10 contemporary Christmas carols by Joachim Schüpphaus with their catchy and memorable melodies will immediately inspire you to sing along. The song texts provide impulses and suggestions for a critical examination of one's own behaviour at Christmas time. In addition to a piano accompaniment, most of the songs also offer an instrumental part to increase the incentive to make music together. Singing voice single Content: - Weihnachtszeit - Als Joseph und Maria - Sag, was gehört zu Weihnachten - Der Joseph - Der Weihnachtsbaum - Fest der Liebe - Die Einwohner von Bethlehem - Wer war denn an der Krippe - Ochse und Esel - Erst wenn nach Trubel,Hetzerei

10 contemporary Christmas carols by Joachim Schüpphaus with their catchy and memorable melodies will immediately inspire you to sing along. The song texts provide impulses and suggestions for a critical examination of one's own behaviour at Christmas time. In addition to a piano accompaniment, most of the songs also offer an instrumental part to increase the incentive to make music together. Content: - Weihnachtszeit - Als Joseph und Maria - Sag, was gehört zu Weihnachten - DerJoseph - Der Weihnachtsmann - Fest der Liebe - Die Einwohner von Bethlehem - Wer war denn an der Krippe - Ochse und Esel - Erst wenn nach Trubel, Hetzerei

The most popular Christmas songs: For all single-manual keyboards with automatic accompaniment Complementary to every keyboard course Song accompaniment with fingered chords Polyphonic playing Ensemble playing Content: - All die Engel auf den Feldern - Alle Jahre wieder - Am Weihnachtsbaum die Lichter brennen - Andachtsjodler - Deck The Halls - Der Christbaum ist der schönste Baum - Ding Dong, Merrily On High - Es ist ein Ros' entsprungen - Es ist für uns eine Zeit angekommen - Fröhliche Weihnacht überall - Go Tell It On The Mountain - Hark! The Herald Angels Sing - Herbei, o ihr Gläubigen - Ihr Kinderlein, kommet - It Came Upon The Midnight Clear - Jingle Bells - Joseph, lieber Joseph mein - Joy to The World - Kling, Glöckchen, klingelingeling - Kommet ihr Hirten - Lasst uns froh und munter sein - Leise rieselt der Schnee - Little Jesus - Macht hoch die Tür - Maria durch ein Dornwald ging - Mary Had A Baby - Morgen Kinder wird's was geben - Morgen kommt der Weihnachtsmann - Nun singet und seid froh - O du fröhliche, o du selige - O laufet, ihr Hirten - O Tannenbaum - Schneeflöckchen, Weißröckchen - Still, still, still - Stille Nacht, heilige Nacht - Süßer die Glocken nie klingen - The Cherry Tree Carol - The First Nowell - Tochter Zion - Vom Himmel hoch da komm ich her - Vom Himmel hoch, ihr Englein kommt - Was soll das bedeuten - We Wish You A Merry Christmas - Zu Bethlehem geboren

This catchy tune, which immediately inspired four-year-old Felix to sing along, also fascinated the young singer Angelique, so that she spontaneously included the title in her programme. With the help of the rather simple piano accompaniment, even less experienced pupils are able to perform this new Christmas song.

The flute bird accompanies the flautists in this playbook not only during the Advent and Christmas season. The familiar and new winter songs can also be played after the holidays. The two-part pieces are organised according to the level of difficulty within the thematic structure. Inserted chord symbols allow the pieces to be played together with a harmony instrument (guitar, piano). Content: - Freu dich Erd und Sternenzelt - Fröhliche Weihnacht - Ihr Kinderlein kommet - In Bethlehem wohl in der Nacht - In der Weihnachtsbäckerei - Jingle Bells - Leise rieselt der Schnee/Alle Jahre wieder - Lieb Nachtigall wach auf - Lobt Gott ihr Christen allegleich - Morgen kommt der Weihnachtsmann - O Tannenbaum - Stille, stille, kein Geräusch gemacht - Vom Himmel hoch - Was soll das bedeuten? - We wish you a Merry Christmas/Wir wünschen euch frohe Weihnacht

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.

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.

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.

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

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.

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

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.