2 pp.
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Showing 161–176 of 192 results
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Contrapunctus 13, Inversus
Originally in d minor, transposed here to g. The dotted eighth-16th note rhythm should be assimilated to the prevailing triplets (i. e. the 16th should co?ncide with the 3rd eighth of the triplet). But the occasional groups of two or four 16ths should be as written. Contains 2 optional high A’s, either of which may be smoothly avoided.
Recorder part, 2 pp. -
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Prelude—c minor version
Originally in a minor, transposed here to c. Note that these same four movements are also available in the catalogue in the key of d.
Recorder part, 2 pp. -
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Duet, 2 pp. -
Duet from Cantata 10
2 pp. -
3rd Mvmt.
Originally in A major, transposed here to F. Thought to have been based on a lost concerto for oboe d’amore. In almost all cases, recorder plays main theme in tutti sections.
Recorder part, 2 pp. -
K. 55
Originally for solo keyboard in G major, transposed here to C.
Recorder part, 2 pp. -
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3rd Mvmt., Vivace
Originally in e minor, transposed here to g. Minor revisions (on pp. 5-6) 4.14.13.
2 pp. -
G minor version
Originally in c# minor, transposed here to g.
2 pp. -
Two Duets featuring “al Rovescio”
2 pp. -
Gavotte en Rondeau
Originally in E major, transposed here to F.
Recorder part, 2 pp. -
Aria
Third number in the cantata. Originally for soprano, violin, and basso continuo, transposed here from d minor to g. Title means, ?I am content in my sorrow.?
Recorder part, 2 pp. -
”Heth sold ein meisken garn om win” duet for soprano & alto recorders
2 pp. -
3rd Mvmt.
Originally for double flutes, double oboes da caccia, soprano and continuo, in f dorian, transposed here to a dorian. Title means ?Release, O my heart, your torrents of crying.?
2 pp.