played on a great bass recorder and/or a contrabass recorder.

Evaristo Felice Dall'Abaco (1675-1742) was a contemporary of Johann Sebastian Bach. He published 66 instrumental works in which influences from Italian concerto grosso, French and German Baroque music form an interesting musical combination. His 6 Concerti à più istrumenti - opera quinta - libro primo with 2 violins and viola as well as bassoon and organ as continuo instruments were published in 1717. In the present arrangement, this concerto was arranged for five recorders and transposed from D major to F major. Typical string passages have been carefully adapted to the possibilities of the recorder and can also be played by less experienced recorder players. This concerto is suitable for interpretation by a five-part recorder consort AATBGb as well as for a larger recorder ensemble. The continuo part can be played on a great bass recorder and/or a contrabass recorder.

Evaristo Felice Dall'Abaco (1675-1742) was a contemporary of Johann Sebastian Bach. He published 66 instrumental works in which influences from Italian concerto grosso, French and German Baroque music form an interesting musical combination. His 6 Concerti à più istrumenti - opera quinta - libro primo with 2 violins and viola as well as bassoon and organ as continuo instruments were published in 1717. In the present arrangement, this concerto was arranged for five recorders and transposed from D major to F major. Typical string passages have been carefully adapted to the possibilities of the recorder and can also be played by less experienced recorder players. This concerto is suitable for interpretation by a five-part recorder consort AATBGb as well as for a larger recorder ensemble. The continuo part can be played on a great bass recorder and/or a contrabass recorder.

Evaristo Felice Dall'Abaco (1675-1742) was a contemporary of Johann Sebastian Bach. He published 66 instrumental works in which influences from Italian concerto grosso, French and German Baroque music form an interesting musical combination. His 6 Concerti à più istrumenti - opera quinta - libro primo with 2 violins and viola as well as bassoon and organ as continuo instruments were published in 1717. In the present arrangement, this concerto was arranged for five recorders and transposed from D major to F major. Typical string passages have been carefully adapted to the possibilities of the recorder and can also be played by less experienced recorder players. This concerto is suitable for interpretation by a five-part recorder consort AATBGb as well as for a larger recorder ensemble. The continuo part can be played on a great bass recorder and/or a contrabass recorder.