Here is a list of recorder solos that are finished except for minor conformity changes.In all cases except those few marked with an asterisk, an accompanying keyboard part is planned. If you would like to purchase any of these with or without a keyboard part, please email jayscheide@comcast.net and we will make them top priority and notify you when they are ready, probably very quickly.

Notes:
1. These pieces are by J. S. Bach and for Alto Recorder solo unless otherwise noted.
2. Capital letter means major key, lower case means minor key, e. g., F# = key of F# major, and g = key of G minor.
3. If you want these pieces to be transposed for C instrument (or voice flute, etc.) and Keyboard, this will probably mean a significant delay unless you want the recorder part only, which can be provided with no extra delay.
4. "For Sop/Alto" means: Doubling (i. e. using both) Soprano and Alto Recorders.
5. Dulcinea Press works very hard to make these arrangements as good as possible. But if there is something wrong in the format or other problems you are not satisfied with, please email us so we can make corrections, and send a new and improved PDF file. With this (relatively) new technology, it is far easier than ever to revise even very small but important details.
6. Requests for transcriptions not already offered are welcome and will have a good chance of being fulfilled if they are in accord with the aims of the site (and if the original is available to us).
7. An asterisk means that a keyboard part is not planned for this item.

From: Concertos

PLEASE DON’T FORGET TO CHECK THE CATALOG—AND THE LINK TO “PIECES FORTHCOMING WITH KEYBOARD PARTS”—FOR MORE PIECES IN THIS CATEGORY.

From: The Well-tempered Clavier, Book One

From: The Well-tempered Clavier, Book Two

From: Partitas (Clavierübung, Part One)

From: English Suites

From: French Suites

From: Two-Part Inventions

From: Three-Part Inventions

From: Goldberg Variations, BWV 988

From: Miscellaneous Keyboard Music

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From: Orgelbüchlein

From: Other Organ Works


  • BWV 536/1, Prelude in A, transposed to F
  • BWV 543/1, Prelude in a, transposed to d
  • *BWV 548/2, "Wedge" Fugue in e, transposed to a
  • *BWV 552/1, "St. Anne" Prelude in Eb, transposed to Bb
  • BWV 564/1, Toccata from "Toccata, Adagio, and Fugue," in C, transposed to F
  • BWV 565, Toccata in d, transposed to g
  • BWV 566, Toccata in E, transposed to C, all four movements
  • BWV 662, Chorale Prelude, Allein Gott in der Höh' sei Ehr', transposed from A to F
  • BWV 684, Chorale Prelude, Christ, unser Herr, zum Jordan kam, transposed from c dorian to g dorian

    PLEASE DON’T FORGET TO CHECK THE CATALOG—AND THE LINK TO “PIECES FORTHCOMING WITH KEYBOARD PART”—FOR MORE PIECES IN THIS CATEGORY.

    •  

    From: Art of the Fugue, BWV 1080

    From: Suites for Cello Solo

    From: Suites for Violin Solo

    Allemanda
    Corrente
    Gigue

    PLEASE DON’T FORGET TO CHECK THE CATALOG—AND THE LINK TO “PIECES FORTHCOMING WITH KEYBOARD PART”—FOR MORE PIECES IN THIS CATEGORY.

    From: Music for Lute Solo

  • BWV 996 Suite No. 1 in e, transposed to g

    Präludium
    Allemande
    Courante
    Sarabande
    Bourrée
    (Gigue already in Catalog)

  • *BWV 999, Prelude in c (for Lute or Keyboard), transposed to g (recorder part contains almost every note in the piece)
    •

    From: Chamber Music

    BWV 1079, "The Musical Offering," transposed from c to d

  • Trio Sonata
  • 1st mvt.
  • (2nd mvt. already in Catalog)
  • 3rd mvt.
  • 4th mvt.

    •
  • Ricercar à 3
  • Fuga canonica in Epidiapente

    • BWV 1015, Sonata No. 2 for Violin and Continuo in A, transposed to C
    All four mvts.

    BWV 1018, Sonata No. 5 for Violin and Continuo in f, transposed to c
    All four mvts.

    BWV 1028, Sonata No. 2 for Viola da Gamba and Continuo in D, transposed to F
    All four mvts.

    PLEASE DON’T FORGET TO CHECK THE CATALOG—AND THE LINK TO “PIECES FORTHCOMING WITH KEYBOARD PARTS”—FOR MORE PIECES IN THIS CATEGORY.

    From: Cantatas

    BWV 4, Christ lag in Todesbanden
    Versus III (4th mvt.), "Jesus Christus, Gottes Sohn", transposed from e to a
    Versus IV (5th mvt.), "Es war ein wunderlicher Krieg", from the Bass part, transposed from e to g

    BWV 13, Meine Seufzer, meine Tränen
    Aria "Ächzen und erbärmlich Weinen" (original recorder music). This version is in a, which is very probably the key it was originally fingered in, given the particular pitch of the recorder that must have been used, i. e. at a whole tone below that of the rest of the ensemble, so that it will sound in g minor.

    BWV 18, Gleich wie der Regen und Schnee vom Himmel fällt
    Sinfonia, "Gleich wie der Regen und Schnee vom Himmel fällt" including parts for two obbligato recorders, and Aria, "Mein Seelenschatz ist Gottes Wort" for one. (This is original recorder music.) The Sinfonia is in a, and the aria is in F lydian. If played on Alto(s) @392, they fit both pieces when the latter are played respectively in g and in Eb lydian, both @440. The flauto I part of the Sinfonia contains some tricky high F#'s and an easy high A, and the aria includes four low "e"'s that are relatively practicable.

    BWV 29, Wir danken dir, Gott (See also BWV 1006; music is slightly different)
    Opening Sinfonia, transposed from D to F

    BWV 32, Liebster Jesu, mein Verlangen
    Duetto, "Nun verschwinden alle Plagen"

    BWV 43, Gott fähret auf mit Jauchzen
    Aria, "Ja Tausendmal Tausend begleiten"

    BWV 70, Wachet! betet! betet! wachet!
    *Aria, "Wenn kommt der Tag" (transcription of bass line)
    Aria, "Lass' der Spötter"

    BWV 86, Wahrlich, wahrlich, ich sage euch
    Aria, “Ich will doch wohl Rosen brechen.”
    Aria, “Gott hilft gewiß"

    BWV 97, In allen meinen Taten
    *Aria, "Nichts ist es spät und frühe" (transcription of bass line)

    BWV 98, Was Gott macht, das ist wohlgetan
    Chorus, “Was Gott thut, das ist wohlgetan”

    BWV 101, Nimm von uns, Herr
    Aria, “Handle nicht nach deinen Rechten”

    BWV 102, Herr, deine Augen
    Aria, "Weh der Seele"

    BWV 103, Ihr werdet weine und heulen
    Chorus, "Ihr werdet weinen und heulen"
    Aria, "Kein Arzt ist ausser dir zu finden"

    BWV 105, Herr, gehe nicht ins Gericht
    Aria, "Kann ich nur Jesum zum Freunde machen"

    BWV 108, Es ist euch gut, dass ich hingehe
    Aria, “Mich kann Zweifel stören"

    BWV 113, Herr Jesu Christ, du höchstes Gut
    Aria, "Jesus nimmt die Sünder an," transposed from D to F

    BWV 115, Mache dich, mein Geist, bereit
    Chorus, "Mache dich, mein Geist, bereit," transposed from G to Bb

    BWV 140, Wachet auf, ruft uns die Stimme
    Aria, "Wann kommst du, mein Heil,?"

    BWV 145, Ich lebe, mein Herze
    Aria, "Ich lebe, mein Herz, zu deinem Ergötzen"

    BWV 146, Wir müssen durch viel Trübsal
    Aria, "Ich will nach dem Himmel zu"

    BWV 147, Herz und Mund und Tat und Leben
    Aria, "Schäme dich, o Seele, nicht"
    Aria, "Bereite dir, Jesu, noch itzo die Bahn"

    BWV 158, Der Friede sei mit dir
    Aria, "Welt, ade!"

    BWV 169, Gott soll allein mein Herze haben
    Aria, “Gott soll allein mein Herze haben”

    BWV 172, Erschallet, ihr Lieder
    Aria, "Heiligste Dreieinigkeit"

    BWV 180, Schmücke dich, o liebe Seele
    Aria, “Ermunt're dich”

    BWV 182, Himmelskönig, sei willkommen
    Aria, “Jesu, lass durch Wohl und Weh”

    BWV 194, Höchsterwünschtes Freudenfest
    Aria, "Hilf, Gott, dass es uns gelingt", transposed from Bb to F

    BWV 202, Weichet nur, betrübte Schatten
    Aria, "Weichet nur, betrübte Schatten" transposed from G to C

    BWV 205, Der zufriedengestellte Äolus
    Aria, "Wie will ich lustig lachen"

    From: Miscellaneous Vocal works

    BWV 244, St. Matthew Passion
    No. 51, "Gibt mir meinen Jesu wieder"

    PLEASE DON’T FORGET TO CHECK THE CATALOG—AND THE LINK TO “PIECES FORTHCOMING WITH KEYBOARD PARTS”—FOR MORE PIECES IN THIS CATEGORY.

     

    From: Other Composers

     

    D. Scarlatti (1685-1757)

    Keyboard Sonatas, with Kirkpatrick, Longo, and Pestelli numbers:

    K. 10, L. 370, P. 66 in d, transposed to d
    K. 13, L. 486, P. 69 in G, transposed to C
    K. 14, L. 387, P. 70 in G, transposed to F
    K. 16, L. 397, P. 72 in Bb, transposed to F
    K. 18, L. 416, P. 74 in d, transposed to g
    K. 51, L. 20, P. 151 in Eb, transposed to Bb
    K. 54, L. 241, P. 147 in a, transposed to d
    K. 70, L. 50, P. 21 in Bb, transposed to F
    K. 72, L. 401, P. 1 in C, transposed to F
    K. 96, L. 465, P. 210 in D, transposed to F
    K. 103, L. 233, P. 233 in G, transposed to C
    K. 105, L. 204 P. 90 in G, transposed to Bb
    K. 115, L. 407, P. 100 in c, transposed to g or f
    K. 146, L. 349, P. 106 in G, transposed to C
    K. 159, L. 104, P. 418 in C, in original key
    K. 162, L. 21, P. 162 in E, transposed to G
    K. 198, L. 22, P. 132 in e, transposed to a
    K. 200, L. 54, P. 242 in C, transposed to F
    K. 292, L. 24, P. 223 in e, transposed to a
    K. 322, L. 483, P. 360 in A, transposed to C
    K. 348, L. 127, P. 462 in G, transposed to C
    K. 371, L. 17, P. 264 in Eb, transposed to Bb
    K. 377, L. 263, P. 245 in b, transposed to d
    K. 406, L. 5, P. 509 in C, transposed to Bb
    K. 455, L. 209, P. 354 in G, transposed to C
    K. 490, L. 206, P. 476 in D, transposed to Bb
    K. 492, L. 14, P. 443 in D, transposed to F
    K. 513, L. S. 3, P. 176 in C, "Pastorale," transposed to F
    K. 517, L. 266, P. 517 in d, transposed to a (or g)
    K. 545, L. 500, P. 549 in Bb, transposed to F

    F. J. Haydn (1732-1809):

    Sonata, Hob. XVI/21 in C, transposed to F
    1st mvt.

    *Symphony, No. 45, "Farewell," in f#, transposed to d
    1st mvt.

    *Symphony, No. 90, in C, transposed to F
    4th mvt.

    *Symphony, No. 92, "Oxford," in G, transposed to C
    4th mvt.

    W. A. Mozart (1756-1791):

    String Quintet in g, K. 516, transposed to c (see note for K. 279):
    2nd mvt: Minuet
    4th mvt: Adagio-Allegro

    Piano Sonata in C, K. 279, transposed to F.
    Note: This is an excellent etude for alternating staccato and slurred articulations.
    This is also true for K. 280, 281, (especially the 1st mvt.), and 516.
    2nd mvt.
    3rd mvt.

    Piano Sonata in F, K. 280, transposed to C (see note for K. 279)
    1st mvt.
    3rd mvt.

    Piano Sonata in Bb, K. 281, transposed to C (see note for K. 279)
    1st mvt.
    2nd mvt.
    3rd mvt.

    Piano Sonata in Eb, K. 282, transposed to F
    1st mvt.
    2nd mvt.

    Piano Sonata in G, K. 283, in original key
    1st mvt.
    3rd mvt.

    *Piano Concerto No. 15 in Bb, K. 450, in original key
    1st mvt.

    *Piano Concerto No. 17 in G, K. 453, in original key
    1st mvt.
    3rd mvt.

    *Piano Concerto No. 19 in F, K. 459, in original key
    3rd mvt.

    *Piano Concerto No. 20 in d, K. 466, in original key
    1st mvt.
    3rd mvt. for Tenor (or Soprano), or in g for Alto (stipulate)

    *Piano Concerto No. 21 in C, K. 467, in original key
    1st mvt.

    *Piano Concerto No. 23 in A, K. 488, in Bb (The 1st and 2nd mvts. may be played on old-pitch alto
    and be accompanied by second piano (orchestral reduction) part in A major and f# minor,
    respectively; the 3rd mvt. benefits from use of an old-pitch fourth flute, also using, if possible,
    both old-pitch alto and modern-pitch voice flute)
    1st mvt: 5 pp.
    2nd mvt: 1 pp.
    3rd mvt: 5 pp. (One version for Alto, and for the other version, see above, please stipulate)

    Adagio and Fugue for String Orchestra/String Quartet in c, K. 546, in original key.
    Also available in version for SATB Recorder Quartet.

    *Overture to The Marriage of Figaro, K. 492

    *Overture to Don Giovanni, K. 527

    Overture to Così fan tutte, K. 588

    *Overture to La Clemenza di Tito, K. 621

    Symphony No. 39 in Eb, K. 543, transposed to C or Bb
    *1st mvt. in C
    *4th mvt. in C or Bb

    Symphony No. 40 in g, K. 550, transposed to c
    *4th mvt. (Alto with ossia Tenor)

    Symphony No. 41 in C, K. 550, in original key
    *4th mvt.

    L. van Beethoven (1770-1827):

    Symphony No. 1 in C, op. 21 in original key
    *1st mvt.
    3rd mvt.
    *4th mvt.

    *Symphony No. 9 in d, op. 125 in original key
    3rd mvt.

    Sonata for Piano, Op. 13 ("Pathétique") in c transposed to d
    3rd mvt.

    Sonata for Piano, Op. 28 ("Pastoral") in D transposed to F
    4th mvt.

    Sonata for Piano, Op. 111 in c
    Excerpts from 2nd mvt: mm. 72-80 (Sop.) and 89-99 (Alto) at pitch

    33 Variations on a Theme by Anton Diabelli, Op. 120
    Variations 4 & 5 at pitch (in C)
    Variation 7 at pitch
    Variations 17 & 18 at pitch
    Variation 23 at pitch
    Variation 28 at pitch & 29 in c transposed to d
    Variation 31 in c transposed to g

    String Quartet, Op. 135 in F
    3rd mvt. (Lento assai) in Db transposed to Bb

    J. V. Vorisek (1791-1825):

    12 Rhapsodies for Piano, Op. 1
    # 5 in f, transposed to d
    # 6 in Ab, transposed to F
    # 10 in C, in original key
    # 12 in Eb, transposed to Bb

    G. Rossini (1792-1868):

    "Petite Caprice (Style Offenbach)" for Piano, in original key (C)

    F. P. Schubert (1797-1828):

    *Fantaisie in f for Piano Duet, D. 940, in original key
    for Alto @392 and Fourth Flute @415, (If you're not lucky enough to have access to these recorders, or some other pair of recorders a tritone apart in pitch, it is still rewarding to play it—as a study—on any instrument, especially the main theme and "scherzo.")

    Sonata for Piano in Bb, D. 960
    3rd mvt. (Scherzo) transposed to D (playing on Voice Flute @415
    enables accompaniment by piano part in Bb
    *4th mvt: Excerpts from the second (arpeggiated) theme group,
    Tenor/Alto. Transposed from Bb to F

    "Moments Musicaux" for Piano D. 780,
    # 5 in original key (f)

    Impromptu Op. Posth. 142, No. 3, D. 935 (Theme and Variations) in original key (Bb)

    P. I. Tchaikovsky (1840-1893):

    Suite from The Nutcracker, at pitch

    Overture

    E. Chabrier (1841-1894):

    Cortège Burlesque for Piano Duet, at pitch, Alto/Sopranino: 2 pp.
    From Dix Pièces Pittoresques for Pf:
    No. 6 "Idylle" in E, transposed to G, Alto/Sopranino
    No. 7 "Danse Villageoise" in a, transposed to c
    No. 9 "Menuet Pompeux" in g, transposed to c

    J. P. Sousa (1854-1932):

    Stars and Stripes Forever for Alto @440/6th Flute @415
    or, Alto @415/Soprano @440

    I. Albeniz (1860-1909):

    From Suite Espagnole for Piano, Op. 47
    *"Sevilla", Sop./Alto (can be played with Pf./Sax, etc., score)

    G. Mahler (1860-1911):

    Symphony No. 4, in G, in original key
    1st mvt.
    3rd mvt., for Bass @440 doubling Alto @415/Voice Flute @415/Fourth Flute @415/Voice Flute @440/Sopranino @440/and Garklein @440

    *Symphony No. 5 in c#, in original key
    2nd mvt.
    4th mvt. Adagietto for Bass/Alto

    *Symphony No. 6 in a
    Andante for Bass/Alto/Ten./Sop., in original key (Eb): 3 pp.,
    or transposed to Bb for Alto only: either 2 pp. (less cumbersome) or 3 pp. (less crowded)

    *Symphony No. 9, in D, in original key
    (1st mvt. already in catalog)
    3rd mvt.
    4th mvt., for Bass/Ten./Alto/Sop./S'ino

    *Symphony No. 10, in F#, in original key
    1st mvt.
    4th mvt. (based solely on Mahler's sketches)
    5th mvt. (based solely on Mahler's sketches)

    Lied: "Rheinlegendchen", in F for Alto/Sop.

    Lieder eines fahrenden Gesellen
    #3: "Ich hab' ein glühend Messer", in a

    Das Lied von der Erde
    *#1 “Das Trinklied von Jammer der Erde”, at original pitch
    *#3 “Von Jugend”, at original pitch
    #4: "Von der Schoenheit", at original pitch
    *#5: “Der Trunkener im Frühling”, at original pitch
    *#6: "Der Abschied", at original pitch. Two staffs, one for cues/flutes 2 & 3, and one with Flute 1 and the other Flute parts (primarily facilitating the playing of Flute 1), utilizing Sopranino/Soprano/Alto/Voice Flute/Tenor/Bass: 9 pp.

    Erik SATIE (1866-1925):

    La Belle Excentrique, for Small Orchestra/Pf. Duet, at original pitch
    No. 1 "Grande Ritournelle"
    No. 2 "Marche Franco-lunaire"
    No. 3 "Valse du 'Mysterieux baiser dans l'oeil'”
    No. 4 "Cancan Grand-mondain"

    3 Morceaux en Forme de Poire, for Piano Duet, at original pitch
    "Manière de Commencement", for Tenor/Alto
    "Prolongation du même", for Alto @392 AND "No. 1" for Alto @440
    "No. 2" for Voice Flute @440
    "No. 3"

    Parade (Orchestral version), at original pitch

    *An asterisk means that a keyboard part is not planned for this item.

    PLEASE DON’T FORGET TO CHECK THE CATALOG—AND THE LINK TO “PIECES FORTHCOMING WITH KEYBOARD PARTS”—FOR MORE PIECES IN THIS CATEGORY.

    pieces-without-keyboard-almost-finished