VGRT - About - Level of Difficulty

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 just want the recorder part, 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.
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

*Concerto No. 1, BWV 1052 in d, in original key
1st mvt.
2nd mvt.
3rd mvt.
BWV 1046, Brandenburg Concerto No. 1 in F, transposed to C
1st mvt.
2nd mvt. transposed from d to a, Sop. or Ten.; OR: in g, Sop. doubling Alto, requiring the other movements be played on an Alto in Eb, the 1st and 3rd Mvmts. sounding in Bb
3rd mvt.
BWV 1050, Brandenburg Concerto No. 5 in D, transposed to Bb
(taken from solo kbd. part)
1st mvt.
3rd mvt.
BWV 1051, Brandenburg Concerto No. 6 in Bb, in original key or in C
1st Mvt. in Bb
3rd Mvt. in C [playing this mvt. on a recorder a major 2nd lower than the one you used for the first mvt. would make the key relationship correct.]
BWV 1060, Concerto for Two Harpsichords/Vn. & Oboe in c, transposed to g
1st Mvt.
2nd Mvt.
3rd Mvt.
BWV 1061, Concerto for Two Harpsichords in C, transposed to F
1st Mvt.
3rd Mvt.
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

*BWV 846/1 Prelude #1 in C, in original key (recorder part contains almost every note in the piece)
BWV 847/1 Prelude #2 in c, transposed to a
BWV 850/1 Prelude #5 in D, transposed to Bb
BWV 851/1 Prelude #6 in d, transposed to g
BWV 856/1 Prelude #11 in F, in original key
BWV 859/1 Prelude #14 in f#, transposed to d
BWV 862/1 Prelude #17 in Ab, transposed to F
BWV 866 Prelude and Fugue #21 in Bb, same key

From: The Well-tempered Clavier, Book Two

BWV 875/1 Prelude #6 in d, transposed to g
BWV 878/1 Prelude #9 in E, transposed to C
BWV 879/1 Prelude #10 in e, transposed to a
BWV 881 Prelude and Fugue #12 in f, transposed to c
BWV 882 Prelude and Fugue #13 in F#, transposed to C
BWV 892/1 Prelude #23 in B, (choice of keys: F or G)

From: Partitas (Clavierübung, Part One)

No. 1, BWV 825 in Bb, transposed to F:
Prelude
Allemande
Courante
*Gigue (Keyboard part not needed since recorder plays every note)
No. 4, BWV 828 in D, transposed to Bb
Allemande
Sarabande

From: English Suites

No. 1, BWV 806 in A, transposed to F
Allemande
Bourrée I & II (in G & g or in C & c
No. 3, BWV 808 in g, transposed to d
Prelude
No. 4, BWV 809 in F, transposed to C
Prelude
Gigue

From: French Suites

No. 2, BWV 813 in c, transposed to g
Air
No. 3, BWV 814 in b, transposed to d
Gigue
No. 4, BWV 815 in Eb, transposed to Bb
Courante
No. 6, BWV 817 in E, transposed to Bb
Allemande
Courante

From: Two-Part Inventions

No. 5 in Eb, BWV 776, transposed to G
No. 15 in b, BWV 786, transposed to g

From: Three-Part Inventions

No. 8 in F BWV 794, transposed to C
No. 12 in A BWV 798, transposed to C
No. 14 in Bb BWV 800, transposed to F

From: “Goldberg” Variations, BWV 988

#1 transposed to C
#5 transposed to C
#17 transposed to C
#26 transposed to C
#28 transposed to C

From: Miscellaneous Keyboard Music

BWV 803, Duet No. 2, transposed from F to Bb
BWV 934, Prelude for Keyboard, transposed from c to g
*BWV 999, Prelude for Keyboard or Lute, transposed from c to g

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

From: Orgelbüchlein

BWV 617, "Herr Gott, nun schleuß den Himmel auf," transposed from a to d

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

Canon @ 12th, transposed to g

From: Suites for Cello Solo

BWV 1007, Suite No. 1 in G, transposed to Bb
Prelude
Allemande
Courante (also available in C)
Menuet I and II (also available in C)
Gigue (also available in C)
BWV 1009, Suite No. 3 in C, transposed to F
Prelude
Allemande
Courante
Sarabande
Bourrée I and II, in C or F
Gigue (in F; version in C is in Catalog)
BWV 1010, Suite No. 4 in Eb, transposed to F
Courante
Bourrée I and II
Gigue

From: Suites for Violin Solo

BWV 1002 Partita No. 1 in b, transposed to g
Allemande Double
Corrente
Corrente Double
Sarabande Double
Tempo di Borea (in g; version in d is available with a Kbd. part)
Tempo di Borea Double (in d)
BWV 1004 Partita No. 2 in d, transposed to g
Allemanda
Corrente
Gigue
BWV 1005 Sonata No. 3 in C, transposed to F
Allegro assai
BWV 1006 Partita No. 3 in E, transposed to F
Prelude (see also entry under Cantata 29; music is slightly different)
Loure
Menuet I and II
Bouree
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
*BWV 999, Prelude in c (for Lute or Keyboard), transposed to g

From: Chamber Music

BWV 1079, The Musical Offering, transposed from c to d
Trio Sonata
1st mvt.
3rd mvt.
4th mvt.
Ricercar à 3
Fuga canonica in Epidiapente
BWV 1015, Sonata for Violin and Continuo No. 2 in A, transposed to C
All four movements
BWV 1018, Sonata for Violin and Continuo No. 5 in f, transposed to c
All four movements
BWV 1028, Sonata No. 2 for Viola da Gamba and Continuo in D, transposed to F
All four movements

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, "Jesus Christus, Gottes Sohn", transposed from e to a
Versus IV, "Es war ein wunderlicher Krieg", from the Bass part, transposed from e to g
BWV 13, Meine Seufzer, meine Träne
Aria "Ächzen und erbärmlich Weinen"
BWV 18, Gleichwie der Regen und Schnee vom Himmel fällt
Aria, "Mein Seelenschatz ist Gottes Wort", original recorder music; if played
on Alto @392, fits Cantata when the latter is played @440. (This relates to the common Baroque situation of having an organ pitched a whole-tone away from the other instruments.)
BWV 29, Wir danken dir, Gott
Opening Sinfonia, transposed from D to F (See also BWV 1006; music is slightly different)
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
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
"Hilf, Gott, dass es uns gelingt"
BWV 202, Weichet nur, betrübte Schatten
Aria, "Weichet nur, betrübte Schatten" transposed from G to C

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:
2nd mvt: Minuet
4th mvt: Adagio-Allegro (see note for K. 280)
Piano Sonata in F, K. 280, transposed to C
3rd mvt.
Note: This is an excellent etude for alternating staccato and slurred articulations.
This is also true for K. 281, (especially the 1st mvt.), and 516.
Piano Sonata in Bb, K. 281, transposed to C (see note for K. 280)
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 mvt. is already in the Catalog. 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.
2nd mvt.
3rd mvt. (One version for Alto, and for the other version, see above; please stipulate.)
*Overture to The Marriage of Figaro, K. 492
*Overture to Don Giovanni, K. 527
*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, “Jupiter”, 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., Variation 4, mm. 72-80 and 89-99 Sop./Alto (at pitch)
33 Variations on a Theme by Anton Diabelli, Op. 120
Variation XXXI (Largo, molto espressivo) 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 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, or any two rcorders a minor 6th apart

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 mvmt.
*Symphony No. 5 in c#, in original key
2nd mvmt.
Symphony No. 9 in D, in original key, 3rd mvmt.
4th mvmt., for Bass/Ten./Alto/Sop./S'ino
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
#4: “Von der Schönheit”, 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

E. 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 (NB: this is available in the catalog in a version for Recorder Duet [Alto & Bass])
"No. 3"
Parade (Orchestral version), at original pitch