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As a teacher you will have a good instrument for your lessons without having had to spend time breaking it in. The instrument will be ready for immediate use. Each optimised recorder carries a one year guarantee, which will replace the one given by the manufacturer. HOME Bienvenue! Contact Welcome! News Instruments Stanesby alto baroque alto Ganassi G alto recorder Maintenance and repairs Some typical repairs Maintenance price list New recorder optimization About me Contact.

News Instruments Maintenance and repairs About me Contact. If the piece needs to be abridged, the first ending and repeat of the initial rondeau section may be omitted. Note tempo changes at the last couplet and final rondeau.

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Jamboree by Bruce Sankey , This lively piece is intended to capture the spirit of exuberance exhibited by a crowd of young folk or older folk participating in some outdoor activity. The rhythm is repeated and momentum maintained all the way through. Pierre , May Anthony St. Pierre b. This set of four variations for a solo sopranino may be played to good effect on the alto as well.

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  • It qualifies as a "fantasy" because there is no bar-for-bar or beat-for-beat correspondence between the theme and each variation. In this way, it differs from most other Folia variations. It is suitable for a fairly accomplished player. The nine variations in this set for alto and tenor recorders are in a modern idiom, but traditional forms Gavotte, Chaconne, Fugato are featured.

    The piece requires moderately advanced technical skill. The Mosquito's Courtship by Anthony St. At tempo, this piece is best suited to advanced players. The stem barring in bb. Pierre , March In composing for recorders, Anthony St. Pierre has frequently taken inspiration from Henry Purcell.

    Music - New Music for Recorder - American Recorder Society

    In Around on a Ground, he cyclically applies modal alterations to each iteration of the ground from the so-called Bell Anthem, Rejoice in the Lord Alway, of Purcell. The ground passes alternately from the alto to the bass recorder. Players of intermediate ability will find approachable challenges in this duet. The piece is technically undemanding, but the sopranino does have a moment in its extreme high register. Pierre has also made available through the ARS, a perpetuum mobile featuring modally altered canonic treatment of the tune superimposed on the unaltered form of itself.

    The piece poses no notable technical challenges, but phrases are long and in places, unrelenting. The intent was to provide a modern alternative to the Corelli, which, although composed for the violin, has long been a staple of the recorder repertoire. The edition for recorder appeared just two years after the original violin version. Although not as lengthy duration: , the Pholia offers a wider variety of keys, modes, harmonies, textures, and meters than the Corelli.

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    • The piano is not subordinate to the recorder in the Pholia; it participates equally in each variation. Performed by Anthony St. I combine it contrapuntally in various ways with its inversion. Technical demands are moderate. Duration: The harmonic idiom, however, recalls that of Messiaen. The YouTube recording of the work bears its original title, Mouvement Messiaenique. Duration: Performed by Anthony St. Pierre, alto and piano Both the recorder and piano parts are quite accessible to players of intermediate skill, but strong dynamic contrasts are necessary to bring the music to life.

      For ease of movement between the low g-sharp and f-sharp at the end of the piece, half hole with the pinky for both notes, relaxing the ring finger as much as possible; do not allow it to bear down. As well, a slight separation of the two pitches will permit clean movement from one to the other. After listening to the recording on the YouTube, players may wish to play to the piano accompaniment provided here. Note however that the fermata in b.

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      Pierre , July Anthony St. It presents nine variations in contrasting but complementary styles. It is suitable for a fairly accomplished players. Pierre , September The triosonata, the sonata for two treble instruments and a bass, was one of the most popular forms of instrumental chamber music of the baroque and the Italian violinist, Archangelo Corelli, a universally renowned and influential composer in this genre.

      He composed two varieties of triosonata: the largely terpsichorian sonata da camera, and the sonata da chiesa or church sonata, founded on the organ idiom of the 17th century. The present triosonata is of this second variety. The harmonic idiom, perhaps evoking Stravinsky in places, is thoroughly modern, but the overall form and the melodic style remain very "Corellian" hence the subtitle, The Modern Corelli.

      An earlier subtitle, appearing on the SoundCloud recording , was Il Aggiornamento, meaning an "updating" or "renovation. Players of intermediate skill will be comfortable with the technical demands. Ideally, the two soprano recorders will be accompanied on the organ 8-ft.

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      The bass part cello is optional. Players may wish to play to the accompaniment provided here. In each of the four movements, the two recorders begin with the organ, so a count-in is necessary. Players must take note that the beat immediately before the downbeat is a one-beat rest silence. So for a six-beat count-in, the players hear: [rest]- play; a four-beat would be [rest]- play, etc. The rest is of course where they breathe. Pierre, sopranos; and Anthony St. In the first of the three sections, the alto takes the Tallis tune, which most audiences know from the famous Vaughan Williams Fantasy on a Theme by Thomas Tallis. The tenor presents the tune in the middle section. In the final section, the alto takes up the sopranino optionally and the two voices deliver the tune imitatively. Players of intermediate ability will encounter few technical difficulties in this piece. The composer is, himself, a native of Schenectady.

      Possibly the greatest challenge in this quartet is achieving pure tuning in the bare octaves and fifths, as well as in the parallel octave passages. Triple-barred note stems indicate flutter tonguing. Tricky entries for the tenor are eased with cues above the staff. The style might be described as 20th-century English. Despite chromatic notes, the moderate tempo makes this brief piece quite accessible to intermediate players.

      Pierre , April Although brief , this fughetta on a pentatonic subject covers a variety of transpositions and appears in inversion and augmentation. Statements in Db bear some examination before a play-through, but at the suggested tempo, the piece, not withstanding these passages, is feasible for players of intermediate skill.