Raphael B. Meyer wrote the Irish Suite on behalf of the Swiss ERTA (European Recorder Teachers Association) for a larger recorder formation. The result is a challenging composition that can be practised, but is not short on fun. The traditional Irish music with its simple basic structure and catchy, simple melodies touches pupils and teachers alike. With the Irish Suite, Raphael B. Meyer has created a work in three movements which are designed in such a way that they can be played at different speeds and without ornamentation without the music losing its effect. Score: N 2824 Individual parts: N 2841 - soprano/sopranino N 2842 - Alto I, II N 2843 - Tenor I, II, III N 2844 - Bass I, II N 2845 - Subbass/major bass in bass clef N 2846 - Great bass in treble clef

Die hier vorliegenden 10 Stücke (Gesänge) sind dem umfangreichen Liederbuch "Sing along with Effi Netzer", Tel-Aviv 1983 entnommen. Die überwiegend in Moll gehaltenen Melodien können nicht nur "mit Liebe" gesungen, sondern auch gespielt werden. Insbesondere die Flöteninstrumente werden diese kernigen hebräischen Lieder so recht zum Klingen bringen. Inhalt: 1. Hatikva (israelische Nationalhymne) 2. Yerushaleyim (Jerusalem) 3. Shir Hanokdim (Lied der Schafhirten) 4. Dugit (Ein kleines Boot) 5. Shalom Aleichem (Friede sei mit euch) 6. Tumbalalaika (Balalaikaklänge) 7. Orcha Bamidbar (Kamelzug in der Wüste) 8. Erets Zavat Chalav (Das Land, wo Milch und Honig fließen) 9. Nagen Li Yarden (Spiel für mich, Jordan!) 10. Ufaratsta (Du wirst dich verbreiten in alle Welt) Die Stimmen sind auch einzeln erhältlich.

'Ali Baba and the 40 Thieves' was commissioned by the Flanders Recorder Quartet for the 1991 Recorder Week in Kampenhout (Belgium). The music roughly follows the well-known story of Ali Baba and uses the typical modes of the Middle East as well as a few contemporary playing techniques. The two-choir structure of the piece allows recorder players of different abilities to play together, as Choir II demands a higher level of playing than Choir I. The parts are also available separately (3,00 Euro each). PLease contact us or send us an e-mail .

'Ali Baba and the 40 Thieves' was commissioned by the Flanders Recorder Quartet for the 1991 Recorder Week in Kampenhout (Belgium). The music roughly follows the well-known story of Ali Baba and uses the typical modes of the Middle East as well as a few contemporary playing techniques. The two-choir structure of the piece allows recorder players of different abilities to play together, as Choir II demands a higher level of playing than Choir I.

In addition to the series ‘Flanders Recorder Quartet presents’, the four dedicated musicians of the quartet now also present works for larger ensembles. The score is available under the order number N 2720 .

In addition to the series ‘Flanders Recorder Quartet presents’, the four dedicated musicians of the quartet now also present works for larger ensembles. The complete parts are available separately: N 2721 Please contact us or send us an e-mail .

Die Sinfonia d-Moll ist eine Bearbeitung des einleitenden rein instrumentalen Eingangssatzes der Kantate "Geist und Seele wird verwirret" BWV 35 von J. S. Bach, die 1726 erstmals zur Aufführung gelangte. Bach selbst nannte diesen Satz Concerto. Sollte kein Tasteninstrument zur Verfügung stehen, so ist es auch sehr reizvoll, das Werk mit einem reinen Blockflötenquintett (SSATB) zu spielen.

Raphael B. Meyer wrote the Irish Suite on behalf of the Swiss ERTA (European Recorder Teachers Association) for a larger recorder formation. The result is a challenging composition that can be practised, but is not short on fun. The traditional Irish music with its simple basic structure and catchy, simple melodies touches pupils and teachers alike. With the Irish Suite, Raphael B. Meyer has created a work in three movements which are designed in such a way that they can be played at different speeds and without ornamentation without the music losing its effect. Score: N 2824 Individual parts: N 2841 - soprano/sopranino N 2842 - Alto I, II N 2843 - Tenor I, II, III N 2844 - Bass I, II N 2845 - Subbass/major bass in bass clef N 2846 - Great bass in treble clef

Raphael B. Meyer wrote the Irish Suite on behalf of the Swiss ERTA (European Recorder Teachers Association) for a larger recorder formation. The result is a challenging composition that can be practised, but is not short on fun. The traditional Irish music with its simple basic structure and catchy, simple melodies touches pupils and teachers alike. With the Irish Suite, Raphael B. Meyer has created a work in three movements which are designed in such a way that they can be played at different speeds and without ornamentation without the music losing its effect. Score: N 2824 Individual parts: N 2841 - soprano/sopranino N 2842 - Alto I, II N 2843 - Tenor I, II, III N 2844 - Bass I, II N 2845 - Subbass/major bass in bass clef N 2846 - Great bass in treble clef

Raphael B. Meyer wrote the Irish Suite on behalf of the Swiss ERTA (European Recorder Teachers Association) for a larger recorder formation. The result is a challenging composition that can be practised, but is not short on fun. The traditional Irish music with its simple basic structure and catchy, simple melodies touches pupils and teachers alike. With the Irish Suite, Raphael B. Meyer has created a work in three movements which are designed in such a way that they can be played at different speeds and without ornamentation without the music losing its effect. Score: N 2824 Individual parts: N 2841 - soprano/sopranino N 2842 - Alto I, II N 2843 - Tenor I, II, III N 2844 - Bass I, II N 2845 - Subbass/major bass in bass clef N 2846 - Great bass in treble clef

Raphael B. Meyer wrote the Irish Suite on behalf of the Swiss ERTA (European Recorder Teachers Association) for a larger recorder formation. The result is a challenging composition that can be practised, but is not short on fun. The traditional Irish music with its simple basic structure and catchy, simple melodies touches pupils and teachers alike. With the Irish Suite, Raphael B. Meyer has created a work in three movements which are designed in such a way that they can be played at different speeds and without ornamentation without the music losing its effect. Individual parts: N 2841 - soprano/sopranino N 2842 - Alto I, II N 2843 - Tenor I, II, III N 2844 - Bass I, II N 2845 - Subbass/major bass in bass clef N 2846 - Great bass in treble clef

From the middle of the 16th century, a group of players was called a »Consortium« - especially in England. The term »Consort« was also used to indicate the character of the instrumental ensemble. Later, it was also applied to the music, which could be played »broken« (that is, on instruments of different types) or »whole« (that is, on instruments of the same family). Well into the 18th century the term »consort« - related to the French »concert« and the Italien »concerto« - was in general use. In giving our series of works the title »Consortium«, we are likewise thinking of a musical »company and ensemble«, playing »a variety of instruments« , to whom we should like to make available hidden treasures of the instrumental and chamber music of the 16th - 18th centuries through new editions. The works of the Consortium Series appear in urtext form, except that the parts written in the old clefs have been printed in those used today. Score: N 1240-P (Score) Voices complete: N 1240-SS (Voices complete) Voice 1: N 1240-Sti1 (Canto - Soprano) Voice 2: N 1240-Sti2 (Quinto - Soprano) Voice 3: N 1240-Sti3 ( Alto - Alt) Voice 4: N 1240-Sti4 (Tenor - Tenor) Voice 5: N 1240-Sti5 (Sesto - Tenor) Voice 6: N 1240-Sti6 (Basso - Bass)