Nicolas M. Nagel bearbeitete die Partitur von S. Prokofjews musikalischem Märchen 'Peter und der Wolf' so, dass eine gekürzte Fassung für das klassische Blöckflöten-Quartett mit einer zusätzlichen Sopranino-Flöte entstand.

Christmas songs for recorders: Contents: 1. Es kommt ein Schiff geladen 2. Maria durch ein Dornwald ging 3. O Heiland, reiß die Himmel auf 4. Vom Himmel hoch da komm ich her 6. O laufet, ihr Hirten 7. Vom Himmel hoch ihr Englein kommt 8. Es ist ein Ros' entsprungen 9. Weihnachtsmusik 10. O Jesulein zart 11. Lasst uns das Kindlein wiegen 12. Joseph, lieber Joseph mein 13. Puer nobis nascitur 14. Ich steh' an deiner Krippe hier 15. In dulci jubilo

Die II. Suite ist im Original ein Flötenkonzert. Durch die in der Barockzeit übliche Transposition um eine kleine Terz nach oben wurde die Musik für Blockflöten spielbar gemacht.

Quartett-Spielbuch II: N 3962 Quartett-Spielbuch III: N 4764

The collection of "Old English Christmas and Winter Songs" by Ortrud Hommes suitably expands the Christmas repertoire for recorder quartet. Thus, not only well-known songs such as "We Wish you a Merry Christmas" can be found here, but also less popular pieces such as "In the Bleak Midwinter" or "Drive the Cold Winter Away". All songs are arranged chronologically, modulated and newly arranged. In this way, the artful simplicity and emotional depth of the songs is conveyed. Content: - Lullay, Lullay: Als I Lay on Yoolis Night - Conventry Carol - On This Day Earth Shall Ring - We Wish You a Merry Christmas - Drive the Cold Winter Away - Now Winter Comes Slowly - God Rest You Merry,Gentlemen - The Snow it Melts the Soonest - We Three Kings of Orient Are - In The Bleak Midwinter

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.