Mit dem Concerto G-Dur wird den Freunden des Blockflötenspiels ein Werk erschlossen, das zwar ursprünglich für Violinen geschrieben war, das seiner Anlage nach jedoch für vielseitige Besetzungs- und Aufführungsmöglichkeiten gedacht sein dürfte. Bekanntlich ließ die zu Telemanns Lebzeiten übliche Musizierpraxis in den meisten Fällen einen Austausch zwischen Violinen und Flöten zu. So konnte auch hier die ursprüngliche Fassung - ang der vorgesehenenLBlockflöten und der Eliminierung der Doppelgriffe - beibehalten werden. Das Konzert bewegt sich in kleinstem formalen Rahmen. Gerade deshalb stellt es ein eindrucksvolles Beispiel für die kompositorische Sorgfalt Telemanns dar.

"Abire" comes from Latin and means "to go away." "Abitur" is derived from it. This also explains the occasion of the work: it is a commissioned composition by Raphael B. Meyer for a school. The meaning of the word is reflected in the music. The four players begin pattern-like in unison with alto recorders. Successively the voices move away and go their own ways, so that the work sounds in four voices, only to meet again - and now with different recorders - and move away again. Abire is a lively and entertaining recorder quartet in which there is much for players and listeners to discover.

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.

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.

Inspired by the Flanders Recorder Quartet, at least 10 compositions by Jan Van Landeghem have seen the light of day, half of which are encores. In what is probably his best-known encore, Rimsky-Korsakov's Bumblebee ‘flies’ through Mozart's Turkish March. Even the Radetzky March by Johann Strauss makes an appearance in this extremely amusing arrangement, which is very suitable for serving the audience a beautiful and contemporary musical dessert at the end of a concert.