A very suitable piece to commemorate 500th anniversary of the beginning of the Protestant reformation https://www.luther2017.de/en/2017/reformation-anniversary/ is « Psalm 68 » of the Fluyten Lust-hof of Jacob van Eyck. The melody ist he same as hymn 76 of the actual Lutheran church hymn book, „O Mensch, bewein dein Sünde groß“ better known from the organ works of J. S. Bach. The melody was written in 1525 by Matthäus Greiter in Straßburg and was included in 1562 into the complete Calvinist Geneva Psalter for Psalm 68 The complete traduction into Dutch by Dathenus published in 1566 became standard among Dutch Calvinists. Van Eyck‘s variations on this theme were already printed in 1644 in „Euterpe“, the previous collection to the Fluyten Lust-hof.
Source: van Baak Griffioen, Ruth : Jacob van Eyck’s Der Fluyten Lust-hof 1644-c.1655, Koninklijke VNM Utrecht 2005, S. 275 ff.
Handel for recorders:
Play the clockwork tunes with 1 or 2 recorders. Also the violin-solo in G (HWV 407) sounds well when played on the recorder in C! These are to be found in vol. IV/19 of the Hallische Händel- Ausgabe (Einzeln überlieferte Instrumentalwerke II) numbers 25 and 42-60.
Transposed for recorder: Edition Baroque has edited sonata HWV 378 (originally in D for Flute) under the name of Weisse, to whom it is attributed in the source. Edition: Johann Sigismund Weiss, Sonaten für Blockflöte Band I, Edition Baroque. It is likely to be an early work of Handel, composed in his Italian period. Third up or down: After the transposition we find again the theme of the sonata in F Op.1 Nr. 11, being even more likely to that one which concludes a trio sonata in F for two recorders and continuo of the early period. For his Op. 1, Handel carefully reworked this theme to ensure his name became better known among amateur musicians. It could be that Weiss (or really a still unknown Weisse) had transposed the sonata one third down for the German flute.
Already in 1985, Michael Schneider enregistrated an LP playing the sonata HWV 358 in G (known as to be for violin) on recorder. It is a really nice piece! Only the first movement seems very violinistic, in the same way that Vivaldi challenges the sopranino players in his flautino concertos. Except for two passages which can be played an octave higher, it is also possible to play the violin sonata in g HWV 364 on the soprano recorder.
Let’s have a look at the Fitzwilliam sonata in D minor, which is the sonata in B minor for German flute in Op. 1. With its seven unmatched movements it seems rather a patchwork. Can you imagine a capable composer like Handel doubting about how to write a bass line in such a simple movement like the Andante (variant) discarded from the Fitzwilliam sonata in d? The Andante (variant) seems to remind us of some passages in Bach’s suite in B minor for German flute and strings. Only the melody and the bass together give a slight impression of emptyness, as if it were an arrangement of an orchestral movement. Did Bach know this patchwork sonata? At least, the Andante of his sonata in B minor BWV 1030 begins with a very similar theme to the Andante (variant). We could imagine Bach being that angry about such a work that in response he wrote the finest chamber work we know from him for soloist flute.
Arrangements of Martin Grayson of works of W. F. Bach for recorders. In spite of originally being for two violas, this Duos sound very nice on recorders. Their idiom is on the line whith the six already known flute duets. Arrangements of choral fugues (original for organ) for recorder consort. Look yourself, even the download is free:
Tip for good sound: Defatting the wind canal whith Antikondens and oiling the recorder