Piano,Recorder Solo,Soprano Recorder - Level 3 - Digital Download SKU: A0.898117 Composed by Willem de Fesch (1687-1761). Arranged by Douglas Brooks-Davies (1942-). Baroque,Concert. Individual part. 19 pages. Douglas Brooks-Davies #6287455. Published by Douglas Brooks-Davies (A0.898117). One of the Op 4 Sonatas (1725) and originally for violin, this Sonata In G has become a favourite with recorder players, though not easy to obtain. This edition contains (1) soprano recorder part, with editorial trills and mordents, plus a written out ornamented cadence to the penultimate bar of the opening Largo; (2) keyboard part with figured bass; (3) bass continuo (cello, viola da gamba, or bassoon).  All tempo markings are editorial; the keyboard realisation is editorial and can, of course, be modified at will, as can ornamentation of the recorder part.  NOTE: a limitation of my notation software has necessitated using hash for the figured bass sharp sign, and for the figured natural, I have used hash cancelled with a slash. A lovely, approachable Sonata.

Piano,Recorder Solo,Soprano Recorder - Level 3 - Digital Download SKU: A0.898116 Composed by Carl Scheindienst. Arranged by Douglas Brooks-Davies. Concert,Romantic Period,Standards. Individual part. 25 pages. Douglas Brooks-Davies #6266411. Published by Douglas Brooks-Davies (A0.898116). A lovely set of variations on the Austrian folk song 'Cousin Michael was there last night'. Originally for csakan or 'romantic recorder' (tuned to G) and guitar, this arrangement, for soprano recorder and piano, offers the recorder part in the original printed key of G - so we play almost exactly the same fingering as the csakan. The guitar part, however, originally written out in the sounding key of C, has been arranged for piano and transposed to G. The piano part keeps as closley as possible to the simple unobtrusiveness of the guitar, with minimal filling out, mainly in the right hand. Metronome markings are ediorial. Slurs, dynamics, etc. are as in the original (where I have added simile, it is to be understood that the slurring of the  preceding bars is to be followed all through). Nothing is known of the composer. The piece was published in Vienna in 1815.